I'm going to get started because we have so much to talk about and one of my priorities this morning is to leave time for your questions at the end. I have written a prepared introduction and then I'm going to launch into sort of my standard presentation. Bear with us while we open up our PowerPoint presentation. We had a few technical hinkies but Kate Payett Eckert here is reliable. Yes it is. No it's also yes it's here too but it is also on the on the drive. I'll let you work on that. Thank you for being here. Thank you for coming. Being here today is the realization of a dream I had for this project for quite some time. So I must thank Hannah Fenlon, Devin Berkshire and everyone at TCG for inviting me to share with you the work of Not in Our House and the Chicago Theater Standards. Getting the call out of the blue was not something I expected inviting me to be here but perhaps the universe was working that day and thank you also to Nissy Aya for getting me here. I also want to thank my Chicago Theater community for doing this hard work. I may be the one standing here but this document was written and then piloted by dozens and then hundreds of administrators, artistic directors, managing directors, directors, stage managers, fight choreographers, designers, playwrights, clowns and yes actors. They represent theaters with a broad spectrum of budget, artistic mission, leadership structures in spaces both traditional and those exploring what theater spaces can be and erasing the walls between production and audience. The individuals who interacted with the document, challenged it, critiqued it, improved it, is inclusive of many races, genders, orientations, education backgrounds and economic opportunities. Lastly, I want to thank the theaters across the nation who have adopted, adapted, read or discussed this work and in taking on the difficult work of applying our collective intentions to do better, turning into action because the only way to address a systemic problem is with a systemic plan of solution. More on that later. I am here as your colleague, not as a regulator, a cop, a shamer or an authority. I'm simply here to share the work that we have done in Chicago and for reasons connected to our collective intention, anguish, rage. But most of all I want to recognize the courage of those who spoke out in Chicago and now spaces all over the country. Our humble document has found its way into theater spaces across the U.S. and beyond. Without their courage, none of this would have happened. I was a note taker in yesterday's town hall and one commenter reminded me of an intention that we and not in our house had early on. Those who spoke out had been abused, manipulated, traumatized and more. We wanted to leave the often perceived responsibility of those on the receiving end of abuse of doing the work to fix it. And at the risk of boasting, I'm proud of us for doing that. Joining me here today is Kate Piat Eckert, a stage manager by training and the executive director of one of Chicago's most beloved non-union theaters, Steep Theater. She has been an important contributor to this process both for her understanding of the needs of the producer and her personal commitment to social justice. After my presentation, we'll open up for Q&A. Many of your questions might be better answered by Kate, who may answer thorny implementation issues. Also joining us here today are colleagues from Chicago who have been a part of the writing and implementation process in Chicago. If you could just wave your hands or those of you, okay. Hi, Gus. Thank you for being here. Gus Mineri from Jackalope Theater, another beloved Chicago storefront theater, has been dedicated to this process and might help with some questions as well. May I ask, so I know where we are at together, may I see a show of hands of those who might be using the document but are not necessarily connected to the process in any way? A couple of you and a little bit of this, that's great. Thank you. And may I see a show of hands of people who have simply read the document? Many of you, thank you for doing that. And lastly, so I have a good gauge in my mind, who in here is here for an introduction who's absolutely new to the process? Great. Thank you for your curiosity and your willingness to be here today. The history of not in our house and the Chicago Theater Standards is as organic and scrappy as Chicago Theater itself. I am an actor. I've been an actor in Chicago for 30 years. I'm a Chicago native, Chicago trained. And so the Chicago environment is both one I know very well and the one I know best. I respect that your environments might be different. But I think today is finding the nexus points about how our environment and our work might serve you and help you, which is really all we're here to do. We're not here to coerce or finger point or us and them or even sell. We're here to share. And if that is helpful to you personally or your organization, we've done our job. Now I'm going to try. Oh, look, it's there. Kate pirate Eckert is magic. So a little bit about the history of not in our house in the Chicago Theater Standards. So in January of 2015, I was doing good people at Milwaukee Rep. And it was super cold in Milwaukee in January of 2015. So I was spending a lot of time in my hotel room scrolling Facebook. And one day this person that I kind of knew but I Facebook knew or I didn't really know know her put this post out on Facebook that stopped me in my tracks. It stopped my breath. It stopped everything. Laurie Myers is a respected actor in Chicago and she was doing a show and she's a sort of in my age range. And so she has adult actors playing her children, right? In a lot of shows now she's come to that part of her artistic life. And the fourth young woman came to her and told her a story of abuse at the hands of the same individual at the same theater. And she blew her top and she had a Facebook moment. She didn't name names. She didn't you know do any of that. But she simply said all of us have known and I'm paraphrasing all of us have known about this for as long as I can remember. This is the fourth person that's come to me. When are we as a community going to put our foot down and do something about it? And she impulsively created this hashtag not in our house. Within an hour, there were hundreds of responses. And everybody knew everybody who chimed in. I know, I know. It was like the me to moment. Remember that day? I know. I know who you're talking about. I know it. I know it. I know it. I know it. And all of us had this collective rage, anguish and shame. Because we but we also knew that you know, a theater is business. You can't walk into a theater and shut it down as an individual everyone also felt helpless and hopeless and not understanding what to do. But we knew the time was up. Something was going to happen. We didn't know what but because of Laurie's post, the earth had just shifted. Within a week, I was sitting back in Chicago, the show had closed, I was back in Chicago, sitting at a restaurant having falafel with about five other people saying what now the toothpaste is out of the tube. Those of us at the table, we each took a little job because we plan to have sort of a private town hall and it was private because people were physically afraid of this individual. They didn't want him, frankly, showing up with a gun. So we kept it secret. We'd cops outside. We had a and the panel consisted of someone who had looked into the codes of actors equity, somebody who had researched, we had a cop there from the Special Victims Unit. I really didn't even know that that was something that lived outside of law and order. I was like, there's a real and they really call it that. I was like, okay, so and this, this cop knew all about this guy. They're like, Oh, yeah. Oh, yeah, we know about this guy. And so he was sort of helping people understand what to do and what this is. We had different people researching different things. And I was asked to research employment law. I'm an actor like clearly I'm not an expert in employment law. But we had to do something. And I said, if not me who so I happened to have a friend who is a top flight EEOC attorney at the law firm of Freeborn and Peters in Chicago of a very well respected law firm. And he gave us pro bono time and he still does. And they did research, their paralegals did research, it was a little bit thorny, but they came back and gave us the verdict, which was in spaces that many of us work in as actors, particularly non union spaces, particularly spaces below a certain budget level, below a certain amount of employees. EEOC law doesn't apply. Because if you don't work a certain amount of hours a week, if you don't make a certain amount per hour per week, or if your institution has fewer than 13 employees, you may not be quantified by the state that you are in as an employee or an employee or so the EEOC laws.  Disability law. These don't apply to the non employers or non employees. Those people are perceived as volunteers, participants, right? We know who work in this profession. The last thing we think of ourselves at the emerging parts of our careers are volunteers, or, you know, in some kind of clubhouse, we are serious about the craft from the moment we begin it, and hope that we will have a career that lasts for the rest of our lifetimes, right? That's the dream.  So I felt that kind of like, oh, I need to do something. I need to say the right thing. I have a little bit of a hero complex. So I splurted out without a plan or credential. What would you think about writing your own code of conduct? And the room went wild. And I said, again, without plan or understanding what I was saying, okay, I'll help you do that. And I really was like, oh, boy, I just stepped in it. I have no idea what I'm about to do or what this means. And I have no training in this and I don't know what I'm doing. But what I do know is that I have been in this craft for 30 years. I have been in four different theater companies. I have worked at every budget level. I have done musical theater, physical theater, regular theater, dangerous theater. I have been on the receiving end of harassment. And I have witnessed it from every angle. So I'm not actually clueless, right? And I have a dedication to my community. And I will both. So I have a good, I believe, inner compass. And again, I said, if not me who? But by the end of that night, what I had the most valuable thing that I had was a yellow pad with the names of 10 theaters that wanted to be a part of it. We got donated space from the Victory Gardens Theater in Chicago who let us use their large, beautiful rehearsal space as many times as we wanted to, to sit around a table and debate the ideas out. And so I had to make some super duper quick decisions, like what is the best foot to start off from? And I made a few decisions. One was I wanted a lot of different disciplines around the table because I wanted a healthy debate. We had to have the producer interest and the actor interest. So what we had around the table were artistic directors, managing directors, stage managers, designers, fight choreographers, clowns, actors from different budget levels. We had Joe Drummond. I don't know if you all know who Joe Drummond is. He's famous in Chicago as having been the stage manager of the Goodman Theater for 40 years and recently retired. I knew if it didn't get past Joe, it wasn't getting in the document. I knew if a managing director said, my board is never going to approve that. If an artistic director said, I'm never going to be able to implement that. If a stage manager said, do you realize the burden that's going to put on my process? I wanted that kind of healthy conflict in the room. And we sat around those tables for a year. We wrote, we did sort of workshoppy things and we moved around the room and there were lots of post-its. And people went home and they talked to their people in their companies and they brought back contributions. There were contributions from outside of the little process. We had pre-written contributions from DePaul Theater School because they had faced some issues and they shared their work with us. We received the good work of the neo-futurists in Chicago, which has a 30-year history. They had faced problems. They had done some work. They shared their work with us and also Bilal Dardai, their artistic director at the time, was a key part of the writing process of the document. He shared his work with us. The attorneys shared their work with us. Editors shared their work with us. So we wrote for a year. Then it went through the lawyer machine. And we had two different kinds of lawyers vet the document. One who was pro-producer and one who was pro-employee. So the pro-employee lawyer was like, you have to set everything up for the employee or volunteer or whatever to be able to get justice. And the pro-producer attorney would say, if you presented this to any board in Chicago, they wouldn't do it. So we would go back and then we would go back and then we would go back and we would write and rewrite and rewrite and rewrite. And then we said, okay, it's ready. We can trust it to not break theaters. And so then we started a pilot program. And by that point, there were many more theaters in Chicago that sort of wanted to start experimenting with the document. It was always online, free share. We wanted transparency. But I also didn't want to create litigious environments in theaters. And I was concerned that our mistakes, our naivete, our good intentions, but perhaps bad tactics, might poorly visit on the spaces we were seeking to serve. So we tried to take the time and there were disclosures on the website saying, it's not done, please wait. That kind of thing. And then the theaters who piloted the document took it home. There were things, we asked that every person at every level of the organization agreed to sign on. That was a big one. Because if it's one person, the thing might sit in a drawer and only be pulled out if and when there's a problem. That everyone had to be aware and consent of the systemic change we were proposing a company get involved in. Right? Full consent. We did that for a year and a half. And that changed the document. The document was completely rewritten, keeping all of the values everybody had contributed thus far. We engendered the document. We added a diversity and inclusion section. We added sections that we had left out. We took things out that were overreach. We clarified the language. We made it more accessible to read and understand. And so what we ended up with was online now what is considered complete but you know everything evolves. Is a 32 page, wholly free, completely voluntary, not even copy written free shared document that you can go and read, adopt, adapt, or be inspired by to go through a similar process in your community. That's what it's there for. I say in every room because I want you to carry this away with you today that this process is purely to help. It is not to us and them. It is not to try to identify who the good theaters are and the bad theaters are. That's why there's no club. There's no medallion. There's no fee. There's no I am here as an or a coordinator but I am not here as anybody's regulator or anybody's boss. So and I do mean that purely. My intention is to try to open up what's inside the document and try to make it as easy for you to read it understand it and use it as possible. So what is the document? As I said, wholly free, absolutely voluntary online. You can pull it up right now if you want. Not in our house.org and from within that underdeveloped website you can find the Chicago Theater Standards. It's a tool like all the other tools we have in our toolbox as artists and administrators for self regulation. You know actors equity is fabulous. I've been a member since 1996. I'm a proud member but they usually get involved after a problem happens. The law is great if something criminal happens right? That law is in action everywhere but they're not around to prevent things from happening. They don't know our business. They don't know our culture. They don't understand the gray areas. They don't understand how what we want to be profane and respectful at the same time. We want to be sexy and do dangerous work but respect the bodies of the players that are putting their bodies and their souls and their artistry and their finances on the line. And a lot of people outside our business may not understand the the head of a pin we need to land on to get that right. The document is collected wisdom. Anybody my colleagues you people here today anybody watching on HowlRound. Hi HowlRound. My hope is that you would read the document and you would say I know this. We already do this because a lot of the stuff in the document is collected wisdom. It's curated. It's the best ideas that are often already in use. And then we said where are the gaps? What can we add and how can we be informed by what we already do well. I want to put a pin in that. Can you mentally put a pin in that for me? I'll come back to that. What is it not? It's not a legal contract. Nobody signs it. It's a cultural agreement. It's systemic change. We have all these kinds of practices in our business already that we just sort of do without thinking about it. We don't question it. We know that if we want to be a good player here are the things we do. It's not a membership. It's not a regulatory board. I'm never going to come into your space and tell you you're doing it wrong. And if you ever go into anybody else's space and tell them they're doing it wrong you're not doing it right. A certification or a prescription. The document is actually this is something that came later. Rick Gilbert is a violence designer and he was in the process from the very beginning but about three quarters of the way through the pilot he sort of said I think we're getting all this wrong. He's a professor. He's a teacher. He's very professorial and process oriented in his thinking. He said what we have to do is what we already do as artists. We look at an artistic problem. You know the difference between a problem and an artistic problem or a design problem. Say here's a blank stage. The problem is how do we make it look like a beach. That's an artistic problem. Right. And you solve it with creative solutions. So what we turn the document on its head with was how do we not prescribe what to do. But how do we make a series of creative problems and offer a curated list of possible solutions. So we're handing it back to the spaces to say here's a bunch of stuff you can do but you can also invent your own solutions. Right. And it would be terribly arrogant and irresponsible of me to say I'm the only one who knows how to get this right or we got it right and it's never going to be right in any other way. There has been some it's evolved. You know that this is sort of new. Right. It's only since 2015. So there have been changes and evolutions if you read the document at the beginning of the process. It's very different now. At the beginning there was the thought that it was only for non-union theaters because they didn't have the money to do some kind of process like this or hire consultants or have HR firms or etc etc etc etc. They're also represent an emerging part of our business. Right. It's people with the least experience sometimes and they're forming their their their work practice. They're forming. They're developing how they're treating each other in the work as they get used to it. And Chicago has a very like rough and tumble. We do raw work. We you know we like violence on our all this stuff. But sometimes the the bodies in that work have not been protected. And so non-union theaters seem to be the best way to make the change that will come through future generations. And raise people raise people in the business with good work practice. And also when I've talked to the the sort of youngest artists and perhaps the most targeted people for abuse they said the same thing over and over and over again. They said I just thought that's how it went. Which is awful right. You know I just thought when I was standing waiting to make my entrance some guy was going to come along and grab my boob and that's just like how it goes. That's a personal account. And then or they would say I didn't know who to talk to. Or I was afraid. Right. So I wanted the document to always be focused on solving those two problems. The I thought that's how it went. That's why the document is online.  You can go online and read the document say oh this is how it should go. This is how it can go. So when you experience how it shouldn't go.  And all of these now over a hundred theaters across the country saying yeah that's not the way it's supposed to go. So there's power in numbers. That's why it's called the standards. But eighty eight theaters. You know in Chicago we have the cat system the Chicago area theaters contract. So we have theaters of many many budget levels who are unionized. And they may only use one contract per show or things like that. So they a lot of those smaller theaters started coming to me and saying I want to be a part of this process I think this is useful. It's answering some things some things for us that we don't have it's serving the purpose for us can can we do it. And I said oh yes of course. And the intention always was that. The document would elegantly serve alongside the A.E.A. code. And where there are redundancies it should be understood that. You know you do it once. That that's simply the overlap that is going to happen you get that right. Also in A.E.A. space is something that I have heard is that because the largest power differentials. Are at the largest highest budget levels. There's an even more important possibly important need for making sure there are communication pathways so that the people with the most power are either A held accountable or B are hearing what's going on in their theaters that they would want to know about sometimes the people at the highest levels of an organization care very much. But the information never even gets to them. And so we wanted to find a solution for that so it really doesn't matter what the budget level is with the union situation is with the history is it is our hope that our work can serve regardless of the institution. And this is a really big priority of mine. And I hope it's a big priority of yours that in this time of me to in this time of collective anguish rage and call to action. We need to see the opportunity particularly at emerging theaters or emerging artists that it is our opportunity and I will go so far as to say our collective responsibility to mentor people into good work practice. Because I was 21. I was in kissing scenes. I was attracted to my partner. I was confused. A stage kiss became a real kiss. I didn't know what was happening. I didn't know what to do. I didn't know if the person kissing me was attracted to me or where we're going to get married or you know like these confusions are real. And not every school is good at teaching it. And not you know and we it's it's like we are as oogie as our parents were about talking to us about sex. So when a person makes a mistake with staging if they color outside the lines of of choreography say. For us to say out the predator. I do not think is progress. We don't want to throw out the people who are on the receiving end of abuse because that is really what happens. People are abused right out of the profession and we never learn how valuable they would have been to us. It's also true and possible. In this moment that people will be outed right out of the business particularly you know and sometimes be confused and need mentoring. We mentor them on everything else. We mentor them if they're late. We mentor them if they're not memorizing their lines. We mentor them if they are sort of being fake in their work. You know we mentor them on all kinds of things. We understand. We say it all the time. Oh they're young they don't get it yet. Help them. Help them. They have talent. Help them. Help them. And we need to include this in all the ways we mentor our emerging artists and our emerging institutions. In my humble opinion. So the elements of the document and the priorities of the document are very much rooted in a priority to mentor. So we've tried to create communication pathways that go from the bottom of the power structure to the top. And go chronologically from season selection all the way through strike. And the communication pathways that are trying to be opened are between players between production members between administration. Right so everyone takes a part. This is not a document just for production it's a document for organizations. I want to speak just for a second to actually I think it's another slide. So hold on a second. When is it harassment. A lot of people ask me this question. I don't know when it's harassment. When is it confusion. How do I know. And we're all kind of collectively learning in these last few years and some of you in this room might actually be farther along than even I am on this question. How can we navigate the great areas. Well in the document there is the suggestion of rockering consent. For scenes with sexual content intimate content. That there is choreography and documentation around scenes with intimate content. That seems to prevent and demystify the great areas and I and I'd like to take a second to just point out that this is stuff we already do really well. It's called fight choreography. When we do on on stage violence.  An expert a credentialed expert is brought in who knows how to work with weapons and fisticuffs and you know all kinds of things and and the violence designer fight choreographer whatever you call them in your face comes in they check with everybody to look in their eyes to see who's hung over who's dehydrated. They ask who's got what kind of training they look at the resumes.  They tell you what you may and may not do with the weapons. They tell you where they go who's in charge. They teach everybody the things they don't know how to do. They hold everybody to account within inches of their choreography and any actor worth respect will sell themselves on their ability to be precise and repeat that choreography. So if you can do it for a fight you can do it for a kiss. You can do it for a rape on stage. There's no reason you can't be precise with fight choreography and intimate choreography but but if I go through all of the protocols for fight choreography including fight calls including a sheet where you say something went wrong including the stage manager being involved including calling the designer back in if a problem happens. If I take out the words fight choreography and I put in the words intimate content or sexual content what of all that happens. You all know the answer how it goes down in your space. Many of us have been in situations where none of that happened. And when I first started this process I started asking like stage managers and people like I was trying to do some research get some information I talked to stage managers and I would say what do you do like what do you always do with sexual content that makes it work. And more times than not more times than I wanted to hear I would hear oh I don't get in the middle of that that's why I'm a stage manager I'm not comfortable with any of that. And that seemed to me like a deficit. Like an opportunity to use what we know in fight choreography and we're all comfortable with we don't get it and apply it to sexual content. Now the document is not prescriptive. So we don't say you must hire an intimacy designer from this company and this we don't that's not what the document does. The document says you should treat sexual choreography with the same level of risk that you treat fight choreography. We trust that you will interpret that with all of the options available to you in this professional and cultural moment. So that a theater at the lowest budget level if they can't afford an intimacy designer. What they can do is make sure consent is brokered because that's free. And you can read how to do it online. They can the stage manager can document the moves, commensurate with the detail they would with fight choreography because they already know how to do that. They can have a communication pathway who to talk to when something goes wrong. They can communicate that it is their opportunity to speak to someone if the choreography is not upheld. We do what we already know how to do. And everybody should be given the opportunity to be informed if they've crossed a line and given the opportunity to apologize, to amend right and move on. And if the behavior persists it's harassment. So if you and I are in a I don't know we're talking whatever and where you buy me a drink because you liked this talk and I'm not going to say that's a bad thing.  If that's my telling you my boundary. And what you did isn't cool, right? We already know that. But I gave you a boundary violation. If you choose to ignore it, that's harassment. The second time it's harassment. And I think it's a lot simpler than we try to make it. But we must all get very good and get better and take it on as our responsibility, in my opinion, to set boundaries with others, to get good at giving them. But we must also start to get better at how we receive them. Again, it's not the person on the receiving end of the harassment abuse boundary violation, right? That should be solely responsible for amending or preventing the situation. Because a lot of these problems persist because we haven't been very good at receiving others boundaries. Oh, that's just him. Oh, don't worry about it. The show is done in two weeks. Just move on. We're not going to hire him again. Just know, right? Just don't say anything. Because that'll just upset everybody. So we haven't been really good at it. And we all now have the opportunity to get better. Oh, my sister gave me this phrase because she was in HR for 25 years. And she said she would teach employees this phrase, that thing you did fill in that blank, right? Whatever the thing was, that thing you did is not okay with me, which is different than saying you're impersonalizing and calling names and making character assassinations and blah, blah, blah. That name that name the action that thing you did, when you touched, you know, when you massaged me, that's not okay with me. When you called me and when you sexted me, that's not okay with me. When you blank, when you blank, when you blank, that's not okay with me. So you get specific and you own your boundary. And then it is their job to receive it. So what about the baddies? What about the predators? What about, you know, the people that we all kind of want out? This is my belief. If you provide which the document seeks to do, education, prevention, communication pathways, documentation and safe reporting, maybe it wouldn't take 20 years to identify a predator. Or maybe if emerging artists know what is and is not okay or knows who to talk to, maybe somebody won't snake around a community for 20 years before a community says no more. Maybe an artist won't work a second time at a theater. Maybe an artist will get the courage up to call up Thunder and say, I was sexually assaulted at the theater, you give so much money to. This is after, you know, giving a theater every opportunity to make things right. That's a big theme, right? I think we're all kind of getting this at this conference, that we have a systemic problem and it requires a systemic solution. Which is why the document is designed for everybody to take part, the ensemble, the staff, the board, it's not to be put in a drawer and forgotten. It's a process guide that lives every day in your organization. It's present at every step of production, pre-production, post-production. The idea is that anybody that you hire understands you use this document and they should read it and know therefore what their rights and responsibilities are. And maybe a predator will read it and think, I don't want to work there. That'll be no fun. And so you fulfill the promise of not in our house. You want to do that? Don't do it here. The structure. The document itself is 32 pages. It has an introduction, a table of contents. It has 10 to 12 standards that go chronologically through how we work. So there is a standard for auditions. There's a standard for rehearsal. There's a standard for sexual content and nudity. There's a section for during the run. There's a set, you know, right? And it sort of goes like that. And then there's an addendum at the end that provides examples of things an emerging theater might not have. They don't have to use the one in the document but there's one if they need it that they can avail themselves of like an agreement. A lot of problems that I see are coming out of spaces that never used agreements. And so participants didn't even actually know where rehearsal was going to be, if they were going to have an understudy, if they were going to get paid, if extension was a possibility, if they were going to have to bring their own clothes or if they were going to have to be naked on stage. Kind of fundamental. But we're trying to provide some fundamental solutions. Now this each standard also has a structure that repeats through the standards. There's the basic which is sort of like what is free to do? We had a priority that this would not be a budget buster, that it wouldn't suddenly add $1,000 to a theater that has a $2,000 budget for a season, right? Which is how a lot of theaters in Chicago start. So what's free? What's the least you can do? Broker and consent is free. Communication is free. The document is online. I advise people you don't have to print it out. Just tell people where to go. Put it in a link in an email. Tell them to read it. It shouldn't cost you anything. Now, there's a lot of things in the document that some theaters won't be able to afford. What if it does cost you money? What if you can't supply the other thing? In that case, you should tell people. We're going to be rehearsing outside. There is no portable water bringing your own. Portable. Portable. You know what I'm saying. So when you cannot give people what they might expect, like pay, you should tell them. If you expect them to be a part of culturally charged material that might not be written yet, you should tell them. If you hire a person from a particular cultural group and you expect to use their cultural personhood in devised work, you should tell them. Disclosure, disclosure, disclosure, disclosure, disclosure. Take it further. This is when we put items in the document that might cost money. But as a company gets a better budget, et cetera, et cetera, here are some things they might do. For example, if you do a lot of physical theater, like in Chicago, Looking Glass does, or Plastocene, an old company of mine used to do, that as soon as you get money, you should be rehearsing on a sprung floor, because that is what will keep those bodies safe for decades to come. So that's, take it further. Implementation notes. This is something that was generated through the pilot, where theaters that were piloting the document would say, hey, we figured out how to do this well. Do you want to put that in the document? Like, how can the document actually help you get it right? Because there are nuances. Like, how do you make sure the document is not used to divide in production? How do you make sure there isn't white nighting? How do you make sure that every production isn't like, let's play Find the Predator, where in every production people who have good intentions, rooted in social justice, are trying to find out who the bad guy is in every production. You might call that witch hunting, you might call that pitchforking. These things are possible, but that is not the intention of the document. But in the implementation notes, it talks about how to talk about this on the first day, to get off on the right foot, to talk about the priority, sort of like, that's why I like to come to places and talk about it, so that there is less confusion about what this is and what it's not. And if you were to adopt the document, or adapt the document, or create your own process, those are things you want to think about. How do you pave the way for this to help and not further harm? Which we can often do in our good intentions that are sometimes fueled with bad strategy. So, if the document intends to build a stronger safety net, some of those ropes of the net go from season selection through strike. The other ropes go from the top of the organization all the way down to the bottom. And those crossing each other is the stronger safety net. I want to talk about that for a second. The document suggests the person with the most power should stand in front of their company on day one and say, even if it's me, I want you to report. As we have seen in a lot of spaces in the last couple of years, it is the person at the top of the power structure or somewhere in the top of the power structure who is the harasser, abuser, etc. And that brings me to the moment to say like, if a company likes abusive environment, they don't want to use this document. It won't help them continue their abusive practices. It will make it a lot harder. And I'm just going to let that sit there. Because the power is if you have emerging artists being steeped in how to get this right. If you have a lot of allied theaters using the document to get it right, think about how many people go in and out of organizations every season all over the country. People know now, not just what is okay and what is not okay, but they also know how to get it right. They're given they're being not just not in our house in Chicago Theater Standards, but our cultural moment right now has all kinds of opportunities to get it right.   But I do want to say that in in the spirit that there is not one way to do this. And this document doesn't seek perfection, but it seeks help to help and to provide something where maybe there wasn't before. That doesn't mean that this is the only way to get it right. Your organization might need something different. It's really the organizations that choose to do nothing that I'm talking about. Not the companies like don't choose this or don't call it this. There's theaters all over the country that there's like the Portland Theater Standards now and the Boston Theater Standards and the Dallas Theater Standards. And they're using a document but they're also making it more of their community. And that's okay. What can you do? You can adopt it in your theater right now. If you would like to do that, my name is Laura T. Fisher. You can find me on Facebook. You can message me and I will help you do that. If you want my help. You can adapt the document to suit your and I say a little like if you adapt the document but you take out all the elements about protecting people from abuse that's you know that's what I mean by a little. You can advocate. You can start a process in your community that builds your own document from scratch because the process was valuable for all of the people who were involved in it. But I would suggest simply what somebody suggested in Dallas. I'm stealing that. I wish I had the name to give attribution but I don't remember. They did table work on the document. They tested every sentence, every punctuation. They put it through the test that we already know how to do. Right. And so they were able to learn from their own expertise. How to do it. How to do it right. If they wanted to tweak something. What wasn't of service in their organization or community. And how would they start from there. Thank you before I hold that just for a sec. What I'm going to do now is ask Kate Pyekker to join me. And Gus, do you want to come up there? That way how around can see you. So Kate and Gus are each with theaters. Gus is the artistic director of Jackalope theater which produces a lot of Eichholter's work and is doing an Eichholter play right now and he is one of the award finalists at the conference this year. So we're sort of like Chicago proud all around. I saw his picture. He's everywhere. He's everywhere. You know and and steep theater is a beloved Chicago storefront theater and Kate is one of the rising stars of theater leadership in Chicago. And so it's incredible to have them with me here today to answer. You can ask me questions but you can also ask them because I'm not with the theater. I'm not implementing this document anywhere. I organized the process but they are the experts for implementation and how to get it right. So that having been said sir you had a question right off the bat. So before we go into questions I just wanted to give a really tactical example that I think can help frame for folks trying to imagine what implementing a document into an actual theater making space looks like. So I am a stage manager by training as Laura said my mom is a director. I've been stage managing since birth and I have always been backstage and then we were I became an administrator and an executive director and we were sitting around the table writing this document and someone said that theater management should never be backstage after half hour call and I was like yes of course that's a really prime time for people to engage in appropriate activity and then I was like oh that's me like I shouldn't be backstage after half hour call but we store the toilet paper backstage and sometimes I have to put toilet paper in the bathroom after half hour call. Oh I can just find somewhere else to store the toilet paper. And this never would have occurred to me I'd been working there for years our theater is only 1500 square feet including office space and backstage and all of the spaces. So toilet paper storage is at a premium but it is worth finding another place to store toilet paper so that I as someone who holds power am not in a private place where artists are preparing for their work and I hadn't seen myself as someone who holds power because I see myself as someone who wears a tool belt and sits in the corner even though I haven't done that in seven years. But it the intentionality and the thought process behind sort of thinking through all of the ways that power and power differentials and logistics impact the safety and the perceived safety in our spaces has been really really powerful and effective for me as a human and as a professional but also for our theater company which as Laura said when we started implementing the document we were already doing 97% of the things in the document but having some really thoughtful intentionality behind that work has been really really helpful. So just sort of to frame what it looks like it can be really really tiny things or it can be bigger things depending on where your organization is but it's really about thoughtful intentionality and having a framework about questioning assumptions about where people should be and what they should be doing. So now questions. Thank you. Oh, I have a mic. So the question is how at the beginning of the process how did we engage leaders? How did we engage designers? How did we engage people at that point that wanted to be a part of this process? Did I characterize that? How did I get them to even know the process was happening? It was super organic and I was just responding to impulse. Like I said I wanted to only work with people who wanted to do it. So I didn't try to convince or coerce or shame, right? That night I had 10 and I thought that's about all I can handle anyway because I don't even know what I'm doing and maybe it will grow from there. I hoped that would happen and because the 130 people who were in that little theater on that secret meeting night I guess I got lucky that they represented many different disciplines in that room. But also as theaters got more involved and we started to kind of get a little bit of understanding I did start to invite certain individuals like at the very beginning there wasn't a fight choreographer involved and I thought I need that voice at the table. I invited Joe Drummond because I worship him and I thought I wanted him at the table if he wanted to come. But there was no sort of big call to arms. I have a Facebook page it doesn't... There's a private it used to be called Code of Conduct Chicago Code of Conduct it's for people who use the document but there's not a... It's been really super organic and people wanted to do it. That's all I can say. And we made some good choices to say who should be at this table that is not. The other thing that happened was through the pilot process which was about a year and a half so for many of us that's four or six or eight productions worth of time we got to include and have conversations with everyone in our production teams and that's multiple people. So I think I had three or four different production managers who I worked with during that time. So like working through the document with them and I think two or three different stage managers and a whole cadre of designers and actors and so getting feedback from all of the individual people doing the actual work let us bring so many of our voices into the process through the pilot period. So there were what 15 companies or so that were piloting it. And 22. There we go. I can't add and sort of through them hundreds of artists and production folks and administrators were touched by the document and gave feedback. So that really helped us broaden up the pool of input. Yes sir. It seems like the reporting so you don't have to repeat. Hi. The reporting of violations to the stage manager seems to put a fair onus on stage managers and I'm curious there must be advocacy for a level of training that is not maybe inherent in many theaters. I was just wondering if you could address that a little bit. You want to talk about that because yeah. One part of the document is what we call the complaint path that I failed to mention. But it's a but it for for Jackalope that is one of the most important pieces of it. It's what we introduce on the first day of rehearsal and the complaint path is the path that one would take if they were to have a complaint and the first stop while the first stop is technically hopefully you can resolve this between you and the person. This is under the assumption that maybe this isn't harassment this may be a personal conflict. The second part is the stage manager correct me if I miss a step here and then it goes artistic director managing director and up and up to the point where you say we say well you should be calling the authorities because at a certain point you do want to stop people from breaking the law especially if it's a serious violation but that but in that sense we also say to that stage manager if you don't feel comfortable with this you can bring it on. Am I am I getting that incorrect? Absolutely. There's also a role in this process that I think was the one thing that was the newest to us is what we call a non equity deputy or the Ned and the Ned is not really like an equity deputy and that they're not the cop in the room reporting back to the parents or whatever that metaphor is but what they are is a liaison between the standards and their fellow participants and so if someone has a question about who they should talk to or is this okay or what should I do the Ned can be a really great resource but I think what I love about and we called our concern resolution path what I love about it is it's not a linear process at each stage there are a whole bunch of folks who you can talk to who can help resolve whatever your issue is so after the hey that crossed my boundary I prefer you not do that if that doesn't work then you have your Ned and your stage manager maybe your assistant director and that's gonna be different for each process and each theater so we revise it every time we start a production and hand it out and at steep we're a very flat you know not in hierarchical organization so it was easy for us to implement although I understand this can be hard for others but we have members of our board who are our sort of official people on our concern resolution path and they're also at first rehearsal and they introduce themselves you have names and faces and phone numbers and email addresses and try to keep those communications really open and accessible and with that and we've sort of talked about this a lot when you start asking people to bring issues to you then people bring issues to you and you need to figure out how to resolve them so over the last two years we've all gotten a lot better I think at working through this and we've sought out resources for conflict resolution and communication strategies and some of those are in the addendum to the document but there are vast numbers more in print and online and so to your point about stage managers equipping them with new tools for this kind of work is really valuable and but it is far beyond the stage manager as it goes to people in the cast and people in the administrative team and people in the board now being asked to do work that they might not have done otherwise but is really valuable work to be doing in the implementation notes there is the suggestion that somebody in the organization should take it upon themselves to develop some conflict resolution skills there's a book I like to recommend I think it's a good start it's certainly not the only text by any means but it's simply called non-violent communication this book has been in use for decades and decades it's used all over the world both in tribal conflicts and corporate situations it is a beloved text it's easy to read and it's a four step process to walk through any conflict in Chicago we have the League of Chicago theaters and Deb Klopp the leader of that organization offers something annually where she brings in a conflict negotiator to teach anybody who wants to come to that for free how to work at their conflict negotiation skills so I would encourage you to look to your support organizations in your communities to say hey this is something that we need if you don't feel your organization is ready or good at that seek the people who already want to help you get this right to offer you that kind of skill building opportunity hey I'm Zach I work at Actors Theater of Louisville and as a larger theater you know I work in the producing department I'm responsible for hiring our fight choreographers writing equity contracts things like that something that I'm really intrigued by is this idea of an intimacy choreographer which I have never heard of before but I would love to hear about what are the kinds of people that do that like what are the credentials for that where do we find them it just seems like something that we would be very interested in learning more about it's super new I mean do you want to talk to that guy? yeah we work with him a lot I think you do too yeah that was it I mean it's sort of a brand new thing for us too but it has been I mean it's been really really fantastic there are newer classes and certifications being issued right now but it is something and just like just like and I'm sorry I use the term complain path which is not what we call it anymore but when you we're the pilot theater so sometimes I still call a code of conduct and everything I'm trying to get with the new language too but but it just adds another layer of safety and and it really just makes the work better all around but it is something folks are trained they have a really smart gentle organic approach just it's very similar to phychoreography in that same kind of way where it walks people through these moments allows them to feel comfortable there's a lot of discussion and I can say also that as a director as someone who directs plays it has been really fantastic because I when you're in that position of power it can feel very uncomfortable I have a lot of anxiety attached to not wanting to be presumptuous or overstep my bounds and so being able to say okay with this element of it I can entrust to someone um it has been a real just a huge help we are big fans big fans and I think you will see it become the norm within the theater here's one resource I don't endorse this I've never worked with them but these are some people on the forefront who are of service who are available to you we're also finding in Chicago a lot of our fight designers are also entering the sphere of intimacy design and so sometimes it can be the same designer doing both elements of a production sometimes they'll be different ones but it's a lot of the same methodology with a different set of language and action around it and we're seeing new people entering this field all the time and I think too much like with fight choreographers although there are certification programs you don't have to be certified to be a qualified and excellent fight choreographer and so as intimacy choreography is a pretty new field there may or may not be certified folks in your area and certification has sort of sometimes has merit sometimes it doesn't but having another voice whose whole job it is to do this project in and of itself really helps to dismantle the power dynamics and promote a safer environment and for in for spaces that can't afford it or are what live in a place where you can't get somebody to come in and do it or all you know all that kind of stuff I would go back to this idea that it should mirror the level of safety protocol that we use for fight choreography and there are fight fight choreographers who are qualified to do that there are directors that are qualified to do that stage managers that are qualified to do that but someone in the production should be assigned a leadership role around intimacy choreography to keep it safe uh... and to do what i like to call the best work in the best because this thing has got to be a win win win win for everybody including the audience so if the work is sterilized but you know if we take everything out of the work in the interest of making it safe we haven't won we haven't done our jobs so I just want to say that as we wrap up maybe one more question hi i'm Mindy from MacArthur theater in Princeton I really wanted to take a moment to say thank you your willingness to be open with this process and to share it with the community as a whole is incredible and i think we're all going to want to move to Chicago because that level of community is just incredible um... thank you my question was about ground rules when you were developing the standards you know you've got a lot of different voices around that table and I really appreciate kind of the vetting process but did you have what were the ground rules that you set for yourselves I had uh... priorities like know us in theming I said it every meeting it's probably boring to those who have heard me talk over and over but it was do not go out into the community and ask people why they're not doing this and you know that is not progress uh... that was probably my biggest rule also all ideas were welcome but they all had to satisfy our intention to be a win win-win win for producer when for director when for actor when for designer for board members and for audience you know that is what I mean when I say landing on the head of a pen uh... that a lot of ideas were eliminated because they couldn't fulfill all of those credentials and and and if you to have anything to add to that I would say and I say this is a pilot program who was watching Laura and Kate and Laurie develop this and everything but in addition to that win-win-win it was everyone straight across the board safe safe safe safe safe and it was that feeling of safety uh... and that when our artists and our designers and our administrators and our leaders and everyone feels safe within this environment it's when we do our best work uh... and that to me was that part of development process as well was making sure that everyone felt safe offering uh... advice in these contexts implementing advice uh... all of these feeling safe to speak out in the room uh... and I think that sometimes there is a tendency to view safety as uh... a risk to being able to take risks and I think we've sort of seen the exact opposite of that is that when we are at our most uh... safe we are able to take the biggest risks artistically that's it I think we are just over time so should probably wrap up but thank you all so much for being here


okay snowstorm has begun as you can see big flakes are coming down but thank god no windshield factor okay let's see what happens later on mr. Jeff Zambello the wind is kicking up and so is so are the size of the flakes and the volume of the flakes the second nor'easter of a 2018 is in full swing they're right they're absolutely right it's starting to stick now it's a sticking okay okay folks is James P. Madonna mega life 21 as seen on the web second nor'easter of 2018 for northeastern New Jersey and as you could see it's starting to come down heavy there's your chimes they'll be chiming later on if one of the strings break I use wax dental floss it works like a charm works like a chime actually ha ha ha because you could tie a good knot with the wax dental floss and it's very strong to set every day of the year 24-7 these bamboo chimes are up only a dollar each and I always have backup just in case since they're only a dollar each all right okay that's it for now I think I'm gonna have some clan McGregor that I have in the freezer are okay James P. Madonna look at what we have here okay the following video look at what we have here loads of snow and here we have Bart Simpson the bush I call Bart Simpson because it has a Bart Simpson hairstyle when the snow gets heavy look what we have here oh yeah it's coming down it's coming down the nor'easter of 2018 northeastern New Jersey this is James P. Madonna Megalife 21 you jabronis look at this look at all this snow weighing down the the shrubbery the shrubbery oh all right it's coming down as you can see what a difference between the first morning video how about that what a difference huh winter wonderland it's not even February it's March it's March the month of spring well it's actually the beginning of March it's not quite spring yet I think March I think spring is like March 21st you know but it's definitely a winter wonderland here we go here we go winter wonderland all right I don't know this tree in front of the house looks pretty for some reason when it's loaded with snow no windshield factor but it's a very damp cold this guy down the street we're on pointing right now has a fireplace with a pile of firewood and I love the smell of his fireplace when I stick my head out the door northeastern New Jersey second nor'easter of 2018 all right all right beautiful okay here we go James P. Madonna Megalife 21 the second nor'easter of 2018 it's getting bad there's there's a Bart Simpson I call Bart Simpson now it really looks like Bart Simpson's haircut the wind the wind just in bellow you were waiting for the wind the bamboo wind chimes are have icicles on them practically even not as ice ice on it look at this it's still coming down heavy good Google the goo like Grady Wilson used to say in Sanford and son good goobity goo look at this it's freezing out too oh my god look at this look at this you can be sure that the Department of Public Works will be burying everyone's car in as a plow oh my god look at this good goobity goo still daylight well it's actually twilight it's twilight time look at that there's so there's so iced up they can't even chime maybe tonight they'll chime oh look at that oh Mofongo coming down the nor'easter the nor'easter the blizzard the blizzard in its March it's not November I mean it's not February anymore I guess the next video will be a night hopefully it'll stop maybe it won't that's it that's it Mofongo the old blizzard of 2018 it is March it is March starch whatever hell you want to call it the frigg is it it is March the 7th I believe Wednesday March the 7th she's playing the Ides of March the Ides of March ow right people on Facebook are making comments on someone's photograph of the backyard say now it doesn't look too bad now it doesn't look too bad you're full of shit like most people on social media you're full of shit you're full you're full of shit a cock that's what now you are it's bad it's bad it's bad it's bad you jabronis you social media jabronis okay nighttime northeast New Jersey the second nor'easter snowstorm of 2018 it is evening as you could see that's how much the big bush got way down with the snow it's still coming down I don't know how much more we're gonna get if you could see by the street lamp it's still coming down the wind is kicking up let me see if I could remedy the situation with the bamboo wind chimes get some of the ice off it so they start making clinging and a clanging maybe to start making a noise now as we do have the wind there we go she do it I'll twist it up second nor'easter it's Wednesday March 7th I believe 2018 second snowstorm 2018 winds kicking up northeast of New Jersey I wouldn't be surprised if we don't have a state of emergency declared here where all vehicles have to be off the roads and the highways because it's still coming down the new governor Phil Murphy who knows might declare that state of emergency okay that's it okay here we go James P. Madonna of Megalife 21 in the front of the house the second nor'easter of 2018 northeast of New Jersey is the pine tree where I have a breeding well yeah actually all year round a breeding pair of cardinals male and female love to nest up in that top of that pine tree as you can see we're a loader with snow here in the Nor'easter the second nor'easter in the northeast for 2018 and you got this this Trebroni's got the windshield wipers up but it's pretty heavy though it's coming down heavy and wet I feel sorry for the landscaper when they get here you know all right that's that's it for the front infamous pine tree on the other side oh that guy with the fireplace is right straight ahead right straight ahead the guy with the fireplace all right


Well, there's certainly a lot to get through. Well, let's not waste time. David, would you like to do the honors? Put the first man in car! Hello? Hi, I'm Pete. No, no, no, no. He's not absolutely me. He doesn't even look at me, does it? It is so shite. Look at that. Peter Capaldi. Yeah, my agent told me about this, and I was like, since I'm a fan of the show, give it a go, you know? No, no. No fanboys. Get out. But... No butch, you haggishy and Scotsman. Out. But stop this, too! But the doctor isn't. There you are. The doctor? Yeah, he'd be perfect for the dark storyline they have in mind. Like, there's this one called Heaven's Sin, and one...   You're here to pitch stories. Next. Hello lads and lassies. Really? Too much. I had a couple other ideas, actually. I had a bow tie, I had a tweed jacket, just for a couple examples. As an idea, we kind of look like a college professor type. That is the stupidest thing I've ever heard. Right, Moff?  How do you spell tweed? Next!  Where's Rubbish, who's happened to be? I'm, uh, Q-Jetman. Who now? Uh, Q-Jetman. You know, I play Wolverine. Back to Broadway, I go.  Tabots. How did you get here? How did you get through the small doors? I'm here to edit in to be the next doctor. Yeah, because you'll get it. It's like seeing Chris Pratt will be in the next Marvel movie. He's too fat. Next. Where is my wife?  Where is my wife? I think we've found our Rory. But I'm only a cleaner who can't find his wife. Well, anyone can make it in show business with a little bit of luck. And your wife's at my house. Yeah, I suppose. Next. Hello, lad. Hey, boss. Who's that? Well, there's our duckling. And I'd like to audition for doctor. Okay, then. Go for it. Sorry, sorry. Thanks, if I don't care. Thanks, dear universe. Oh, you're spaxing. Could you all just stay still and drink with any pants and a dog? Yes.


Griffith supports people that believe in something. I was halfway through medical school. I was driving down the highway. Suddenly, my car just lost control. I knew the worst had happened. The teachers from Griffith kept in touch, and they just say, when you're coming back, we're going to take this journey with you. It doesn't matter what background you're from, you'll get the same chance to give your dream a shot. I'm Dinesh Palapana, and I'm the first quadriplegic doctor in Queensland.


nangayon sa another XO0s video. To start off first, guys, I'd like to have a small rant about XO0s. It has been a little bit frustrating recently, especially with the FC Sabrina compensation that they're talking about. So, I get it. The 40 pulls, I already got it. The 28,000 zes, I already got it. But, take note, I was able to buy as well from the station before the start of the refund notice. Okay, so let me read this one. Reward 3, additional zes would be given to users who purchased at the station that Eldorado Sabrina fake recruitment upload uploaded the notice from start to the refund notice. So, I actually purchased during that period. So, basically what they're saying is there's additional payment of station zes product for these packages and full up to pile of zes. And guess what? Until now, I haven't received any reward from this. So, I already tried to escalate this through their customer service and, again, they didn't have the right answer for me. They just told me that I actually received my compensation already. Yes, I received it, but it was for the 40 pools for the banner. Not for this one, not for the additional zes. So, again, it's a little bit frustrating from my end because I was expecting a little bit more. But, again, it's, you know, I don't want to destroy my day with this. But, again, I had to put this out because, again, if XO Zero's promises one thing, they should deliver on it. That's it. And it's actually, you know, the trust that we put into XOs or line games that this actually, you know, when you say something, you deliver on it. That's it. So, I just do hope that you still deliver on your promise for this. I'm not sure if it will still happen, but I guess next time, guys, when they say that they're going to give you compensation, might as well, you know, just be, you know, not being trustful about it. There might be some truth to it, their re-father, their compensation. But, again, some of it, they might not deliver. So, again, sorry for me. Sorry for those who haven't gotten their additional zes compensation. So, sorry for the all of us. Anyway, guys, let's move on to what dropped actually for today's update. Okay, so for today's update, I'm going to focus more on the banner that is going to drop. Again, this is not what they expected. They, you know, they keep on teasing us with a lot of fate course, a lot of skins, orange fate course, and yet they, again, dropped this one. I like this one because I'm wasted red, but again, for those who are Linombe, Greenland, they're also expecting upgrades as well. So, more or less, this is not what we want right now. And the general public doesn't want this. Me included, I was expecting some kind of a better fate core to be released, a new one, most definitely, but again, this is what they pulled out. So again, it's a choice fate core banner. Sorry. It's a choice fate core banner with the astrophysm. Obviously, my recommendations for this banner get Garf, get Uloom, and that's it. That's it. Probably Brooke for the third one if you have to choose. So Garf, Uloom, Brooke. That's it, plainly it. Garf, because if you're carrying wasted red, she's going to be buffed, which we will be discussing now. So, more or less, here is it. Her balance adjustment, pre-notice Garf and fate core. So basically, what is going to happen is her fated version and her fate core is going to get a buff. So let's start off with her, with her, what do you call this? With her fated version. So Garf, skill changes. Skill changes will be here in command from 20%. Defense slash health, it's going to be 30. That's a big addition, especially now that the meta is, in terms of tankiness, she actually has to compete. In terms of her skills, S1 and S2, there's no change. So for fated, from 20 to 30 for command for defense and health increase, okay? And the next would be her fate core theme. So skill changes, once you equip her fate core, so before it was called Barrier of Will, so triggers when 70% or more of own, maximum health is taken at once, can't be removed. So buff reduces all damage received including current damage by 50% for two turns. D buff increases all damage received after two turns by 30% or three turns. So more or less, they simplified it, activates upon receiving damage beyond 50% of own maximum health. So if maximum health is 10,000, 5,001 up, this is going to activate. So disabled for five turns after deactivating the Bulwark of Will, special is reduces all received damage including the current damage on self by 50% for two turns. So they basically increased the damage reduction from 30, sorry, no, no, it's still 15. So more or less it actually, the trigger actually is just lower down to instead of 70 to 50% so that they could trigger earlier with 50% health load or more than 50% health loss. So that is it for the passive that she has then more or less command is, there's also going to be a difference in terms of her passive. So again, command is at 30, then she actually has royal grace for FC, kills 30% of received damage for each time when hit. So this is actually good, more survivability for Garf. To be honest with you, I've been using Wasted Red for quite a while and Garf has actually fallen off. Right now, I would prefer Rudley than Garf because of what Ruddy brings in terms of attack, defense, support and everything. But for Garf, she has gone down in terms of, again, her playability beside other generals, she has been less colorful in terms of her skills. But this one actually brings her back to the top with the healing for 30% of received damage each time when hit. So there's a bulwark again and damage reduction as well. So more or less, this is going to take Garf again to one of the top generals. Been using Garf for a couple of months already, main team is Wasted Red. But again, XOZ, a lot of players have been complaining. For me, as a Wasted Red nation player, this is actually good news for me. But again, for the player base that has been waiting for other help towards their nation, their faction or new heroes, they're actually disappointed with this. And I feel for them, this was actually out of nowhere. We didn't expect this. We expected a new hero to drop, even I. To be honest with you guys, I'm actually a bit disappointed with this. And I was expecting a new hero. Please, hopefully in the future, please do additional reworks to other generals who need the love, those who have been out already and need their original heroes or original form or FCs reworked. Okay, so more or less, the balance adjustment will be applied after May 13th, Thursday, after the maintenance along with the balance adjustment choice, fate query. So recruitment will also begin. So more or less, this is what they're going to bring on May 13th, upgrade on Garf's fated form and for FC. And also we have this event, the choice fate query that's going to drop, which will give you a chance to get Garf, FC Oloom or FC Brock. More or less, guys, that is it. That is my coverage for this video. If you have any comments or suggestions, put them down in the comments section below. Please do like this video if you feel this was informative for you guys. Also for those who haven't subscribed yet, please subscribe to my channel. Around 85, no, around 80% I think it actually went down a little bit. 80% of you guys or who are viewing my channel, haven't subscribed yet. So please do because this helps me a lot. Okay, guys, take care. Stay safe. This is The Warden and I'm outta here.


Women's History Month began in 1981 when Congress authorized the president to proclaim Women's History Week. The celebration paid tribute to the generations of women whose commitment to nature and the planet proved invaluable to society. Petty Officer Tony DeFilippo tells us how sailors commemorated Women's History Month in Sasebo, Japan. On a sunny Saturday morning, sailors and dependents from Fleet Activity Sasebo are headed on a hike with a special purpose in mind. Today we decided to come together with the CPOA and the Multicultural Committee in honoring Women's History Month. I think it was a great opportunity to get out and we hike and we push each other and everybody like came together as a team. Before the hike, the group sat down to learn about women's history. As a result of these phenomenal women, the territory of Wyoming passes the first Women's Suffrage Law. And for some Navy women, that history is something that they don't take for granted. I feel like I am the result of all the hard work and the struggle that women in the past have done and everything they've done to make it possible for us to be where we are today. But the women weren't the only ones who felt strongly about the meaning behind the hike.  Sailors come from every walk of life and marches a chance to reflect on the contributions of women throughout history. It was really good to be a part of this and I'm proud to be a woman. Petty Officer Tony DeFilippo, Fleet Activity Sausagebow, Japan.


Hey guys, this is Nate, AKA The Foot Accountant. Welcome back to the channel. I wanna take a look at an area of FIFA Ultimate Team today that is very popular. It's a very popular way to make coins and to get some packs to open, and that is League SBCs. We did have a League SBC introduced into the game today, and I wanna take you guys through the process of how you can make coins from doing a League SBC and also using footband to do that and also being on the market, what kind of times you can look at to maybe buy some of these cards for cheaper if you actually wanna complete the SBC yourself or if you just wanna trade with these cards. I wanna talk about all about making coins from League SBC. So today we got the Bundesliga SBC. It is repeatable. That's the biggest thing with these SBCs. We have two rewards that you can get out of this. I don't know if I can actually show them to you inside of the SBC menu. I actually don't know if I can, to be honest, and now we'll let me, there we go. We click on the Bundesliga SBC, and there are two cards that you can get as a, from this SBC, but it is repeatable. So like last year, you can do this SBC over and over and over again. Get the duplicate player. You can get that reward multiple times and turn it in for another SBC that requires an 83 or an 84 rated player or whatever. You can just keep rinsing and repeating through this SBC to get the packs. And let me be honest with you, these packs are really, really good. If we look through all these packs for a lot of these challenges, a small rare gold players pack that's half of a 50K pack, rare electrum, rare mixed players pack, small gold players pack, mega pack, rare mixed, rare gold pack, prime electrum, premium gold. A lot of these packs are really solid packs. I mean, the worst one in here actually might be like this pack right here, this electrum players pack. That might be one of the worst ones that's in here or a jumbo premium gold pack. But honestly, for what you're paying for this SBC at the moment, you're getting a lot of decent packs from this SBC. Obviously, this is only the first one, so we have to look into that kind of stuff. But this is a way that you can grind packs by getting these cards throughout the year. Maybe you get them from a pack poll, storm in your club and chip away at those SBCs. Or this is a fantastic way to trade on a FIFA Ultimate team with these SBCs. And you might be asking, how do you trade with these SBCs? Well, the best thing you can do is find players that are rare and find players that you need to complete these SBCs. People that grind the league SBCs all the time know the players that you have to do maybe one or two players that you can switch out inside of a squad that makes the SBC completable. And one squad that I was looking at in particular that I found already that has some shortcomings or some ways to make coins. Whenever you see a lot of silvers in the solutions on Footbin for how to complete one of these SBCs, and that's the first thing I wanna talk to you guys about, looking at the solutions for these SBCs, there's not a ton of them right now. And by looking through the list of squads in the Bundesliga, I know that FC Union Berlin is gonna have a lot of silvers in it, because it's not one of those squads that is up near the top. So I wanna go take a look at this squad right here. So we have a couple squads, Lens, Subotich, Maloney, Kade, Dale, there's a few guys in here. If you go look through a couple of the squads, you're gonna notice a few of the guys are in both squads.  Kade is in both of these, Subotich is in both of these. The goalkeeper was in both of the squads and Lens was in both of the squads as well. When you see players like that, you know that they're going to be required for these league SBCs, and that means they're gonna carry a higher price tag. I'm gonna look up Lens right now in the market, left back from this team. Left back from this team, how much does the man go for? 4K, no, 7K, no, 8K. The man is around 8,000 coins for this Lens card. It's what it costs you to buy this left back that you need basically for this SBC. And right now, Fupin says that this SBC costs you 8,000 coins. That is definitely not true. So if we go back over here to Fupin, it says that on the market Lens is 1,300 coins, and it even says that out here on the graph, it shows you, oh, this FC Union Berlin SBC is only 9.4K. Well, you know there's a lot of silvers involved there. The SBC has newly come out onto the game. You know that's not entirely true. So you can take a look at a lot of these silvers in the leagues, especially the outside backs. The actual Lens, this Union right here is a great example of some of these SBCs that cost a lot to do inside of a league SBC because they have silvers on the outside edge, maybe only one left back or right back in the team. And you need that left back or right back for chemistry reasons based on whatever formation they have. Because a lot of these SBCs require 11 players from the same team and 95 chemistry somewhere in that range. And some of them have a rating as well. This one has a 69 squad rating. So you can only afford one or two or three bronzes if you get all the possible golds that you can get. But the best time to trade, and people that trade with league SBCs, they grind hard. And these are very, very profitable methods. So speaking of this Lens guy right here, maybe if we look at some other guy like the right back in the squad, his name is Trimmel. Let me look him up as well. Christopher Trimmel, how much is he? He's also pretty inflated. It looks like he's somewhere around 4,000 coins. Actually, maybe around 5K. I saw one there with like a 4, yeah, 4,000 coins for Trimmel at the moment. So that's an inflated card. That's a card that you're gonna be able to trade with on this game. So the best time to buy these cards, a lot of these silvers get supplied through different packs that show up in the store. And marquee matchups and obviously squad battle rewards and weak and weak rewards time is a great time. If you're looking to complete SBCs or get some of these cards in your club to watch their fluctuations, some of these cards are gonna fluctuate. Kind of like the way that Informs do or the way that Gold cards do when they're high in demand. Whenever there are special cards that are in packs, the demand for these League SBCs will go up. Obviously that means there'll be more packs open maybe for lighting rounds and such, but that will give you an opportunity. Maybe after a weekend of lighting rounds, people wanna get more packs, especially during a time like team of the year. You're gonna be able to get on the market and look at these silver players or maybe some of the non-rare goals that are inflated because of these League SBCs and get them for cheaper after all those packs are open. Let me go take a look at marquee matchups right now because this is definitely an easy way to get some silver supply and get some of the supply for these lower rated cards in the game. And you guys are gonna learn, if you start trading with these League SBCs enough, you're gonna learn, okay, there's a couple guys from like maybe Mines or Dusseldorf or Augsburg or Union Berlin that we were looking at. For some of these teams, you're gonna remember some of the guys that are expensive and that are definitely needed and that causes their price to go up. You know some three, four, five, 6,000 coin silvers that you need to complete a lot of these SBCs. And you're gonna know when the supply comes out of the market, you're gonna notice that price. It's just like a fluctuation of another card of like an inform on this game, that price is gonna go down, boom. This pack right here, Bordeaux versus St. Etienne was in marquee matchups this week and it gives you a jumbo premium silver pack. This would be the pack that I would love to see every week when there's League SBCs out. And because this means there's gonna be a lot of that silver supply coming onto the game and maybe even some bronze cards as well through some of these packs that they put out here. Bronze pack method is gonna allow bronze pack method to be more profitable. League SBCs will, you know, you have some bronze guys like that Cade that we saw from Union Berlin. Selling right now, let's see how much he sells for. So bronze pack method and honestly some people do silver packs, those can be profitable as well. How much is Cade? Cade is 2,000 coins for a non-rare bronze. So again, if you guys get random like reward packs from logging into the companion app or the web app or just some type of reward pack, this is now the time of the year where you have to start checking prices. You have to start checking prices for those cards because you might have a Bundesliga player or whatever SBC is out at the time, however many SBCs they have out. A lot of people wouldn't even realize this card is going for 2K. You'll look on the market, see an undercut and be able to flip it. That's a great way to make coins off of these cards. Also with bidding. I'm gonna go to my transfer targets again and see if that lens card sold. As you can tell, I've been looking at a lot of higher rated cards. So both of those lens sold at 7,500 and at 7,900 coins. So people are literally paying 8K for this card. You can make a ton of coins on these silver cards by getting on the bids at night time, getting on the bids during squad battle rewards. This is gonna just open up a whole new realm of trading in the FIFA Ultimate Team Market. Since these SBCs are going to be very highly in demand. I mean, to be honest, a lot of people are gonna do these SBCs. How long does this Kade card stay up on the market? Instantly gone at a 400 coin undercut at 1.6K for Kade, the German center attack in mid. This is an incredible way to make coins. If you're somebody who loves methods like this, you're loving that League SBCs are actually out. They're repeatable and that they're here on the game. So I wanted to bring you guys this video today to talk about some of that stuff. But also, to kind of mention to you guys that, hey, maybe if you pack a guy like this Kade, this is why I always send items to the club and don't quick sell any duplicates that don't sell for anything. Because shoot, even my club right now, let me check through some of the Bundesliga guys that I have in my club. Maybe I have some Bundesliga guys in my club right now that are inflated because of these SBCs. Wow, I literally have nobody in my club. What about this guy, Tommy? How much does he sell for right now? He's from Düsseldorf. He's a silver, boom, a left mid silver. He sells, the man sells for 6,400. 6,400 coins, 7K right there. Now we can watch some of these bids and see, get an actual reading, see where his price goes. But right now, I'm gonna list them up, dude. I will take, let's say 5,800 coins for a silver card, non-rare. That's the kind of stuff that you're now gonna have in the game that we've had in years past, especially last year, that people thought we weren't gonna have SBCs this year because of a couple statements that were made from people in the FIFA community. Some people didn't think we were gonna have League SBCs. Thankfully we do. And they're here, and it's a great way to make coins on. It's a great way to get some packs. And obviously I just talked to you guys through that so hopefully you understood that. If you have any questions, of course, about League SBCs, they are the perfect thing for somebody who's gonna spend a lot of time in this game and grind it to either get the packs or to get the coins. Again, whenever you see silver packs that are out, a lot of those silver cards that you know are good for League SBCs that are inflated, I think about last year, there were so many LaLiga SBC cards, League SBC cards from one of the teams that were like 20,000 coins and they would drop down to like 10,000 coins when we would get a pack supply and they would shoot right back up to 20 as people were doing SBC packs. Even right now, I think people were going and doing this Bundesliga League SBC because they wanna be able to get the packs that you can get from this SBC. Right now it says it costs you about 198,000 coins according to foot bin. So I would expect a lot of the SBCs to be somewhere around that cost, around 200,000 coins, maybe the Premier League's a little bit more. But I'm just glad that these SBCs are back in the game. And always, of course, make sure you look at the requirements of these SBCs. Bayern's SBC only requires six Bayern players because so many of them are high rated that it would make the cost of that SBC crazy. So definitely take a look at that if you're actually going and completing the SBC yourself and use foot bin to your advantage when you're trading with this stuff, figuring out which silver cards are very cheap. Use foot bin to your advantage, go on here, look through some of the lesser known teams in the Bundesliga, the lesser popular teams, maybe they have lower quality squads. Those are where you're going to find some of the silvers. Again, like Düsseldorf, I have that guy in my club just now that I listed up. How many of you guys that are in here are silvers? So we have a bunch of silvers in here and I bet they're all not really 700 or 1,000 coins. So this is something you guys can look out for to make a ton of coins with this year. A rare bronze, some bronzes in here as well. Bronze pack method again is going to be great. You can probably even open silver packs if you want to. But then again, this adds value to even doing marquee matchups and getting silver packs. So hopefully you guys enjoyed this video today. Hopefully I was informative and teaching you about the SBCs and how you can make some coins off them. It is an absolute bomb, lower budget method for a lot of people. I'm going to bid on this lens card. I know I can sell them at 7K, but it is an absolute bomb method for people that are on low coin amounts. Low coin budgets. Obviously right now I have 300,000 coins. It might not be the best for me to be trading with some of these SBCs at the moment, but it is a very easy way to make some coins. And of course, this is a way to get you off the ground if you're starting an RTG. This is a great way to trade on the low budget. It's very simple trading. You're just trying to flip those cards that are in high demand because of SBCs being out on the market and people wanting to complete those SBCs for packs. Boom, we just got this lens card right here for 4,100 coins and I know that he sells almost instantly at around 7K. We just watched him. So I'm going to set up and take an almost 3,000 coin profit on that one silver card right there, which is awesome. That's freaking awesome to be able to make profits like that from League SBC. So again, if you have any questions, drop them down below the comments. Like the video if you enjoyed it and subscribe to the channel if you are new. It's been Nate, the Foot Accountant. Catch you guys later. Peace out.


In 1995, I was a newly hired intern at Nickelodeon Animation Studios. I got the chance to work very closely with Joe Murray, who was the creator of one of my favorite cartoons, Rocco's Modern Life. When I found out that I would be viewing the new episodes before they were aired, of course I was ecstatic. He had told me of the plans for the upcoming episodes of the show, and showed me some early sketches of the characters that the children of that era, along with myself, and surely some parents, had all come to know and love. The first few episodes I had screened were great, and I always bragged to my friends, who were also fans of the show. But then one day, things seemed a bit off. Joe looked exhausted and hurriedly handed me the tape before going home, claiming to feel sick. I shrugged it off, and put the tape into the VCR, wondering what Shenanigans Rocco and his friends would get into this time. But when the title card came up, I was shocked to say the least. The card read, Philbert's funeral, and had only a black background and white text with no music. At one began with Rocco sitting on the couch in his living room, which was unusually messy and swarming with flies. Spunky was slowly walking across the living room, looking unusually thin, weakly barking at Rocco. There was no sound but a soft static noise, and instead of the usual perky pastel colors, the overly vivid hues bled into each other, giving everything a morbid, chaotic look. The silence continued until the episode was about a minute in, but was broken when the phone rang in a distorted tone. Hello? Rocco asked in an unnervingly monotonous voice. The soft sound of another voice could be heard on the other line, and for a single frame, an image appeared, but was gone before I could get a good look. Yes I understand. Does A3, right? He said in the same tone before hanging up. The camera zoomed in to show his face in disturbing detail, and he silently mouthed Philbert's name before starting to cry. The image flashed again, and my already heavy heart skipped a beat when I saw what it was. Philbert was drawn in a hyper-olistic style, his eyes gone and blood oozing from the deep scratches on his flying maggot-bridden face. Rocco started screaming Philbert's name, the word getting louder and louder with each cry. Heifer then entered, in his normal happy manner. Hey Rocco, what? His sentence ended abruptly, and he looked at Rocco for maybe 30 seconds in silence, then directly at the camera for the next 30. Rocco then coldly said, Philbert's dead. Heifer then went into hysterics, but not in the normal cartoonish way of his. He sounded genuinely pained, and it was hurting me to see this, to hear the beloved characters in this horrible state. The screen then faded to black, and soon cut to the inside of a funeral home. The characters were all inside, sobbing, the sounds of them all filling the screen and room. It zoomed in on the same shot of Philbert, and stayed there for the remainder of the video.  As I sat there staring at the black screen, text came up. You killed Philbert. Guess what, you're next. I was scared shitless, then I quickly turned off the VCR, grabbed the tape and burnt it. After seeing this, I sat in shock for a moment before getting violently sick. This episode was fortunately never aired, but it still haunts my dreams till this day.


The safety and effectiveness of COVID-19 vaccines in preventing serious disease, hospitalizations and death cannot be overemphasized. The evidence is all around us. While the Ministry of Health, Wellness and Elderly Affairs notes an increase in the uptake of the vaccine over the last two months, the assertions put forward regarding the safety and efficacy of vaccines by a segment of the population does not go unnoted. Clearly, this is driving a level of vaccine hesitancy in the population and affecting the uptake of the vaccines. The COVID-19 vaccine was created quickly but was carefully tested for safety. These vaccines were made using processes that have been developed and tested over many years and are designed to make vaccines quickly in the case of infectious disease pandemics, such as COVID-19. The COVID-19 vaccine themselves were extensively tested and millions have been safely vaccinated to date. There have been concerns about side effects and COVID-19. COVID-19 vaccine side effects are temporary and do not mean that you are sick. COVID-19 vaccines do not contain live virus and as such you cannot and will not contract COVID-19 from getting vaccinated. The symptoms, if any, that one experiences after getting vaccinated does not mean that the individual has COVID-19. It is the body's immune system's response where the body learns to recognize and fight the COVID-19 virus. We do know that there are persons who experience prolonged symptoms and therefore encourage them to report this to the healthcare provider. This is part of the monitoring and evaluation process of the COVID-19 vaccination program. Another frequently asked question is whether one can take the vaccine after having been infected with COVID-19 and how soon after. If someone already had COVID-19, getting the vaccine will add extra protection. It is indeed safe for someone to take the vaccine soon after recovery. While evidence suggests that there is some level of immunity for those who have been infected with COVID-19, it is not known how long that immunity lasts, how long that one will be protected from getting COVID-19 again. Additionally, the level of immunity provided by the vaccine after having COVID-19 is higher than that of those who had COVID-19 but not subsequently vaccinated. As of Saturday 2nd October 2021, 18.5% of the population has been fully vaccinated, accounting for 33,391 persons. 7.25% is partially vaccinated, accounting for 13,141 persons. Of the partially vaccinated, 2,964 persons are overdue for the second dose of the vaccine, signifying an increase of over 1,000 persons over a two-week period. The Ministry of Health, Wellness and Elderly Affairs continues to appeal to persons who are due for the second dose of the vaccine to access one of the vaccination sites. You are only guaranteed full protection after having received the complete regime of the vaccine. The data continue to show higher rates of hospitalization and deaths in the partially vaccinated and unvaccinated. Further, we are all looking towards the return of normal social functioning. High vaccine coverage means a chance to get closer to normal. Although no one knows how long the pandemic will last, we do know that everyone who gets vaccinated helps us move closer to the normal life we look forward to.


Today's quick tip is to revisit books that your children really liked when they were younger when things are tough. So books that you maybe read again and again and again and again you know to the point where your kids maybe knew them word for word those books that feel really safe and really familiar and a bit like a kind of verbal hug can be a lovely thing to revisit if things are feeling a bit challenging. So when our kids are finding things tough maybe things are tricky at school or maybe they're just going through a bit of a tough time for some reason maybe you've got things going on at home that are challenging whatever the reason if things feel a little bit hard then looking backwards a little bit to things that felt safe and secure and kind of made us feel just just looked after and loved and had nice memories attached to them can be really good stuff to revisit so we can encourage our children almost to like regress a little bit become a little bit more childlike and reassert our role as parents and books that they've enjoyed in the past is a really simple and nice way of doing that. If your child doesn't seem like really open to that idea then sometimes you can encourage them to read those books to you if they don't want to be read to if that feels too babyish for them for some reason or you can actually encourage them to read those books to other people so maybe they've got a younger sibling or maybe you've got a pet that they might be happy to read the book to like you can kind of think of different ways around it but books particularly ones that are kind of like lyrical in the reading of them that might rhyme and feel nice and have a certain rhythm and cadence to them like we love the Julia Donaldson books for example like Tabby McTat is a real favourite in our house and when we read them and we feel that familiar sense of rhythm and cadence it just brings back that sense of safety and certainty and love that you felt many many times before when reading those books so consider digging them back out don't let them all go keep hold of one or two old favourites because you never know just when you might need them and it can be surprising quite how long kids will be happy to hold on to them for they might not want to read them with you they might not let you know even that they're reading them but just they might just have them to hand in their room just in case they can return to them should they need to so yeah return to younger books that were really enjoyed and feel full of love and joy in those more challenging times I would love to hear in the comments what are your favourite books what are the books that you as a family have read together again and again are there any particular favourites there it'd be great to see some recommendations from different people because we can learn about new books from each other all the time my other recommendations because you will all have heard and probably read loads of the Julia Donaldson ones already we also love a book called dogs don't do ballet it's by the same authors as rhinos don't eat pancakes and actually both of those are fantastic books all of the books by that author illustrated duo are amazing and I'd highly recommend I'll put a link in the description so that you can check them out should you wish to but yeah leave your suggestions in the comments too so we can find out from each other what would go down well with different families and I hope that you like this idea let me know if you try it and how you get on with it and if you are enjoying the content I'm creating please consider heading over to my patreon page where you'll find a ton of resources that you can download and videos you can watch and all sorts of jazz like that and if you feel so compelled then I would be delighted if you would join me as a patreon and make a small contribution each month to support me to keep creating content for parents and carers to help you to help your child