Hello, everyone, and welcome back to Conversations with Tyler. Today, I'm here in New York City with Masaki Suzuki. Masaki Suzuki is one of the greatest musical creators and producers of our time. He has recorded the entire set of Bach's Sacred Cantatas, which in my collection amounts to, I think, 55 compact discs. He has recorded all of the secular cantatas. These are generally acknowledged to be the most important and best recordings of Bach's cantatas music ever. He is recording complete the organ music of Bach, so he also is a world-class organist, and is recording the complete harpsichord music of Bach works that are commonly acknowledged to be in the top tier. So there's simply no one else I know of with this kind of record of production and quality and dedication and inspiration. He also has recorded a good deal of Mozart, Handel, many other 18th century composers. He founded the Bach Collegium Japan in 1990. He teaches also as a professor at Yale University and does many other things as well. Masaki Suzuki, welcome. Thank you for your invitation. It's a really great pleasure to come here. I have many questions for you, but to start with Bach, St. John's Passion, 1724. If you had to explain to us in its most fundamental sense, what was new in St. John's Passion that Bach did? What was the nature of that innovation? Well, probably no one expected at that time to have that dramatic passion, because the tradition of the bass derived from the reading of the Bible in the liturgy. So it probably, firstly, it was only thought of the Bible reading, but not simply reading instead of the citation, so with some tones. So that was developed to the music, passion music. And by the time of Bach, that was already developed as a kind of oratorial passion. So that was actually the very dramatic experience already. But still Bach has time on the one week before the Easter. The passion of the Johann Walter was still performed. That means really only a major accord from the beginning until the end, you know, just to recite all the Bible texts and so on. That was still performed. So the very first passion of Bach in the Leipzig time was the St. John Passion, which was a really shocking experience for everyone I thought. And in terms of choral work, what is new in that passion? Choral work, yes. Yes, that is a very well. The structure consists of the choir and the as the turba. So the the mass of people, the shouting and so on. At the same time, the choir was also supposed to sing the choral. And so the multifunction all the time, choral. And do you think of St. John's Passion as a Christian work? Or you conduct it as a Lutheran work or drawing from a particular gospel? How do you think about that theologically? Well, from my point of view, yes, St. John Passion, we are doing this work as the as the just a simple general sacred music, sacred work. And we are performing this music not in the liturgy anymore. And we are doing in the concert. So there are plenty of ways to accept or receive or the appreciate this music. So this we are doing simply as the musicians, you know, to to do our best, you know, to to to do the sound wise and text wise, everything as good as possible. So I think the music can work afterwards to the individuals, you know, the according to their situation or thoughts. And your own background is Calvinist. Does that in any way shape how you approach the work? Yeah, that's a really good question, actually. I was asked many times, why are you not Lutheran? But there's almost a kind of predestination in the work. Jesus seems to know what's coming more than in other parts of the Bible. Exactly. Yes. So I actually I am very grateful to be a Calvinist because the Calvin was probably the well, I don't know. I'm not no theologian. I'm no historian, but still the according to my the knowledge Calvin was one of the first reform reformation reformator, the who acknowledged the value of the activity and culture of this world, not only in that world in heaven. So I think the it is very often said Calvin was not so the the sympathy for to the music or culture or server, but that is not true. And he has limited the congregational singing only for the psalm. But the other than church is the outside of the church. He has helped some quite much a cultural activity, for example, publish of the psalm thing or arrangements and so on. So that's he was also helpful to to, you know, the inspire the musical activity in this world. So I think in this way, we can evaluate the old musical or whatever cultural activity in this world. The other kind of under the very big notion as a general grace of God. So when Bach is in curtain in what is not what was East Germany, which was Calvinist at the time, but he's composing mainly secular works. How do you frame that? Well, why did he do that? Oh, that's that he didn't have a chance to compose any Lutheran cantata at the time. So he was really well, he from from one side, he must have been very happy to compose the organ works, instrumental works and also secular cantatas and so on. But probably he wished to do more work to the Lutheran Lutheran world or Lutheran church and so on. That's why he moved to to Leipzig, I think. So let's go back and just talk about your career, your history a bit. So you're you're 12 years old and all of a sudden you hear Carl Richter's recording of Bach's B Minor Math. How did you come upon that? And how did you feel at the time?  But while I was very, very excited, not only with that music, but also I got to the quite big stereo equipment, stereo equipment from my father. And then I was very excited to listen to whatever with the headphone. Headphone was also a very fast experience. And and anyway, that's the B Minor Math was the so fantastic, so wonderful. But I didn't understand anything from the text or from the music. The music was much too complicated. And the only thing is the I played quite much trumpet in the brass band. So that's why the trumpet playing in the that by the German trumpeter, the Adolf Scherbaum, that was really fascinating in the B Minor Math. So I I actually repeat repeatedly listened to the only Gloria. And so, yeah, but anyway, that B Minor Math is really the wonderful encounter with the Bach's music. And how is your musical ear back then? So the Richter recording, I think of it as a little bit, a mix of overblown and stiff, even though it's pretty good, right? No, it's not what people would listen to now. Did you have a sense of that back then? And you or you just with blown away? No, no, no, yeah. Well, for other interviews, I have listened back to that recording recently. And that was completely different. And well, it is not acceptable at all for my years, because he was a character must have been a really wonderful musician. And also he played a harpsichord by himself and by the conducting, for example, for Santa Maria Passion without seeing any scores. That is a really amazing thing. But anyway, that's his way of music making is the well, completely modern, not only modern, but the kind of the kind of the machine like the notes by notes. And so that is really not acceptable anymore. But at that time, that made probably a lot of excitement for the audience. And this is very nice, I think. Do you think there are any older recordings of Bach, say of the B Minor Mass or the passions that have held up before the Dutch movement for original instruments? Yeah. Well, I listened to the, for example, the Mängelberg St. Matthew Passion a couple of times just as an example. That's a very famous example in history. And I think, yeah, well, that is, of course, completely different. But probably at that time, it was a very beautiful performance, I think. And that is quite a romantic tempo is completely slow. But, well, I have no idea how it was accepted. But actually it did work out at that time. So this kind of sense of value about the performance is changing all the time. So I think we belong to the quite different generation. But at that time, it must have been very right for me. And the very stimulating to do the Bach music. And how was it you decided to study early music in the Netherlands? Was it just you wanted to study music and then you learn of the movement? Or you went there because of the movement? No, no, actually, in this way, I was completely fascinated by the organ itself. So that's why I started to play organ. And I got the lessons when I was a teenager before the university time. And then I wanted to study more organ. And my first organ teacher was a Belgian priest, actually, in Osaka. And I told him that I wanted to be an organist. And so listen, Masaki, there is no good organ in Japan at all. So that is no good idea to study organ here in Japan. So I wanted to start to study composition. So I did study composition in the university. That was very good the career, a very good process to understand the music. And then in between, I just happened to meet the harpsichordist called Motoko Nabe Shima, Japanese, the kind of first generation harpsichordist who studied with Gustave Léonhardt in Amsterdam. And she was a really genius person. She spoke more than six languages in Europe. And she has spent quite a long time in Europe. And she came back to Japan and I met her and I got the lessons from her. And that was really the kind of how do you call it, the really the change in my life. And she introduced me to Tonkoukman, who were the schoolmates of her. So they were together in Gustave Léonhardt's class. So I went to Amsterdam and I went to the Tonkoukman concert on the day of my arrival and that was a really shocking world. So fresh and so exciting on the cell. I decided to come to Amsterdam and that was a very, very good decision, I thought. So if you started with organ harpsichord, how was it then you came to conducting? Conducting is actually has been always outside of my idea because, you know, when you perform cantatas or whatever, ensemble music, you know, someone must lead the very possible from the harpsichord as a Bach did and so on. So I did in that way. So gradually I made some ensemble with my brother and my brother's colleague. And the string players and so on.  And I, for example, I gave them some sign or some signature. So my brother Chris says, what I mean, oh, that is not clear. That is, oh, what, which tempo do you want and something like that. So only through this kind of discussion, you know, this I became a conductor. I'm not the conductor. Well, yeah, in a really traditional sense. And we're people telling you, well, you can only do one thing. It's organ harpsichord or conducting. You have to choose one or everyone just let you do. Actually, these three are completely, I think that's the integrator. They easily integrate. But you do all three, right? Yeah. Well, yeah. But the harpsichord organ is, for example, there's a completely different instrument, but still based on the same idea. So to make music and also conducting choir conducting, especially, you know, well, that's exactly the same feeling as you play the fuga on organ. For example, theme comes now tenor, now soprano and something like that. So that's exactly the same. So only thing the choir has a text. So that's a much more, you know, better than the organ, I think. Given how much music you've produced and how consistent the quality is what is it you think you know about productivity that other people do not? Well, I have no idea about other people's but to the well, productivity. Well, that is only the box music is so fascinating. So I can't stop walking simply. So well, well, yeah. Well, I never tried to be productive or whatever. Just only I want to pursue the how to improve our performance, how to realize this and that, the music of Bach and not only Bach, but to the so that is only music is there. So nothing else. If you had to explain what is it about the music of Bach that you still do not understand, what would that be? Well, Bach's music has always together with some kind of puzzles and enigma. So that you can never get an answer to all the all the that's kind of unknown aspects of the Bach, for example, Gustio Fugue, for example, the Art of Hugh, for example, we don't know why he has really written or why what kind of situation it was not finished. And and in the contours, for example, there are plenty of very difficult places to to understand why he did in this this way and so on. And the most of the cases we can find some answers from the texts. But the still it is not so easy to understand everything. And that was very good. How good a sense of the grasp of Bach's mind do you feel you have? Or is he just a complete mystery to you? Yeah, quite much mysterious field, I think. So I'm trying to understand and I'm trying to come closer to Bach's sense or Bach's mind, but actually it is very, very difficult. The more you walk, the more distant you can get. That's really yes. That's true. Yeah. When you're hiring for the Bach Collegium, Japan, of course, they have to be wonderful musicians. But given the extreme productivity demands that will be placed on them, what is it you look for in the people you hire? Well, the most important aspects from musicians is probably how much they can devote to the music. And sometimes how much interest do they have in that music? And so, well, I do, for example, sing as auditions very often. And well, of course, I can I have to judge sometimes in a technical aspect of how good or technical, but not only the techniques are the most important thing is probably their interest and how much they can devote themselves to music. And so, yeah, and yes, that is the most important thing. So I'm very happy to have now our members and orchestra and singers. But they at the very beginning, they didn't have any idea. What is the Bach counter, especially? And then the choir, the choral music or the this kind of ensemble music, how to do that? But the in between during our working together, they have developed a lot. So that is very nice. And they inspired me again. So this kind of vice versa, the inspiration is very, very nice. Do you think Japanese players understand Bach differently? I don't think so. But only thing is the basically Japanese people don't have any Christian background or tradition in the country. So I sometimes I have to explain what the text says and so on. And also this and that text comes from this and that text of the Bible and so on. But this kind of explanation is not possible in Europe, for example, because everything is already taken for granted. So there's no one can really explain about Jesus parables. And so in Japan, I think it's very good to to have that kind of a chance, you know, to to talk about that things. And and also the German text is, of course, basically impossible in Japan to understand immediately. But that's why we need the translations or we provide all the time Japanese translations to audience and also for the orchestra people, all the musicians and but this kind of a translation work is a part of a very important interpretation work because, you know, we read the Bible, for example, the only through the translations, no one in this world, you know, raised the original language in Old Testament, New Testament. So so actually, in order to make this kind of translations, you know, we have to think on that or consider what it really means and so on all the time. So I try to make quite some translations of Bach's cantata, some 20, 30 cantatas I have translated myself myself. But it's it's a very time consuming. That's why I gave up recently. But the but we have very good colleague to make good translations. So with your Japanese background, do you think you approach Christianity differently? I think so, quite different from any other idea. Well, actually, each of the countries have different traditional different approach to the Christianity or whatever religion that I think in Japan is a quite different from Korea, for example. In Korea, as much more Christians now, it is said that the 40 or 50 percent of the population of the Christian, but in Japan is always says that the only 1 percent of something, but in spite of that, the Christian culture is very well known in Japan, so everyone knows what Christmas is. And even Easter, they did quite known nowadays. And but there's very not so many Christians in Japan. And I thought formally that that is a big, big, the negative aspect. But I think that's the it is not possible really to count who is a Christian, who is not Christian. And, you know, when we perform the Saint Matthew Passion regularly on the Holy Week and every year, we since 20 years, we are doing. And for now, the more than we have regularly a three performance in Holy Week in the same venue. So the something like five thousand and six thousand people are coming for that performance. And that is a that is amazing thing in comparison with the number of the Christianity in Japan. So actually, I think that quite many people can appreciate that kind of message from the Bible as well, not only the Bach music, but from Bible. And so on. So that is my hope. Do you ever think back on what is called the Christian century in Japan, which ends, I think, in 1639, when a lot of Japanese convert to Christianity fairly rapidly, but then Christianity is suppressed. Is there some alternate history where Japan becomes more or less a Christian country or could that never have happened? No, that has never happened. That was a completely stopped, I think, the tradition wise. But it's very interesting that there are quite quite many evidence that before the 1639, the the quite many churches were built by the missionaries and from from Europe and also the in Azuchi, for example, where the Oda Nobunaga has a base, the very close to Kyoto. That was quite many churches and also quite some organs at that time. So and also boys, the missionaries were sent twice, at least, from Japan to the pope in the room. And in between that, it took a couple of years to reach Europe. And in between the some of them practice organ on the ship. And then when they arrived at Avora in Portugal, the one of them could play organ immediately and everyone was astonished. But in this this kind of connection was completely stopped afterwards. That was a very pity. And the Christianity was actually left over only as the hidden Christian. So that was a very interesting history. But the probably it is not possible to to call them Christianity anymore. But that is a kind of mix up with Buddhism. So the recently passed away, the musicologist Mr. Minagawa Tatsuo Minagawa does who has researched about history and found out a very interesting thing. Like, for example, there are still hidden Christians in Japan and in Kyushu area. Right. Yeah. And I heard that they have or they used to have the funeral ceremony combined with Buddhism and Christianity. So there are the kind of double how they call it, the quite big houses or temple like buildings. And in the in the front side, they they do the funeral ceremony according to the Buddhism, Buddhist way. And then in between the priests are supposed to walk around back to the building. And then the while walking, they are all murmuring, this is not true, this is not true, this is not true. And then come back to the Buddhism again, something like that. So this is a really interesting ceremony. So there's a kind of mixture with Christians. And so this kind of hidden Christianity or the Christian people had a very, very difficult and miserable history because they they were completely depressed and also the torture of the many people. And but still they have survived in a way. So that's but not really anymore as a Christian, the proper Christian. Well, I don't know exactly. Well, I can't I can't tell too much about that. But because I don't know exactly. But the anyway, the hidden Christianity is still there. That's very interesting. And you're from Kobe, right? That was originally a Christian center along with Nagasaki. Exactly, because they were port cities that way. Yeah, that is Kobe is one of the most important. After after the reopening of the Japan, so 1868, they they are probably to Kobe and the Yokohama and even Sendai, those the port places, you know, this is very important to accept the any kind of culture from outside, but the Christianity came in and and for example, there is the oldest protestant protestant church is in in Yokohama. So that is that is the end of 19th century. That's really interesting history. How do Japanese audiences for classical music, say in Tokyo, differ from New York audiences? Well, probably a little different American audiences are more friendly, I think, more friendly and more easier to to excite, to to be excited by the performance. And as if they look like more inspired directly from the music and also musicians. And in Japan, Japanese audiences, they sometimes they they know very well about the repatri and and very cooperative, but they at the same time, the a little bit. Well, not not so excited immediately, probably the inside is very excited. But well, we Japanese people don't express directly from the from inside to outside. That is we all we were all told in the school, for example, that is the rule, that is not the intellectual demeanor or something like that. What do you think of the hypothesis that Japanese audiences, they have a special interest in iconic works such as Beethoven's Ninth and there's an insistence that they hear the best or experience the best and single out very particular things. Do you think that's true? Yeah, Beethoven nine is very special being here and especially in December. And so they are more than 100 performances in between nine only in December. So the chorus at the end has special meaning. Japanese people, do you think chorus, the chorus, the lyrics to the core ending of the ninth? Yeah, that's of course, that is very special meaning, not only for Japan, but I think that's musically the very big events. But in Japan, there are quite some of the projects who gather the people, more than 10,000 people to sing out the Beethoven nine at the end. So that is quite a beloved event, but that is no more musical event. I don't think so. Why do you think Bach's larger vocal works were neglected for as long as they were until Mendelssohn, right, in the 1820s? They're a bit forgotten. The keyboard music is not forgotten. What happened there? Well, I don't know. There are a couple of different aspects. For example, the passion music of Bach, the Saint Matthew or Saint John, you need definitely a continual playing, for example, but that idea was already distinct, already completely extinct by the time of Mendelssohn. So Mendelssohn has reformed or made a harmonization for the continual part. He has performed some cantatas as well, but he always provided the parts for the brass section or the wind section to fulfill the harmonization on the continual. So that's the improvisation. Improvisative parts of the continual can could not understood anymore by the time of Mendelssohn. And also the it was much easier for them to understand the passion music just as the storytelling. So so that Mendelssohn has performed the Saint Matthew passion only mainly the older recitives. So he avoided for his first performance, he avoided the nearly all the areas, even Ausliebe, that he didn't perform the first time. And and he his intention was to to follow the story as directly as possible. So in that way, the probably it was thought just like the opera production. So so it so the Mendelssohn was the indeed that has revived the Saint Matthew passion. And but actually that performance is completely different to what we are now doing. How many times do you think Bach heard his own larger scale masterworks? Saint Matthew's passion be mine or mass? No, there is no evidence that he has any performed B-man or mass. So that he never heard it. He never heard it. He never heard only in his mind. Yeah. And so much passion he has performed at least the three times, I think the Saint John is four, four times or five. I'm not sure. But anyway, that's only a couple of times he has really hard and performed his own masterworks. Now, your music is largely online. Not all of our listeners are experts in the music of Bach.  That is very difficult, one of the most difficult questions. Well, that depends on the situation, what you you have the experience in the past in the experience. And yeah, of course, but the from my side is the one of the my favorite contata is, for example, let me let me see. Wachota of the Wachota of the 140. Yeah, 140. That's a good one. That's a very, very good one, of course. And I'm Festerburg 80. Is it going to work out? Well, I don't recommend that as a for the first beginner because that is too complicated. And and well, for example, cantata number eight, Leapster, Yezu, that is a really wonderful music. So that's so you can really use it as a BGM background music as well. And that is really comfortable to listen. And or the Cantata 102, this, the Her, Dinah, Augenze and Dinah, Glaubens to that is one or two is the that's a very interesting structure. The choir has a two double fuga. And that is a really interesting structure. And also the Aria was very dramatic. So or well, otherwise, plenty of examples. In the world today, how many top cure organs are there for playing the music of Bach, where you can really do it? Justice, you said there were no good organs in Japan or you were told this at that time? Yes, yes. How many organs of the highest quality are there in the whole world for you? Whole world. Yeah. How many? That's a really difficult question. But it was totally depends on what you think beautiful or what you feel good. Because the I prefer personally the historical organs, historical, the original organs like in the North and Germany or France or wherever. And well, my really favorite organ in the world is a chronigan. That's a Matini Kirk. This is a built by the Yohan Kaspar, Shinitaka. And where is that exactly? The chronigan is in the north part of Groningen. Groningen, yes, yes. And that is really wonderfully restored. So that's quite much depends on how it's restored as well, because the organ is had a very long history. So in between, for example, the 19th century is the all over the historical organs were once renovated according to the musical taste of that time. So that's all the nearly all the organs were the ones that romanticized the completely romantic way that changed. So the in 20th century, most of the organs were re renovated to to to to bring them back to the original situation or 18th century or 17th century. And so how to restore is a really key point, actually. So, for example, this Matini Kirk in Groningen organ, that is the that originated the Shinitaka organ. So the original from from the very original style is very, very good. But that is beautifully restored by Jürgen Ahrens, one of the most important organ builder in Germany. And how was it that organs improved in the time of Baroque music and Bach so that he could do what he did? Because it wouldn't have been possible a hundred years earlier, right? Yeah, the organ, so all the organ building have been all the time so changing according to the time. And so Bach's time, the second half of the 18th century, this the the the it is the organs around Bach's area. So Zaksen and Türingen have a quite different character from North and North and Germany or Italy or France and so on. And they had quite many stringy stops registered, stringy sound, to quite with contains a lot of high overtones. And that is very close to the string instruments. And that is very, very interesting. So that kind of character is very important for the Bach's organ music, I think, basically. And but the Bach's, as I said, there is no organ extent from that time to play all the Bach's organ music on one instrument. So actually Bach's idea of composition is always surpassed out of the organ situation. Here's a question from a reader. Quote, how does he explain the, to me, surprisingly large number of Japanese organ students at top conservatories in Europe? Now there's so many, not so many Japanese. Not so many, you think? Yeah, yeah. Now much more Korean. Korean. Yeah, well, basically, I think nowadays in Europe, much less numbers of Japanese students at the in in in generally speaking. And but the for such a, you know, there's a famous conservatory like Paris or Rome or Vienna and so on. There are still quite quite some, I think, but the much less than before. And that was probably because the old Japanese musicians can get job now in Japan, so they don't have to really go to the Europe anymore in terms of getting job. But I think it's still very important to go on to live in Europe once. If you would like to be to be the musician of the European music. So it is very important, I think. Once you arrived in the Netherlands, of course, you've been to Germany many times earlier on, how did that change? How you understood the music of Bach? Well, before I came to the Netherlands, actually, I didn't have any knowledge. I didn't have any understanding. So it's only the feeling. And I loved organ and I loved harpsichord. And but the only thing is when I when I started learning with Tom Kaufmann, you know, what I had done in Japan was not wrong. So that's I thought that I was really lucky. I thought and but so firstly, well, well, actually, I was completely ignorant before before I came to the Netherlands about Bach music or about Bach and whatsoever. And so the everything was so new to me. So the old knowledge. Tom Kaufmann had so many books and so much knowledge and he really, you know, talked many things like a machine gun. So many. Well, that's but the after that, well, I learned I read some books and so on a little bit more objectively. Then I became to the conclusion that I I'm good. I can say myself, you know, something like that. But if you go to the Bach Church in Leipzig or go to Ornstadt mentally, emotionally, does something fall into place? Or do you just look at it and say, oh, that's nice? Well, for example, in St. Thomas Church in Leipzig, the I was very happy to be there for the first time ever. That was still the air time and it was really the in front of the church, there was a huge statue of the Bach and that was so big. That's not something. But actually the the St. Thomas Church itself is the well, now there's quite a harder that that is the inside is quite different from the time of the Bach and the well, I was very happy to be there. But not really, you know, see how they call it, I can't make any any connection from the heaven through that church. You know, that's so anyway, that's the Bach can be anywhere. I think I thought that the Bach can be anywhere in the world. So that is very important places. And but now it's quite different in the building where it's structure wise and the everything is different so you can never feel the original atmosphere there. What do you think of Glenn Gould's highly unusual interpretations of Bach? Well, the Glenn Gould, I love the Glenn Gould performance very much. And the that that is not not so unusual. That's if you try to to make articulation and also to make the some kind of effects like the Hubs code and organ and so on. The the I thought it was quite natural conclusion that he did in that way. And like and the there's one or one or two, the recording of organ playing, his organ playing, that was a little strange, I think. But piano, the, for example, Goldberg variation, that's a really fabulous recording, I think. What do you think of the view that some of them are wonderful? Like the partitas, the English suite in a minor, but say the well tempered clavier, it just seems like swooning and the tempos are too arbitrary. It's not charming to me or really some of them seem to not work at all. Yeah, could be. I don't know so many different recordings, but the at least for the Glenn, the Goldberg variations, that was very fast one, especially, yeah, and sometimes the tempo is very quick. And I can't I can't do that in that way. But that that's a very fascinating performance, I think. The Brandenburg Concerti, what is it exactly that makes them such a major advance over the music that came before? Because they seem to come out of nowhere and they're so fully blown. The solos are incredible, right? The ensemble work. Yes. I think that towards the Bach's intention to compile the six concertos as one collection, but probably they by then he has composed quite many concertos with the and I think that is very simple. Call the, you know, the New Yorker Bach, especially still Michael Morrison has written about that brandenburg concerto that was a symbolized symbol that he his intention was to represent the the social hierarchy to the number one brandenburg. Number one is with two horns. That is very, you know, the usual symbol for the court, the dignity of the court. And then second one is the trumpet solo, overworld recorder and violin. Those four instruments are supposed to be performed by any Stattpfeifer. So they had to master all these instruments and so on and so on. And the number three is very interesting, but the number three is this number was made by Bach himself. And that is three violin, three viola, silly celli. So that's everything dominated by three. But he didn't compose a second movement. So that is actually movement was supposed to also three. But the second one is missing and only one bar in the middle of the page. So he clearly intended to to fulfill him by by himself to improvise that the second movement. So that was the intention for the Berlin the the kind of the how to call it, recruit the he intended he wanted to to dedicate to the Berlin graph. And then and then if you hire me, then I can improvise for this movement and something like that. What is it in contemporary classical music that you enjoy? Contemporary music. Well, yes, I enjoy sometimes, but probably there are plenty of other specialists for that kind of contemporary music, I think, but what do you listen to? Well, the I don't know what is the contemporary, but the probably I listen to the Stravinsky, for example, that's one of my favorite composer. And I did actually I made even one CD of the Prussian Ella and so. And the even even more recent one like Takemitsu and that is very beautiful. So but sometimes I can't understand what they are intentioned. So sometimes they're very difficult. Very recently I was I used to be the student for the composition. And at that time my teacher was Akio Yashiro, who has studied in the Paris. And he has passed away when he was the 46 years old. That really while still I was a student at that time. But he has composed a wonderful symphony and the piano concerti and so on. And very recently I have performed his symphony for the first time in my life and with the Sapporo Symphony Orchestra. And that was great, great pleasure. And there's a rhythm called so interesting. And so the structure is quite classical. So his way of composing was in a way conservative. The according to the very classical structure and also rhythm pattern and so on. And they but the sound itself is completely well, new, I mean, atonal music. So it was a little difficult for me to to enjoy or that kind of sound. So but the it was wonderful. Well, wonderful experience. What is it you like in popular music? Popular music. I again, as I don't know what the how what kind of definition of the popular music. But the well, I like some the songs sing us like the Mariah Kelly, for example, and also the Whitney Houston and so on. Those things are really wonderful music. And so they are really good. You know, they have seen us. And also so kind of the the texts are also very kind of to to how to cheer up the people. And that was a very positive aspect all the time. So that was very, very nice. Sometimes in Japanese popular music is a we we call them the one of the traditional traditional Japanese popular music called Enka. Enka means that is the songs for the remorse and also the sometimes reglets and so on. Sometimes the all the time the very often Japanese popular songs have that kind of texts which describe the negative aspects of our experience. And I find it's a little difficult, not difficult. I'm a little pity. What's your favorite Beatles song? Beatles Beatles Beatles Beatles Beatles. I don't know much about that. Yeah, that's Beatles really, I don't know. But the I when I was a brass band, you know, we played some Beatles arrangement for brass band. And that was the that was a yellow Submarine. And yeah, one of one of the Beatles songs which are they had a very top the Piccolo trumpet was the as a feature. Penny Lane, right? Penny Lane. Yes, that's very good. That is my favorite. When you're conducting and recording, what is it you're thinking about? You have to concentrate completely on the music or does your mind wander at all or how is that for you? Not at all. Not at all. Well, basically, I can't think anything other than other than music. Then what is that? Yeah, that happened in that bar. And so even I can't think of the next bar. So the only thing that I always concentrate in what's coming next, what's coming next, something like that. And the and also the the purpose or aim of that that part of the music. So, you know, what kind of atmosphere must be realized? And so that is most important things. And you're never distracted by physical troubles, like I'm tired of standing or anything. Well, well, no, actually, no distraction. Only for the rehearsals. You know, when I start rehearsals, sometimes I feel today's I'm very tired. But during the rehearsal, I always fresh up. So that's no problem anymore. That's during the big because of the music. You know, I always I can get energy from that. And how much do you need a score to conduct? How much? Well, some people conduct without a score. It's much harder. Do you need a score or you use a score? Oh, yeah, of course, definitely. I always use the score. I never, never do the anything by my heart because that is not necessary. And it just takes up more brainpower for no purpose. No, actually, you know, for pianists or violinists or singers, for example, they maybe they must memorize all the text or whatever. And for pianists, most of the pianists are too busy to see the score. So that's a day, of course, must memorize everything. But for conductors, there's no reason to to memorize, actually. So just like Anselme said, you know, and I think the and also choir, choir people in the of the sacred music, not in the opera scene whatsoever, but they must keep the scores all in hand because, you know, this by by memorization, you know, just the the your memory, the music, how do you call it? Your understanding of the music are changing all the time because you know, to to to to realize this and that notes and the text and so on. Without mistakes and so on. Then you must take different energy to keep up that. But what we should do is only to make a music to make a sound. So I think the other than the operas, generally, generally performances of the I think it is better to have the scores all the time. You just go back and listen to your old recordings for fun or it's finished. You're done and you move on to the next thing. Yeah, basically, I want to always to move on to the next time. Never, never look back, but sometimes I will told to do that because I have to choose the content of this and that thing to make another program or these are like to make the recommendation of the content and so on. But basically, I don't look back at all. If you have, say, at least two recordings of Saint Matthew's Passion, I think they're about 10 years apart. Yeah. So when you did the second was your feeling, I just want to do something different or you had heard the first and you thought, no, that's wrong. I need to correct it. No, no, no, no, just different visions. That's only, you know, each CD, each recording, never, never, none of them was really perfect. So I always want to do once again like the live live performance. So if I have a time, I'd like to do all the content of once again. But then the after all, then I probably will want to do once again. So that's why there's a never ending story. But the first Saint Matthew Passion is the first recording was the I have nothing to regret about the in between we have the much better. We have improved in not only the technically, but also the understanding of the Bach and all the members, choir member, orchestra member, have all developed quite much. So that's why kind of as a milestone, I think they're very good to do once again. And if I could live another 30 years and then probably I will do once again, Saint Matthew Passion. You have one of the best known recordings of Handel's Messiah. But as you know, there's literally hundreds of recordings of the Messiah. You go and listen to some of them before you record to make sure yours is different or you just figure it will come out different. Do you listen to old ones like Beecham for inspiration or how do you approach the musical past? That is the sometimes I need to listen to the others recording of the older one or the other kind of reference, but basically I don't listen to. Well, I'm trying not to listen too much at this recording. That was too much influence. And I think the make recording is very interesting because that is a quite important experience for all of us, all of our colleagues. And during the recording session, many things happens and not all is very easy. And so, but during that recording sessions, we all take that music into any cells in our body. That is really interesting. And for example, that the Messiah recording is a long time ago, but during the recording session, the couple of our colleagues, mother or father or spouse that they have passed away or something. And also my wife, the mother, has passed away just when we finished recording as if she has waited for that moment. So that kind of memory is always coming back. And so it is really wonderful experience to keep going with the recording session. Session recording, that's very nice. As you must know, Apple has recently acquired BIS records and you've done so much of your work with them. Will that change how you approach recording projects? Well, actually, we don't know yet what's happening now. So well, I'm so happy to to be working with the BIS all the time since 30 years now. And so I really hope that we can go on in more or less a similar way. And we have a really wonderful connection, the relationship with this company. So more people might hear your music because Apple will put it higher in the algorithm. Right. What do you mean this? Well, let's say you're listening to music through Apple services and you just type in Bach, you don't know what you want. I would think it's more likely that Apple puts you at the front because they own the rights to that music and that more people will hear you. I'm just guessing. Yeah, maybe, yeah, maybe that is what, yeah, probably hopefully, yeah. So it could be good for you. Yeah, that's very nice.  That's 55 years of listening to Bach, playing it, conducting it, recording it. Over so many years, how do you think it's affected you emotionally or spiritually or philosophically? How are you different? Internally. Wow. Well, I'm getting older now. So the end of Bach is always there. So, yeah, well, I've never thought in that way. The Bach is my life, actually. So, you know, so so familiar. As if I am living inside of the Bach's music. So I can never judge from outside. Um, so, yeah, well, actually, it is not the thingable to to live without Bach's music or without music. And so that is that is my life only. So last two questions. First, what is your favorite pizza in New Haven? Pizza. Well, well, to perfectly, to be honest, I I didn't get any pizza. Very sorry. It's very good there. Yeah, I know. That's very famous. Yeah. But, well, I don't like pizza so much. Very sorry. Last question. What will you do next? Now? Now. Well, after this project with Yale and Juilliard, now we are rehearsing of the handles, oratorio called L'Alegro, Pensloce et Moderato. That's a very interesting music. And but the after that, the let me see. Now, next project is, well, a couple of organ concerts in Japan because of the the in Cuba in the showing chapel, the where we have we have made all the CDs recording. And that organ that's built by the French organ builder called Marc Gardner, that was exactly 40 years jubilee this year. So that's why I will give a couple of concerts there. And so that is actually starting point of my whole career. So that is really important events. And after that, I'm coming back to to Europe to make another volume six or seven days of the organ series in Hroningen. And then I will make a tour with the orchestra with Age of Enlightenment with the Christmas Oratorio, all six parts. So that's really exciting. And the next year, January, we are going to perform Brahms to its requiem in with a billion instruments in Japan and to make a recording. That is really exciting. I look forward to that. Thank you very much. Thank you. Thank you very much.


quick look at the brackets they were just released we'll start with the east region which has the number one overall seed ucon here the two seeds iowa state midwest is a tough one produce the one seed tennessee is the two out west we've got u and c is the one arizona is the two and boy this south one might be the hardest one houston is the one marquette's the two kentucky is the three also that 11 seed nc state team of destiny anybody personally i think this is the hardest region but which one do you guys think is going to be the most difficult


I think what struck me the most was how volatile the situation was and how both our colleagues, people I spoke to, they're really living on a day-to-day basis. They don't look further than a day-to-day basis. At any given moment you would have shootings, fighting taking place in certain parts of the town. So the week that I was there you could see how one of our sub-delegations had to be evacuated because it was broken into and of course my mission there was focusing on health care. So I spoke mostly to health care workers and the challenges that they're facing in being able to continue doing their work and providing health care services to the civilian population to whoever really needs it. What struck me was one their determination to continue working particularly in the hospitals that we're supporting and they're facing constant security risks and not only at work but also getting to work and getting from work. We see a lot of a variety of violence affecting hospitals and clinics and personnel. The material that was used to operate the patients was imported and if there are really cases that require heavy operations, they will have to do a recourse to certain hospitals in Bangui and therefore the population will be called if there are cases to be dealt with. Even during the week that I was there there were a couple of incidents. One of them was members of one of the armed groups. They tried to come into the premises of the hospital armed with grenades, Kalashnikovs and it seemed pretty clear what their intentions were. They were looking for somebody of an opposing armed group that was being treated within the hospital facilities. The consequences for civilian population particularly women and children are particularly difficult. A woman needing special support and assistance while giving birth when she's no longer able to access her local midwife. Health posts and hospitals have been looted for basic medication and painkillers and so having to do surgery sometimes or having to suffer incredible pains without getting any support of medication or kids no longer able to get vaccines because the vaccine team is no longer operating in their rural area or because the cold chain for the vaccines is being disrupted. We don't have a fridge anymore. It's been stolen. So it gets down to very basic things which we sometimes just take for granted. So what do you do to address that? So on the one hand we of course have to do more targeted communication efforts, raising awareness with the armed groups. I was surprised to see that one of the armed groups that I spoke to was interested in learning about basic humanitarian principles and to discuss about this where we hope to engage with the National Red Cross Society that has a group of volunteers that have a theatre group to re-enact certain situations of where civilians prevent healthcare from actually being delivered. I think it's also very important in reaching out to the civilian population and the armed groups. So I think it was just a good example of how ICRC can bring together opposing communities and make sure that they also are enabled to access healthcare through our support.


Hello, this is Evan with Protected Trust. During this video, I will show you how easy it is to share your calendar with someone on your computer through Outlook. Once you have Outlook open, you will find the calendar icon on the bottom left of your screen. Click the icon to open your calendar. After the calendar is open, you should be in the Home tab of the page and a ribbon will be across the entire top of your screen. If you do not see this ribbon, it is most likely because it has collapsed. If you see an arrow at the top right that points down, select that and it should open the ribbon for you. From here you will see Shared Calendar. Click it and select the calendar you would like to share. A dialog box will appear and if you are not already under the Permissions tab, select the Permissions tab. Then you are going to click Add. You will see a list of your contacts. You can scroll through that list and select the user or you can search for the user. Once you find the user that you would like to share your calendar with, you can either double click or select and click Add. Then click OK. You will see that you can provide different permissions for the user, so they have different types of access to your calendar. Once you have decided what permission you would like to give to that user, select Apply and then click OK. You have now shared your calendar with Set Permission Level to your desired user. And as always, if you have any trouble trying to share your calendar or have any other issues, please reach out to the Protected Trust Support Team at support at protectedtrust.com.


So now we have a love story Lost to Sea, but how was the film? Let's find out. My name is Brandon Keith-Avery and this is just my opinion. Hey everyone, thank you so much for tuning in to my opinion slash review for Adrift. I really do appreciate it. So Adrift is based on a true story and like I said in my intro, it is basically a love story that is Lost to Sea. The film takes place in the 80s, I don't remember it specifying exactly what year, but I want to say either 1984 or 1988. It stars Shane Lee, Woodley, I'm pretty sure you guys know her. She was the main actor and fought in our stars, which was like a teen romantic comedy or I don't want to say a romantic comedy but a romantic drama and she was also in the Divergent series. I thought she did a great job in that series, but I just wasn't a fan of the material myself, not that anything is wrong with it. It just wasn't for me those young adult novels. It also stars Sam Claflin, who initially I wasn't too familiar with when I saw him on screen, but when I looked up this filmographer, he's been in a lot of films that I'm familiar with like The Hunger Games, like the Pirates of the Caribbean movies and the Snow White and the Huntsman movies that came out just a couple of years ago. This film is being directed by Balthasar Carmacher and that's a very hard name to pronounce. Only other films that he has directed that I'm really familiar with is Two Guns, which came out in 2013 with Marky Mark, Mark Wahlberg and Denzel Washington. I'm a big fan of Marky Mark and especially Denzel Washington and I'm really looking forward to the Equalizer 2 that comes out later on this year. Like I said, this is based on a true story and it's just about a free-spirited couple and what I mean by free-spirited is they really just don't care, they don't care about bending to society and bending to the rules and just kind of following the so-called schedule of life that a lot of people come to, you know, go to school, you graduate, you get married, you get a corporate nine to five job, no, no, no, no. These two are just not like that. They're just going to just do whatever they want to do, you know, whether it's traveling the world for the rest of their lives or just, you know, living in a hut or whatever.  Not only do we get to know her at sea, of course, in the time of tragedy, but we do get some events in her early life. I believe she was 24 or 25 at the time. So we do get some brief moments of her early life.  As far as the love story part portion of the film, it was believable for the most part. I really do feel like this couple was in love even though it was short-lived. Sometimes there's just a spark between people and there's just a chemistry that can't be broken and I'm fond of that and that was very apparent in this movie and that's just another way that I was just able to attach myself to the characters. An interesting thing technically about this film is 90% of it was filmed at sea. There is a little bit unconventional, you know, in Hollywood, and this is, I believe, a $35 million production budget, you know, in the Hollywood, you know, they just, they normally, well, they try to shoot on the stage when they, when possible, you know, with, and there's just, I'm thinking about Black Panther right now, you know, because there was a lot of water scenes and though they weren't in a lake or a river, you know, they just had a pond or something in the studio on set and with a bunch of blue background and I imagine that that can only go so far and if you really want the image to captivate the audience and really sink them in, maybe the best way is to shoot at sea. So majority of the film was shot at sea. It was kind of funny because it was started 4 a.m. and it was a two and a half hour boat ride from the mainland out to where they was trying to shoot, why they had to go out an hour and a half, I mean, two hours and a half, they couldn't go out 30 minutes, 45 minutes, an hour and a half, I don't know, but I found that quite interesting, but a daily shoot could last up to 12 hours and there was reports that everybody on the film crew, except for the director and the cinematographer, so I'm assuming the entire cast too, just kept getting seasick and we're just throwing up overboard, overboard and you know, I don't know if it was worth it. It would really suck if this movie didn't make any money. This review is late, so, you know, you can check out my box office report that I'm going to be doing after this to see if this could be worth it. But I just kind of found that interesting. Also, the role of Sam Claflin was going to be taken over by Miles Teller, but he decided to drop out. But but enough with the technical things. Not like I'm saying it's interesting, but so you really got to know Shailene's Woolies character and let me go ahead and pay respect to the actress's name that actually did survive in this tragedy. Her name is Tammy Oldman and Sam Claflin's character that he's playing as Richard Sharp. These are real life people. And I don't want to spoil anything for you, even though this is based on true story and you can just look it up because I didn't necessarily know the outcome when I saw it. So I won't spoil anything there. But I did. I it was nice to really get to know Shailene Woolies character as she was playing Tammy. I really did believe the love story that these two people had to go through. I'm not saying that this is this is like a notebook love story like that. Good. Like, oh, my God, I wish I've been loved like these two. No, it wasn't anything like that. I just, you know, I believed it. It didn't come across as corny. The acting by Shailene Woodley in this film was fantastic. There was times to where she was really delirious and hallucinating out there trying to survive scavenging for food, just not knowing if she was to survive or not. And it was very convincing. She really did look terrified in some moments like she was just losing her mind and freaking out. I mean, just imagine that you're like lost at sea with no land in sight. You have no food, no communications. You're going to lose your S H I T a number of times. And I did believe that. So that was good. There one of the more other impressive things about the film was the transition of time going back and forth in between timelines. And what I mean is they had the present day of showing or present day in the past, you know, of the film of showing Sam Shailene Woodley's character trying to survive and make do and just do whatever she can to find the boat. I mean, find things that supplies around the boat to survive. But it also jumps back in time. To tell everything that led up to the accident that led into the hurricane because the crash, the crash, the boat capsized, capsized and, you know, that's where they lost everything for the most part and were trying to survive. And it was done by a hurricane and it was one of the most dangerous or deadly hurricanes and recorded history. So that's that. And I said, that's that. Like in this time, you know, so they the film were transitioned back and forth from the present day into events that led up to the hurricane. And so, you know, them jumping back and forth like that could be joined. But I thought it was a smooth transition for the most part. And every time they came back to the present day, to we could see how Shailene Woodley's character was progressing. She was like age older and older. She was, I want to say, only out there. She was out at sea for about forty one or forty four days, which is it seems like an eternity. But every time they cut back to her hair would be longer.  And I just kind of thought that was an interesting touch just to kind of really show the severity of her situation and just how stressful, you know, her entire environment was and everything that she was going through. So good job there. Another great thing about this film was there was a lot of long camera shots that did not break underwater as well. It was done with nice clarity. You could understand what was going on when the camera was above water. It wouldn't break going underwater and just kind of showing how they were surviving and things like that, especially during the hurricane. So that was great. A lot of long, wide and sweeping shots around the boat just to kind of give you the scope of the environment and just kind of like, you know, like, really, they are really just lost to sea. So I really do like that. I talked about the hallucinating as well and you just have a strong respect for Shailene's witness character, Tammy Oman, who is still alive today that they had to go through all this. She was the saving. She saved the day. Something that I just was not fond of is the film came in at around an hour and 36 minutes. You know, that's not a long time. That's something 96 minutes. But at the same time, there were a few moments where the film did drag a little bit and I did lose interest. I'm just kind of saying to myself, OK, is this really necessary to show like every day of her being out there? I mean, I'm exaggerating a little bit.  But there were just some times where I kind of wanted them to pick it up just a little bit and my interest did kind of fade away just a bit. But overall, guys, I thought it was a great film. I did enjoy it. I want to go see this with my mother. She enjoyed it too. At the very end of the film, they did have some real life shots of the character, Tammy Oman or whatever. And I just got to say, hey, respect to you, my sister, because I don't know if I would have been able to do what you did.  Again, I'm not going to spoil the ending. You're just going to have to see it for yourself if you do not know the story. If I had to rate a drift out of one out of 10, I would give this movie a seven point five out of 10. Yes, a seven point five out of 10. But guys, that is just my opinion for a drift. What did you think?  Did you hate it? Did I turn you on? Did I turn you off? Do you agree with me or do you disagree with me? Let me know down in the comment section below. Let's get this conversation going and keep it flowing. If you like this video, go ahead and give me a thumbs up. And if you don't, that's fine. But you can still subscribe to my channel. You can also go check me out on social media, Facebook, Instagram and Twitter. All that good stuff is right there at the bottom of the screen. And I made it very easy by providing a link to all that good stuff down in the description box below. But guys, I just want to thank you again for tuning in to my opinion slides review for a drift. And before you go, don't forget that my name is Brandon Cuthaver and that's just my opinion. Peace.


Hi there, I'm Sandy Aldock, artist and paper crafter here on YouTube and I'm going to color a horse in a barn with Polychromos pencils and I'll make a scene out of it and turn it into an easel guard so it'll be speed coloring. I'm using Technique Tuesday's horse stamp set that has a cat in it. It also has stamps for year-round sentiments. Lots of different ones, lots which are rather funny. Why be in a unicorn when you can be a horse? And here are some of the supplies that I'll be using and that ink on three is a new to me stamp pad and it is a no-line stamp pad so it does a very light gray line as you can see and it seems to hold detail really well but of course this is my very first testing of it so I can't guarantee it for anything so I will eventually, once I test it with a bunch of mediums and that sort of thing, I will probably give you a heads up on what I think of several of the inks that I purchased from them and let you know so stay tuned for that later on. The paper that I'm using is actually, believe it or not, Arches Hot Press watercolor paper. I've had this pad sitting around for ages. I'm not a big fan of the Hot Press paper but I couldn't figure out what to do with it so guess what? I'm using it for color pencil. It seems to have a texture very similar to the Stonehenge which I like so much. If you're in the color pencil jump start class, you'll know how much I rave about that and I do love it. The color is about the same. It's a little more cream than the Stonehenge but it's quite nice and the texture is about the same. It's got a really fine texture so you don't end up with large white areas. I don't have the colors on the screen and I'm trying to figure out whether or not to try to do that with my color pencil videos or not. Sometimes I do, sometimes I don't because color pencil I go back and forth with so much it becomes extremely time consuming to do that with color pencil videos. With Copic it seems to be easier to do and easier for my brain to track as well because I can look at what a marker is doing and know what color it is. It's much harder especially when I'm using several brands of pencil to keep track of them all but I am going to try to do what I did this time which was swatch out the colors after I was done and kind of guess at which browns were used for which parts of the drawing and I will have that on the blog so if you really need to see the colors you can find them but I do recommend that you figure out how to use your own pencils and not always rely on the teacher. Lots of the watercolor classes that I take the students come in and drive the teachers nuts by saying what color did you use? What color did you use? What color did you use? And they get as frustrated as I do because as a professional artist I know that there's no way that someone else even if they're using the exact same colors can replicate exactly what I've done and I can't replicate what the teacher has done so I just look to get a little bit close if I use colors they do great if I don't that's great and I learn by doing. If you're always trying to copy someone else you're going to never develop that confidence in yourself so I want you to have that confidence to just choose your colors. Here I used a brown with some yellow content in it for the undercoat and then I'm using more of a chocolate brown above it for some shading and I'm using baby oil and a blending stump to blend the two together and then I'm going to go over it again with the more chocolate brown kind of color and a little bit of black as well to start adding that depth so intensifying that color as we learned in the color pencil jump start class. I'm going to just keep adding a little bit more definition you can pull up pictures of horses on Google and look for where the muscles are because they're not indicated on a horse like this but what I was trying to do was look for where some of those body parts are and to try to put shadows behind things so I pull one muscle out in front of another so for instance on this front leg I put shadows behind the leg and on the chest on the other side so that that leg starts to pull out forward from the horse's body and then put a shadow behind the hindquarters and before it gets to the leg so that that back leg recedes back and the horse's body starts to pull forward from the back leg that sort of thing I'm not actually looking at any horse pictures I recommend you might want to do that because I have probably have the structure of a horse all wrong but I was trying to just have fun coloring and not get all stressed out about trying to find every single horse muscle because I'm not a horse expert by any means but I thought it would be fun to at least try a horse because I haven't done one in forever because nobody makes any horse stamps I guess so I'm gonna use a little bit of the blending solution again on the gray because the gray is actually going to be a black mane and tail so I will start going in with the black now to start adding more contrast the lighting for this is coming from outside and the outside is off to the right and you'll see when I get the scene in there that it's we're standing inside the barn with the horse and the cat and the light is coming through the barn door this was based on one that I did coloring I did of this image when I was at my stamp group recently and I was playing around with it using Copics but it was really intensive work with Copic markers so I didn't feel like doing that again so I will have a picture of that one over on my blog so you can at least see what the Copic version looked like and how I'm simplifying it for colored pencil because color pencil to color that much would take forever the video as it is would have been an hour and a half long if I had had it in real time so that is why I don't have colored pencil videos in real time they do end up sped up to create the scene I'm just really doing a box for the door so a vertical and then horizontal for the top of the door and then I'm going to use a different brown this brown is a little less saturated so find one that's a little more of a grayish brown just so that the horse doesn't blend completely into it and then I'm coloring from the the door side from the door edge and then I want to bleed it off the side so I'm just trying to get my inside color on that inside section fairly contrasty and then when I get to the outside of the horse is when it's going to have to start bleeding off because the the Copic one covered the entire sheet of paper and that's much easier to do with Copic markers a lot of people wonder why I choose to use pencil for one thing and Copic for another or watercolor for another some of it is just I feel like working in one medium or another and other times there's just there's all different kinds of reasons if I wanted a full background on this I would never do this in colored pencil it would take probably four or five hours to do this whole thing there are some techniques in that the jumpstart class that might help with that but you'll have to take the class to find those out but I'm just using pencil itself a really really light pencil to create this vignette around like the backside of the horse so it just starts to slowly slowly bleed off the page into white and instead of trying to make it all filled in solid because that's just so hard I'm creating a little bit of light coming in from the outside so I have that angle underneath like where the horse is should be on about the same angle as the shadows and things and then I even created a little shadow under you can see very very lightly under the cat's butt so that creates a rectangle of light coming in from outside put a little grass out there in the field and then I'm going to use a couple of colors kind of rainbow colors to make a little bit of a sunset out in the distance that's casting all of this light into our little little barn seam and it's going from yellow to an orange to a red violet and then it'll go into violet and then into blue as it goes all the way up but I'm using as you can see a super light touch because I don't want this color back here to contrast too much and take away from the horse the horse is the important thing here and I just want a suggestion of a background image I don't really want to have much more than that I just want to keep it very very light so that I have a little bit of color here and just something faint off in the distance and be able to to have people's imagination fill in the blanks there so scribble that in and if you have trouble getting the blending on the outside edge you could just carry that off to one edge or what I'm doing is using a dry blending stump to blend some of that color together you can also use your needed eraser in context along with it if you need to adding little trees right along here so that I can have a tree line out in the distance and then I wanted to increase the the line that is around the door because that's where the light's hitting it so I used a stick eraser to do that and then I drew a fence with a very sharp pencil so there is the finished artwork and now the trouble of putting it on a card like what are you going to do with something after you spent that much time with it well I'm going to do an easel card because I haven't done one in ages so five and a half and then two and three quarters is where I put my score lines and so the way you need to fold it is to have it so it folds in half and then has one end that lifts up and then you're going to put the adhesive on that side and I'm going to use score tape because I always do I've cut the card base so it's thinner than my my dies that I used for cutting that black layer and the the picture layer and then on the inside I added another panel of the cream paper so I use the same watercolor paper and then I've cut out a little little thing so I can put my sentiment on it and then I wrote just up on the top instructions on how to stand up an easel card so that the recipient knows that's what they're supposed to do because this is like this cool little card that kind of needs to be standing up on an easel because I spent so much time on it I wanted to be standing up and looking beautiful so an easel card really helps to give it that extra little something something so thank you for spending a few minutes with me if you're interested in the jump start class it's linked on screen as well as in the description down below supplies are below as well as on my blog and I'll see you guys next time


Now how many hours of your life have you wasted driving round and round in circles trying to find somewhere to park your car? Well, thanks to a new connectivity product developed by ST those days may be over. Daniel Deryl has joined me to explain a bit more. Daniel? Yeah, good morning. Definitely, we want to make sure that you will not waste so many times to look for this parking lot.  ST will provide you the right application and the right services in order to make sure to be able to book this parking lot even before leaving your house and making sure that it will still be available when you arrive at your parking lot. Okay, how does it work then? Okay, it's quite simple actually. There is an application which is on the cloud available for you which display all the parking lot available or not actually and you know exactly where you stand and how you will be able to handle it and basically you will be able to see the status of each car and if your car is moving on the lot will become green instead of red and basically this application will give you the status almost immediately according to the fact that you book or not the lot and this is going to be done automatically for you. Okay, so if that car leaves there now, what happens? So if this car is leaving now, so this car will get out of the parking lot there will be, you can see this antenna which of course just for the demo will send some data on the air that the parking lot is available and then the lot is green because now it's available. Okay, what if somebody parks there then? Let's say this small one coming in and just park here again some data will be sent on the cloud and the status will be upgraded accordingly in order to show that the parking lot has been booked successfully for this car. And I'm guessing that the technology has to be you know very long-term and robust. For sure all of this technology will be included in the pavement of the parking lot so you have to imagine a very huge parking lot of 10,000 lots and you have to make sure that all those lots can be equipped by the dedicated devices that will be allowed to send some data to the network. So this is the S2 LP, S2 low-power transceiver which has been put on the market by ST. In order to send the data to the network in a very secure way and you don't want to be to have a look to this pavement every two days for sure. You want to leave it for ten years and forget it. So you need to make sure that it will only send data at a very low cost in terms of energy with a very small battery and that's over and you forget it for ten years. I'm just trying to calculate in my mind how many millions of hours around the world this could save. For sure you're right definitely. Thank you very much for your time. Thank you.


I can guarantee you that this meal in my crock pot is better than a lot of people's Thanksgiving meals because I've had some really bad Thanksgiving meals and of course this is not as good as my homemade chicken and dressing that y'all will see but it sure is good on a Wednesday night in August. Hey y'all it's Tammy with Connor Valley Cooks. Me and Amy were in the grocery store a while ago. We've seen a turkey breast on sale so I'm going to show y'all how to throw together. This of course is not Thanksgiving dinner. This is a quick dinner for a meal at home just a regular night. We're going to cut up an onion real quick. Amy will you hand me the celery on a fridge real quick? Celery. Got to help her today. Thank you Amy. All right I'm going to slice up this onion real quick. On top of my dressing you can kind of mix it up a little bit if you want to. Now we're going to take some celery. I love celery. If you don't like celery put it in there anyway and chop it really really small you'll never know it. It's good enough because we're in a hurry. We want to get this in the crock pot and get started so we can eat a few hours because I've been out all day. Now we're going to take our turkey out of the package. I'm going to show it to you but I'm going to run it over to the kitchen and I don't have time to show you that part. I'm just going to show. Here's the turkey of all time to show y'all. I'm going to take it over to the sink.  Okay so I'll be right back. All right we're going to take the. They've got this on there so you could cook it in the oven but we're not doing that because I'm going to slice it thin so it can get done quick. So I got to take this off of it. Got a little pop up thermometer in it and everything. This thing was expensive. It wasn't cheap I'm guarantee you that. I don't think I'm going to use all of it in our in our supper because I think I'm going to roast a little bit of it in my rotisserie for sandwiches. So and I think I'll leave that pretty fat on there for that part. I think we're just going to use this end part and then I'll save this for sandwiches later. Okay so let's take the fat off because we're not putting that in our crock pot. We're going to slice this pretty thin. I can't slice that real thing because it's not frozen or nothing. We're going to lay that in our crock pot. Got me some good potatoes. Thanks a lord. Beautiful rubbery. They're not old. They're not wrinkly. They're nice and crisp.  Poultry seasoning. Not plain sage but poultry seasoning. So I'm going to sprinkle some in there. Using bouillon and cream of chicken. I really don't think we're going to need salt. So I'm going to put a little pepper in it. Now we're going to take our cream of chicken and we're going to pour it on top. Come out so I get done. And turkey. It's got plenty of juice in it now but that juice is going to soak up in that bread. So watch me. I'll cook with my hands y'all. Your green beans juicing all into the corner. Just like that.  Look how pretty that is. Lord y'all about forgot one of the a very good ingredient. What do you make? You always have to put a little what oil or butter or something in it. I happen to have some at room temperature because I make so many sweets. So I'm going to put some in here. Let's put some on our green beans. Normally I put oil on those but today's going to be special. A chalk thing on the side so you can write on it. If you're taking it somewhere you can put your name on it or you could put the name of the recipe that you're making on the side of it. It's really cool. So anyway come back and check on it in about an hour and a half and see if I need to add water. Well I want you to see our wonderful turkey dinner and I made this pie. I'll show it to you in a different video but we're going to plate our turkey dinner and we're going to open up some creamberry sauce right away. So I'm just going to cut this up for us so you guys know that we're having type of a meal. We've got potatoes. A layer of potatoes. We've got green beans. Put those on the plate. I gotta reach down in there and try to find me some. There's some turkey. There's one piece of turkey. There's some turkey. I can guarantee you that this meal in my crock pot is better than a lot of people's Thanksgiving meals because I've had some really bad Thanksgiving meals and of course this is not as good as my homemade chicken and dressing but yeah we'll see but it sure is good on a Wednesday night in August with turkeys on sale. Thanks for watching y'all.


It is a very interesting exchange of views or a kind of sounding board of international ideas, concepts and consensus building place. Intellectuals from all over the world are talking about the very timely issues. It covers Asia, Africa, America and also very much of the politics, economy, technology. This is a really wonderful place to know about what's happening in the world and what the views of the experts or intelligent people. So I come here to learn a lot and I wish I can contribute a little bit about energy, security, sustainability issues to the group. I talk about energy security and sustainability. I moderated the session of energy and environment. The issue is very urgent because the carbon dioxide trajectory is getting worse and worse relative to the net zero emission. So we have to really take very unconventional measures to bend down the trajectory. So innovation is necessary, government regulation must be modified. Maybe we should set the carbon price. I personally think more that involvement of the women into the sustainability exercise is very important. So action is required by everybody. And I think if the consensus is built here, now the next phase is how to act on this point.


Drug smuggling and illegal immigration has a direct and long-term impact on land management agencies. First, these illegal activities damage the resource. Well, I think one of the more important aspects of Borderlands issue is the impacts to natural resources along the Borderlands area because of illegal immigrant activity. The main big factor is associated fires and what happens is oftentimes at night it's cold so they create these little campfires to keep warm or cook their food and oftentimes if they're near reeds they can get out of control and ultimately burn down sensitive resources. This is especially important because certain areas are near wild and urban interfaces so fires over there can also damage property. Up until last year there's never been any fire to speak of on the Cabeza Prieta or surrounding lands. Last year or I guess it was a year before we had tremendous rains, very abnormal rains. The plants loved it, the wildlife loved it but consequently we got a lot of unusual growth. Well, that's happened you know in years past maybe once every decade or couple decades that happens and there was never a problem. But in the past we didn't have thousands of ignition sources, if you will if you're experienced in fire, thousands of ignition sources moving through the area. And what began to happen is that stuff dried out, the temperatures were also rising, illegals would get into trouble and they knew to start a fire because there would be a response. And so they would start fires, no one search and rescue would come. That year the refuge in Barium Goldwater Gunnery Range lost approximately 90,000 acres and that's unheard of. A lot of resource damage.  You know what, it's a different type of trash, it's not household trash, this is trash, mostly survival stuff, canned food, always the water jugs. It seems like they'll bring a whole bunch of clothes with them and then they'll, as we're close to the road, this is what we'd call a pickup area, they'd probably get cleaned up, we see evidence of soap where they've cleaned up and they probably get a ride from here. So basically everything's left behind, packs, clothing, empty cans, full cans of food, water jugs. It reminds me of pictures you see of hurricanes. Sometimes you go into an area and that's what it looks like, photos you see in a magazine of a hurricane. A couple days ago if you were here you would not believe it, you just can't comprehend the amount of trash. These trash collections from a resource standpoint we see a number of different impacts and probably at the lowest grade is just the aesthetic impact, it's not a pretty thing. This is actually a fairly small site, we have others that have stretched to the size of acres, but it's aesthetically just very displeasing. We do have concerns about wildlife getting into the trash and possibly ingesting it. We're convinced we have some information to show that some wildlife species have learned now to key in on these trash piles as scavenging sites. Then there's the level of impact on our park visitors, again there's a lot of potential health issues in trash piles like this. Human waste, drug paraphernalia, actual drugs, who knows what in these piles. There are other impacts associated with these big campsites and they're just their direct physical impacts on the ground and on plants and occasionally animals. At these layup sites very often in order to make either a structure for shade or to hide themselves from being detected from above or from other people on the ground, migrants and smugglers will break off or cut off the lower branches from these trees and build a shelter under another tree as a shade structure. There's an impact on a number of levels, it impacts the trees themselves. Here in the low Sonoran Desert, the habitat under all these desert trees, the Palo Verde tree, the Ironwood tree, is extremely important as a shelter site for new plants to come up. The Swarov Cactus is very highly dependent on that shelter site under the trees. A lot of small rodents, birds and reptiles seek shelter shade and higher moisture levels under the trees. Those areas get opened up, that micro habitat is lost. And then we've got a whole list of endangered species in this part of the country down here. We've got everything from bats and fish and to all kinds of plants and so forth. And of course a lot of those are associated with riparian areas where we've got water and the illegal immigrants and smugglers are always looking for water and water sources and so you get a tremendous conflict between the threatened endangered species and the use by illegal immigrants and smugglers. All the way as far as the Wachukas go to the east, as far as they go to the west, there's probably a travel trail that an illegal group have followed probably every half mile or less. And that comes from the pressure of apprehension they start creating these trails. And the board of patrol finds the trail so they just move a mile, half a mile over and they start all over again. Besides foot traffic, the motor transportation of illegals making them to up north is vehicle traffic. Wherever the way they can get from Mexico up to Tucson or up to a major highway, whether it's off-roading or on back roads, for one of the reasons the vehicle will break down, get stuck and they just leave it there. Recently we just recovered 11 vehicles just in probably half of the refuge. They're just not on a road. You've got to find a vehicle to go out and grab it, which causes more resource damage running over cacti, grasslands and then you have another illegal trail that you have to worry about maintaining. I get to see over 400 miles of entrenched illegally created roads, not tracks, but I mean entrenched roads that aren't going to heal for decades, some for hundreds of years. Foot trails, you take it all together, probably about 1200 miles of illegal roads and foot trails in the area. Drug smuggling and illegal immigration also interfere with employees' ability to carry out their agency's mission. The border issues impact every program we have on the refuge, whether it's public use, biological, safety of visitors, safety of employees, everything we do is impacted by issues caused by the proximity of the international border. Working on the border these days now encompasses the immigration issues as well as managing for wildlife refuge. A large percentage of our time is taken up dealing with a lot of these border issues. We are dealing with the trash issue and picking up, cleaning up trash, safety issues for our staff and managing and setting policy for our staff to make sure they're safe out there in the field. There's working in partnering with Border Patrol because of their increased activity out here. It really has changed the way we do things out here on this refuge. There's a big shift in how we do our work, especially out in the field.  In most cases, today the shift has gone to more being concerned about where I'm going. I have to know the issues out there, are there border issues, is illegal activities going on. It slows down my process because what I do now and it's part of our policy, I don't go out by myself, so I have to arrange for someone to go with me. And so my planning doesn't go as fast as it used to. Basically we are told to avoid an entire stretch of area, what's called the limitrofe. So we don't do any work down there, we don't do any restoration or anything like that. In the past we have evaluated those areas and there are good areas to do restoration work but as far as employee safety, we just tend to avoid that area. It's unfortunate too because in that area it also happens to be one of the best habitat for wildlife we have. The resources there are pretty important to us and it's a shame that we can't go down there to improve it or even to protect it too.  We have backcountry roads that are closed to the public and that's a result of most of those roads and access areas being right along the border and the potential for the visitors to get in the middle of a situation. And it's very difficult, we can't mandate that visitors are in a buddy system or be monitored or that kind of thing so we've closed areas that we just cannot maintain the safety of the visitors in those areas. We almost don't do the good host program per se. We're very, very careful about that and you've got to be pretty thoroughly convinced that it's a very mundane situation before you'll do that. We may stop, roll the window down part way and ask somebody if they need assistance and in a lot of situations you might pull over your vehicle, get out of your vehicle and go talk to somebody to see if they really need assistance but we're pretty darn careful because there's a real likelihood that you would run into a difficult situation or if there's one person there sitting beside the road there could be 20 other people back in the bushes and you don't know it and all they wanted you to do was to stop so that they could steal your vehicle or some other kind of a thing. So we try to be as good a host as we can be but we're very, very careful about how good a host we are. Throughout my career in the Forest Service one of the hardest things I've had to do is get away from the principles that I've taught as a young forester, stopping and helping people. Our fire people don't stop and offer assistance to anyone. I mean you can't even tell if it's mom and pop it may be mom and pop but they may be hauling a load of drugs or they may be running point on a load of drugs. So it's become very different for us here because we can't be the friendly Forest Service firefighters that go in and talk to people all the time. Finally, illegal immigrants and drug smugglers cause damage by breaking into buildings and stealing vehicles. To this point most of our break-in problems and and thefts have involved residences of the employees or vehicles that are used by employees or researchers. I personally have had my refuge residence broken into nine times. The most frightening situation was when I had been here at 4 p.m. and I put my dogs in the house. I had two shelters at the time and went back to work for an hour, came back at five and everything looked fine and I unlocked my locks, walked in, my two shelters were in the kitchen and I called out hi babies and at the sound of my voice a man jumped out of my bedroom right in front of me.  When we got outside he went like this meaning a gesture of no harm and he left his backpack in his water and disappeared over the hill. Coming to work in the wintertime you get here in the dark. I'm the first person to the office. I'm nervous. How often does that happen? How often do you get out of your car and spend a few minutes looking around making sure you don't see somebody in your office looking for broken windows? That's odd I think. I can't recall doing that in previous jobs. There were a couple of attempts at stealing vehicles. We've had one government vehicle stolen here in the last year. We've had attempts where they attempted to steal a number of our vehicles. It's been where the vehicle's been parked out on a road where they're doing resource monitoring and they may only be an eighth of a mile from the vehicle or it's been actually where our vehicles are stored behind locked gates where they've tried to break through the gates and steal the vehicles. We're in the process now of welding steel bars to cover the windows of all the windows of the visitor's center and our administration building across the way and we already have in place at the administration building we have steel doors, entry doors and in the same doorway we also have security screen doors which have steel bars on them. Prior to that project a very recent one was to build a chain link fence around my house eight feet high with coiled razor wire on top and to build one around the fire crew living quarters. And the residences and the visitor's center and administration building all have alarms. So we're trying to cover all the possibilities, the possible ways that the fences or the windows or the openings to the buildings could be breached.


Now, Degun Central's Senator or candidate of the African Democratic Congress, Ibu Koon Ulujobi has dumped his ambition to join the People's Democratic Party in the state. Ulujobi stated this while addressing Nisbon with his team in the Belkutah State Capitol. He explained that his reason for defection was because the party has been hijacked. I, Honorable Ibu Koon Ulujobi, alongside the state party secretary, Mr. Kenji Salako, the state woman leader, Mrs. Folasha Diakwale, and the following local government chairman of our former party, ADC. Hereby, the class supports and endorses the BDP presidential candidate, His Excellency Atiku Abubaka, and the PDP, the Gobernatorial candidate in Obustete, Honorable Oladikwipo Adebutu, and other PDP candidates. Our reasons were because our party has been hijacked by people who are not in our party, in business collaboration with the state chairman of the ADC. We therefore believe that the party of the people is PDP, and the candidate of PDP, all the candidates of PDP will eventually emerge in the coming election, because we know we are the winning party.