At Mr. Samuel French. On Monday, because of identity week, we're switching from Mr. Samuel French to just Samuel French and LIC. One final thing, especially for you guys in the front, if you want to do live tweeting you should use the Wi-Fi. So get your phones out if you want to do it. It's BT2 is the network and Vineyard All Lowercase is the password. And with that, I don't think I have anything else to say because you guys want to hear them speak. Christian Parker is our wonderful moderator. He's the chair of the MFA Theater Program at Columbia. He's a director, a dramaturg, and we actually work at the Atlantic Theater Company together, so we're thrilled to be back with him. So I'm going to hand it over to you guys. Thank you so much for being here and have a blast. Thank you, Courtney. I'm really happy to be here today moderating this panel. I do a lot of things like this, and I have to say I was kind of especially daunted by the range of accomplishments of this group of people, most of whom I had not met before but have admired for a long time. And I think I was actually, as I was walking over here, I was trying to tally it up and I thought, oh, yeah, no, actually I have taught all of your work, or in fact with Ann. I have taught with Ann, but I have taught all of your work in some way in my classes, not to mention having admired it for so long. It's really amazing for me to also be able to talk to all of you today. Obviously, the theme of this week is called Identity Week, and this panel, when presented to me, when Courtney and Ryan came to me and asked me to moderate, they said, well, this is a pioneer panel. These are all pioneers in the field, and so that's sort of the unifying idea of this particular evening. And I thought, well, what an interesting moniker to be saddled with as an artist, actually, because I'm not sure what, my first question, I think, to the panel and to myself when I heard that, would be, what does it mean to be saddled with a moniker pioneer?  What does that mean to you, that term? Any of you have something spring to mind? Larry, you're the biggest pioneer. Come on, I don't think so. I don't think that way. What are you writing about? What's meaningful to you? How do you get it out there, day at a time? It's all hard, and I think, I don't know, I never thought of myself as a pioneer.  So that's what happens when you get old and you look back and you say, okay, what did you accomplish? You know, I met you tonight for the first time and I've admired you for so many years, but your reputation is being ornery. And I think that maybe you are a pioneer of the ornery. I think everybody says, you know, you bristle at everything. I'm angry, I don't know about ornery. I think anger is a very healthy emotion. It's never taught that way, but I think it's a very valuable emotion to have, to nurture and to learn how to express. And fortunately, we all have here have the ability to take words and pictures and images and channel our whatever, my case, anger into actuality. Something other people cross. That's sort of why I raised the question. I don't think we think of ourselves as pioneers. I think Larry was right when he says, you write what you write and you do what you do day by day and you put it out there the best you can. And that's what I have to say. You know, I was on a panel once with Molly Smith and Tina, not Tina how, Tina, Shakespeare and Company. Tina Packer. And I realized that all three of us had actually come to the front door through the back door. In other words, Tina Packer had been working with the RSC, but it was a boys club. So she went to Western Massachusetts and started a very successful company. Molly studied in D.C. directing and then went to Juneau, Alaska where there was no theater and walked the streets and said who wants to start a theater and created a fantastic theater company that was actually about Alaskans. My own way was that I couldn't possibly see a way into the field through the front door. In my mind it was like the corporate ladder for boys. And so I also went through the back door and made theater on the streets and in shop windows and it was the, we would call that back door downtown. And in a way, all three of us on that particular panel I was on have good lives doing things that we actually believe in in the theater because we didn't go the front way. And that seems a little bit pioneering. Like what is a pioneer? Somebody goes across the country and there's a lot of bears and lions and things like that. It is dangerous. Maybe that's helpful. Quite often the front door is not available to many of us.  We're just going to actually do what we need to do and that's not usually accepted right away. One of the things I think is crucial is a lot of times people saying no to you, people saying no to you culturally or racially or identity wise puts you on a journey where you say yes to yourself and saying yes to yourself is the work you create. So you get all these nos, you get personal nos, you get structural nos, you get institutional nos. Just a lot of people tell you no and you can either let those nos define you or you can figure out another way to empower yourself. And I think telling stories or telling your stories is how you empower yourself which is another way of saying through the back door. It's like, you know, come. I didn't write a play for one year after Clive Barnes and the New York Times panned my first play and closed on opening night. He had that much power over me and it took me a long time to get over it. What a waste of a year. But you gave him that power. You gave him that power. We all give people the power and if we get over it and we go, to hell with that, that's boring. I've suffered enough. I've suffered enough. And then when you reclaim your power, that's when you tell your stories and you did. But George, I remember the first time I ever met you was at the public and you were doing the Colored Museum. And I remember having a conversation with you. I don't know if you remember it. And it was something about anger too. Anger is my most evolved emotion. But it was something about you slid in. But I don't remember what were the circumstances because something was happening then. I have no idea.  So there was a whole structure that said no. And I went to this black grade school where I was empowered and told that I was magical and smart and amazing. So on one level, as everybody was there. So on one level, people were telling me I'm magical and then there are these structures that tell me no. And somehow the tension between those two things, I think, helps to create, it's why you create the stories, I think. I don't know. Joy, we were talking earlier just a little bit about how your job differs a little bit from all these guys. And one of the things that you have to tackle relative to this question about pioneering and what that could possibly mean to an individual is that you are responsible for not only preserving the integrity of the estate of someone who has been labeled a pioneer, but also curating how that body of work is actually received and contextualized and defined and redefined in the world now for somebody whose point of view on her own work differs often from the way that people tend to define it. Can you talk a little bit about sort of your role in that? Yeah, I'll try to harness it a little bit. I can talk to a lot of those pieces. Yeah, so I'm the literary executor of the estate of Lorraine Hansberry. And I have to say a little bit about how I came to have that job. My father, Robert Nemeroff, was married to Lorraine Hansberry and was named her literary executor when she died. And so he married my mother when I was a child and I came to live in Lorraine's home in Croadland Hudson, New York. And it was a house that was filled with her spirit and her work and her file cabinets and everything that she was working on. But mostly it was filled with her spirit. And I remember she was my muse. She still is. And I was very deeply influenced by her. I am very deeply influenced by her visitation on me. But I was also deeply influenced by my father who was a master curator. And I had all kinds of skills as a kid. I have all kinds of skills as an adult. But I wanted to do what he does. Never thinking, never choosing to do it. It sort of happened to me. That's another story, how I came to do what I'm doing now. But anyway, taking on that responsibility was and is an act of love and commitment. And so it's also an act of stewardship and protecting in a maternal, in a female sense. So, to me, it's something that I think about all the time as something that you have to be very careful of how you go about doing that and the responsibility. But I wanted to come back to something that Jackie said before because I think, especially with Lorraine, Lorraine's thought of, she's not usually thought of as a pioneer, but she's thought of as kind of a matriarch. She's the mother. So, that's always been very strange to me. It's very strange and awkward for me because to me she's sort of like the eternal kid. She was youthful. She'll always be youthful.  And that's how I think of her. And I think that's really what her plays are about. But part of what we were talking about, which is something I talk about all the time with people, is the stories that I love to tell that I find that are most fascinating about Lorraine's relationship to this albatross around her neck, which is a raisin in the sun, which was a play that was sort of an assignment for her. It was the first place that she wrote. It was the first play. You all know what it came to be. But she thought the play was flawed. She thought it was sort of her first try. And she was sort of in this impossible situation where it had all this attention, it had all this claim, it had all this investment, and I don't just mean the financial, I mean the psychological, I mean the psychic, I mean the racial, everything. It had to be all of these things. And she was the first person to get online to critique that, to talk about that, to kind of interrogate it, take it apart. So I think a big part of what I take on because that speaks to me. It speaks to me as an artist. It speaks to me as a culture maker. That there's something very important about that critical role of art and of artists, to interrogate themselves and their work and their aspirations and to see our work as attempts. Not as masterpieces or commodities or products, but as sketches, which is what I love about visual artists. That whole idea of like, I'm gonna paint this today. I'm gonna try it today.  I wonder what happens when you sort of add that energy to I think the context that we are in right now, which is a very angry time to pick up on your idea about your thoughts about anger and what you were saying, and like we're in what I would describe as a very angry moment in our cultural history. And it exists in different pockets of the population in different ways. Let's talk about why the theater isn't really attending to it. Well, and that was my question, which is where does that leave you guys as artists and where does that leave the theater as a possible way to filter, speak to that? What are your thoughts on that, Larry? I don't like most of the things that I see or read about now. I think I'm not talking about white writers. I'm not talking about people of color who seem to be having a good moment to be more front and center than they have been. But I think that everything that most of us are asked to see is what I call small. And there's no Bert Law, the famous comedian who was asked to describe what he thought theater was. And he said, astonish me. And I don't see that. I just see a lot of small plays about people in unhappy situations with their husbands, with their wives, with whatever. And I don't come away with it. Having learned anything I didn't know or challenged in any way. It's a terrible place, the world. You know, where are our Greek tragedy writers? I don't see them and I don't hear them. I go to see the things that people say I'm supposed to see and I've actually stopped that. And they, you know, they win the pollisters or they win the whatever, the Tonys. I don't know what hope the theater has for changing the world the way that maybe it did for the Greeks. I don't know. I think the theater is probably the most important art form right now that possibly exists. And I'll tell you why. Because the subject of the theater and what distinguishes it from any other art form is it always asks the question how are we getting along and how can we get along better. And if you think of any play, and I think the reason why plays are about you and me in our apartment and our problems has to do with the political movement between 1948 and 1952 called the McCarthy era. That's a whole other subject. And I think it's coming out of there. I think there are plays that are actually dealing with bigger subjects. And I think that it's no coincidence that abstract expressionism was born at the same time as the McCarthy era. Like what does that mean? Abstract expressionism means it's abstracted. But I do think there is a movement towards theater that addresses bigger issues. But going back to the issue of how are we getting along, every, I think we see plays in two ways.  So that's great. And so that's about that social system. But there's a whole other play that's going on in the theater at the same time and it's not happening in film. It's happening in the theater where the audience gets it on a bolder part of the brain where you're actually seeing how these people on stage are getting along.  But if I don't care about what they're care about, I don't care about the kid alone. That on a subconscious level or a different place, the audience goes away taking in who these people are on stage and how they're getting along. But not only that, how's the audience getting along? How are the actors getting along with the audience? That every question is about that. You know, when I saw Shuffle Along, I think George is tired of me telling him how much I love Shuffle Along. But one of the reasons was that it dealt with history. It dealt with stories of particular people and their problems and their issues. But also the community on the stage was mind blowing. Like how those people were together made me want to actually live differently with other people I live with. So I think our job is to propose new social systems. So right now we're living in a dark period which is guided by fear and paranoia that's being encouraged by, we won't go there. You know where it's coming from. But the theater's job is to propose alternate social systems that might, that translate the break, and then I'll shut up, I promise, this is a short panel, that translate the breakthroughs in science, in the arts, in technology, and proposes ways that human beings can actually behave vis-a-vis these changes. And that's done by the playwrights who describe systems of being that's different and it's done by companies who actually perform differently.  But I just think it's so important right now. I'll break up on what you just said and what you just said. And right before this began I was talking to Dr. Sange and learned that she had just started a new play for the first time in a really long time. So it's something you're choosing actively to do which is really exciting for the rest of us. But you made a very specific choice to do that at this moment. Yes. Can you talk about that? Yes. I hadn't written a play in a very long time because I decided that I liked working by myself better than working with a lot of people. Hearing all their ideas. When I had an idea of my own that I wanted to do and I didn't want any comments about it.  And so I hadn't written one. And I just finished a new volume of poetry that will be out hopefully next year. And I finished a book of essays and I worked on a choreo poem that's like ready to go into production and I worked on that all last year and I directed it once because it was in it both times. So I was being an actor sound director and I this year when I got ready to write again I started writing with poems because I haven't been able to use my hands for five years. So I was a writer or less writer and when I started able to use my hands again I started writing poems and they just came to me naturally and I was writing these poems and then it occurred to me that in the revamping of a photograph which is a play that is 30 years old that was the first play that I ever tried to write that was severely flawed because I didn't know how to write plays I didn't know how to write poems and so I took a photograph and I revamped it and I rewrote it and in the process of rewriting it my sister, the writer, she taught me this is your only dialogue driven play that you've got and I said really it's the only one and she said yes everything else has poems in it and I said well mother current and she said you didn't write mother current and so this time around after I finished the poem for the new book I was sitting up and I said my god maybe I can think of characters like I do for a novel I can think of it for the stage and I can think of a plot like I think of for the novel and condense it so it'll fit into two hours and maybe I can make them talk in a way that exposes all their flaws and desires and angers and wants and maybe if I can do that I'll have a play that's dialogue driven and so I started trying to do that and I've got two scenes done now and initially I had a play with seven characters and I was told by theater people that nowadays producers only want a play for five actors and they prefer a two character play to a seven actor play so I should be mindful of how many characters I need and couldn't I condense a couple of those characters into one person and all of this so that was another time eating point because in a novel I can have as many characters as I want but I didn't I wrote five because I want it produced still the theater is two character plays and monologues so boring monologues are not boring when there are only two people on the stage and you know there are only two actors in the play and I know no one else is coming on I've lost interest I see what you mean other things that I wonder about to sort of expand on this a little bit in addition to a context of sort of anger I feel like one of the things that's happening in the culture right now is that we have a blurring of the lines between truth and fact and truth and fiction in our daily lives and I think people are confused about what's true and what's real and what they can believe in the media in particular and from politicians in a way that is different from any time that I remember in my life and I wonder if you think that that's true first of all and I wonder if you think that being an artist in the theater which traffics in fiction for the most part or versions of reality does that marginalize the theater further that we're in this moment where now we don't even really know that the theater might reveal certain truths does that resonate? You're getting too highfalutin Well, I mean I'm trying to locate it in why you would choose to do what you do You keep working, all of you Because you care about something I get nervous when I hear this word art and I don't think of myself as an artist I think of myself as a writer I don't know what art is all the things you mentioned about what's wrong with the world and what's true and not true Great plays are written like that about people like that and theater isn't any different than it's been in terms of the themes that are available to them But I think one of the things that makes theater or poetry valuable or visual art valuable is that something that Ann was talking about about the lower parts of the brain because if we can make characters whose reality is so tangible and pronged that it becomes close and dear to the audience then I think we've done our job To me, that's the big major thing I want to do, I want to open a person a character up so much that the audience feels as though they're walking in that person's life or in that person's shoes and that's what's real to me It's also about so much of what so much of what you're talking about is about stripping away people's sense of power and so I think the reason why people create I think that what it's about is creating work that will give people come into the theater and they're coming in with varying degrees of I know who I am or I don't know what I have or I don't know what I'm coding onto or I don't know what I believe and I don't know what's going on and everybody's walking around like that and to me, I think one of the core responsibilities even if it's stripping down a human being is about empowering an audience so it's restoring inside of an audience the sense that they have within them an invincible power to change the world We know that changing the world is a monstrously hard close to impossible thing to do but I think it's deeply crucially important that we all believe that we can and I think that's one of the things that theater can do that the intimacy of the event the intimacy to me what's fascinating is when you are watching a film and it has tremendous power you lean back in your seat when you are watching a play and it has tremendous power you lean forward in your seat because it's proportionally the same size as you and you're looking in to see how you can get these secrets of how these people are succeeding or failing or believing or not believing and that's what I think it's about and that's why you know that's why I agree with you that theater continues to be important I agree with you that a lot of times it's hard to figure out what the stakes are but ultimately I think the core stake is about empowering people because so much that is happening in the world is about kicking away their power so I think that's where I am that's where I am right now is I'm interested in stories I'm interested in stories that empower not necessarily rah rah rah empowerment but it can be fuck that empowerment or I agree empowerment or you're completely wrong empowerment it's just instilling inside of people the ability to keep charging forward no matter what well certainly Shuffle Along is a really interesting example of that especially because it is actually a piece from an earlier period in our history that was forgot so that the act of doing it in and of itself was what you described but that the piece itself was also this thing that in its moment was incredibly forward thinking and yet somehow it didn't occur in a cultural moment in which that could get attraction it did and it didn't it did you know and that's that's attraction exactly that's what happens you've all I mean to sort of just to return to the overarching subject of the week before we move on we should move on soon to questions you've all of your work has touched on issues of American identity in touching on different groups but the overarching questions what it means to be American in our time what our responsibilities are we have a I feel like one of the things that's happening right now in our society is that people are really interrogating the question of whether not what our shared values are but actually whether we even have them and I just wonder as you guys are thinking about doing your own work now how has your orientation as an artist towards as a writer, a director towards the question of American identity or your own identity changed you know Gordy Dahl who calls us the United States of Amnesia and in a way he's right and yet we have one of the most extraordinary histories in this country and we have amazing people who've come who are now dead and who didn't have didn't finish their sentences they had more to say also why I love Shuffle Along and that sometimes I think that if the theater were a verb it would be to remember in the sense of to remember to put the parts back together again and that our job is not so much to invent something new but is to inhabit those who didn't quite finish saying what they have to say and there are extraordinary examples of those extraordinary Americans who need to be heard right now and that's a large part of what I personally do as an artist is listen to those people other thoughts on that or I will happily answer is quite comprehensive maybe what we should do is open up to the audience we've got a few more minutes for questions that you might have please speak up if you have a question we can all hear you scared him into silence I also can't see you very well so yes Helen Shaw wrote an article I don't know if any of you have read it in the American Theater Magazine this week last week called The State of the Play in which no offense to our academicians on the panel that perhaps MFA programs and academic institutions have come to displace have become to watch what's the phrase? to watch the gatekeepers of American theater and that it's impossible that somebody like Elvis Wilson or somebody suffering from a mental health issue or someone who's on the outskirts of power would find any way in or that their work would be recognized and that the only way to make it in order to find one's way in is by becoming more like the academic work that's being done to develop one's aesthetic in that matter and that power sort of works on people, artists individually and I'd like to I'd say it was an interesting article that raised a lot of big questions about so what's your question? and one of the big questions is how do we voice disagreement about things that are going on in the American theater itself and talk about it when we're stuck in a place where we're also having to be extremely professional in our art and the artist becomes somewhat commercial and we find that that's a lot of questions I raised my hand because I'm going to summarize your question well he was contextualizing his question about an article that was in American theater this month which suggests I have not read it yet but which suggests that there's a barrier to entry to the profession to anybody who doesn't conform to a kind of work that's being established in MFA programs whether or not they necessarily go to one it's hard to enter the profession if you are in some way an outsider and how do we talk about as artists and makers what the problems of our own industry in terms of access might be when our industry has become so commercialized or professionalized is that fair? well I had qualms about teaching in the creative writing graduate program at the University of Houston because I didn't understand why a poet just couldn't write some poems and go to a reading and read them and have the people respond to them and see how their work was being taken in or if it wasn't being taken in the way they wanted what could they change to fix it because you find out what's wrong with your work when you do it in front of people and when I was in teaching these people this MFA program and they were trying to go ahead and get PhDs in poetry I was like a guest and I couldn't understand what I was doing teaching these people because I didn't think that they could be taught what we're trying to do is maybe give you some technical points but you can't teach somebody how to write a poem and writing a play is not an exercise that you do in four months and turn it in I wrote it because I had to write it it should be a passion in you that drives the coming of the art I'm sorry Larry the coming of the art should come from a you it can't be an assignment and that's what I think the MFA programs do to people they make the art so that it is so dry and perfect that there's no room in it for sweat and there's no room in it for tears or a laughter any other questions yeah at this stage in your career emerging are some of your or some of your mentees and how did those relationships develop the question was up to the poll panel about how they interact with younger artists are they mentor people and are there any examples of mentees that they have that they want specifically to mention the question was about mentorship and about any younger artist that you find yourself in a position to mentor a young artist and I purposely said emerging not younger emerging yes so it would be emerging at 60 sure yeah that's a good modifier sorry about that yes you mentor a lot I agree with Entezaki that you can't teach I would say I teach directing but you can't teach it what you can do is give an opportunity for for emerging artists to put work in front of an audience and sometimes the audience and you have to have an audience right unless you it's not theoretical you put it in front of an audience and then you're embarrassed by what you see and then you make adjustments from that embarrassment right but I think it's true that MFA issue is an issue and I know because I work in an MFA program so I'm one of the guilty people but I always think when I'm taking I'm looking at students I thought I would never get into my program anyway that was is actually true I look at their applications and I think I could never get into the program that I'm running but and maybe 10 years ago I used to always say don't go to MFA programs just go do your work but there is truly an advantage and perhaps an unfair advantage I think but going back to the mentor question you can give an opportunity to make work and then you can be truthful about what you experience and that's called critique this is what I saw why didn't you think of this but that's about it I can use myself as a barometer I actually in other words my body gets excited when I'm watching your work that's a good thing I got really bored that's the bad thing I think that astonish me is truly the art of what we're trying to do is is to create work that changes the heartbeat so I can just be present for emerging artists and respond because I've practiced for many years well I have I spoke to one of my mentees today and she's at the stage where she feels like she needs an agent and I have feeling uneasy about introducing her to an agent because I don't think she's ready yet and I don't quite know how to tell her that she has to write some more and expose herself some more in little magazines and small magazines and small newspapers she has to put herself out there so that it can be seen so that somebody who is an agent will be taken with it be smitten by it and want her and um it's almost like the NFA question because at a certain stage in our careers you do need an agent but I have always felt like they had to come looking for me because I didn't feel like I was ready yet if they weren't looking for me and so I'm going to tell this young woman that tomorrow but her name is Nari Fosa Fernandez I also work with a young woman, goes by the name of Bruha who's a performing poet, they're both performing poets and I work with a young woman who's a performing poet and singer who has started her first play and she's just getting started on so I'm being very gentle with her and letting her go wherever she goes it's sort of wandering right now that might be the shape of the play so we'll just have to wait and see we have time for just one or two more yes I felt early in the program I heard the instruction, use your anger as sort of a guiding principle for young artists, what instructions would you leave upcoming generations of artists with as speaking for them, what are the successful ones? What instructions would you offer folks? What instructions would you offer to I think there's only one and I certainly didn't make it up there's only one which is be courageous that's it and also one of the things I think is most important is that when you encounter failure don't run away from it but walk through the failure so you can figure out what you did to contribute to the phenomenon so it doesn't happen again you know and that was one of the first play I did in New York got hate reviews and then the second went oh my god where has he been all our lives and I am so glad that it happened in that order because I learned so much stuff about what I did how I was stupid, how I surrendered authority, how I did a bunch of crap that contributed to it not working so that by the time I did the next play my next play I was like every single antenna on me was so sharpened and so refined no I'm not doing that no that's not right no we're not doing that whereas the first play around I went okay sure why not so I think when you encounter failure failure isn't a punishment I think failure is an extraordinary opportunity to learn and get smarter and get better the other thing I think is important is to read I think I find that a lot of people who approach me and want to become writers don't read they don't have any context for what they want to do themselves they don't know what can influence them or feed them or anger them or make them cry and if they don't know who can do that to them how do they know how to let somebody else and it also increases your vocabulary it gives you more of an idea of place it gives you a sense of history I would just beg all the young artists and emerging artists to read as much as you can of whatever it is read science books read history books read biographies read autobiographies but read because there's so much of the world locked up and you have access to it did you want to add anything to the laundry list of advice to young artists if you believe enough in your work keep going it's not easy but keep going I'd also like to add in addition to reading to experience your discomfort to notice what that discomfort brings up because I think as you read as you expand as you grow you're going to be asked to come out of your comfort level which for us culturally is the same thing as saying you're going to have to deal with things that are unfamiliar and I think we really suffer we're in peril now as a society because we're too addicted to comfort so it's really important to be able to not only be uncomfortable which kind of sounds ridiculous but to notice the purpose of discomfort so it comes back to what George was just saying what does discomfort teach you try not to be afraid I'm a late bloomer because like so many people who want to write they're afraid to actually get down to do it and then when they actually have something they're afraid to show it to anybody else everybody goes through that so you have to get past all of that put that over there on the other side look at it and then put it over there I think that's a really good place for us to end actually I want to thank all of you so much for doing that


I hope you guys are doing good. What do you think, Dada? What do you think will next revolution in transport? I see Boston Dynamics operationalizing drones that would deliver package up to the last mile. Yeah, self-driving cars, automation, drones, robotics for sure, for sure. But I think the next revolution in transportation is less transportation. I think more people working from home, more people working from where they live, less transportation required. I think that's the next revolution in transportation. So what that means is we'll see how that rolls out. We'll see how that rolls out. Less consumption oil should be one aspect of it. Less infrastructure needs to be revamped all over the place in the western world anyway. But we'll see how it plays out. The robotics is huge. Self-driving stuff, automated stuff and whatnot. But I think one of the biggest things will be less long-distance travel. And I'm okay with that, I tell you the truth.


We have S1, which can be seen as the quotient between R and Z, or can be seen as X mod 1. We have this projection from R into S1, which can be written as this. And we have said that for any continuous map, there exists a continuous map such that it makes this diagram commute. I want to do the details of this. I will give you some hints. The first hint is that this projection is a local homeomorphism. So if let's, well, this is okay, this is okay. If the distance between X and Y are less than 1 half, then pi is a homeomorphism onto its image. Okay? So there's a unique point, a unique pre-image, okay? And well, the idea is we will take any point in, we can remember we want that pi of F equals F composed with pi. And we take any of these, we will have a unique point, which is of this form. And so we can define, there are many choices for this, and there are many choices for this. Okay? But we are going to choose one, and we are defining this. These are hints. I want you to do it, okay? Okay, then another hint, this is one hint. The second hint is that F, small F and big F2 are not, this is continuous. And this is compact. So this is uniformly continuous, okay? So there exists some delta such that if two points are delta apart, then these are one half, their images are one half apart. And so remember that we said that this is a local homeomorphism. So if these are one half apart, we can choose a unique pre-image, okay? So once we have chosen a base point, then we can extend small F using the fact that pi has a unique pre-image over certain intervals. Well, these are hints, you have to do it. So prove that there exists at least one, so prove that there exists at least one F, which is continuous. Now why, I have said also that if we have two lifts, their difference is a constant integer. And why is that? So let's suppose that we have two lifts, these are two lifts of small F. Why do they differ in only one integer? Well, that's it. Great. We have this equals F composed with pi, but this is also, so by pi they are sent to the same point, which is this. So this implies that this belongs to Z, but this is continuous, so it has to be constant, okay? Perfect. So this allows us to define the degree. The degree is F of X plus one minus F of X. And we claim that this is an integer. And one of you has said that this is because both of them are lifts of F. But why is this a lift of F? It's very easy to check. We have to check this, okay? But F is a lift. So F is a lift. This implies that this holds for all X, but in particular it holds for X plus one. But now pi of X plus one is pi of X. So this is also a lift of F. And so since both lifts differ in an integer, this is an integer. Now the third thing we have seen about degree was that if F is a homeomorphism, this homeomorphism means that it is continuous and its inverse exists and is continuous, okay? If F is a homeomorphism, then the degree of F has absolute value one. And so in order to prove that, we have to prove that if the degree is zero or a modulus greater than one, then it cannot be a homeomorphism. But now we have two cases. If the degree is zero, what happens? It is not. It's not one to one. Why it's not? We have F X plus one equals F X, okay? So big F is not monotone, then small F is not monotone. Now if the degree is greater than one in modulus, what does this mean? What does this imply? This wraps around the circle twice. The image wraps around the circle twice. So what does this imply? Yes. But we have to prove that. We have a simpler. We have that this is greater than one. So we, as you said, but this is a consequence of Falsan, if you like. There is a point between X and X plus one that has the same value as F X, okay? So that this implies that there exists Y. Can you see why? We have F X here. We have F X plus one here. And the distance here is greater than one. So we have all values here, okay? So in particular, we have F X plus one is here. Let's assume that F X plus one is greater than F X, okay? So there will be one point that corresponds here to this. There will be one Y, there will be one Y such that F of Y is, is this, is it clear? There's, when you have two options, either F X plus one is greater than F X or F X is greater than F X plus one. But in any case, you will have, in the other case, you will have F X minus one. Yes? Pardon? Yes, sorry. Yes. Here. Yes. You, we will have, we will have, yes, pi X. Thank you. So we will have some Y such that F of Y equals pi F of X plus one, okay? And so this implies that this implies that F is not monotone. Big F can be monotone or not, but small F will be not monotone. In fact, big F can be monotone. And one, one example is this, okay? Small F, small F is not monotone, but big F is. The degree is two. Okay. So this is all about lift and degree, but I have some more comments. I am especially interested because the title of my course is somewhat misleading. I would have called it expanding maps on the circle, not piecewise expanding maps because of the following example. Remember that last class we had proven that if F is expanding on the circle, this implies that the degree of F in absolute value is greater than one. But what, what happens with this following example? I assume that all of you are familiar with the tenth map, but if not, I will throw the tenth map here. Check the tenth map on the circle. It's called the tenth map because it looks like a tenth. So here the derivative is two and here the derivative is minus two. Okay. There is one. This is a tenth map. Okay. And this map piecewise expanding. So it's expanding except for two points in the circle. And what's the degree of this map? The degree of this map is zero. But this is because this, this map is not expanding. It is piecewise expanding. And this result is for expanding maps. Expanding requires that the derivative is continuous. It, it exists at every point and it is continuous. Okay. If it fails in just two points, the result no longer is true. Okay. Okay. So we, the result we are going to prove in this part of the course is just for expanding maps of the circle, not piecewise expanding maps. Okay. So let's go back into what we started last class about coding with Corina today has mentioned. And oops. So we want to code a number between zero and one or a number, a point in the circle. And we're going to use its itinerary to code it. We will see later that this code is not unique. It is easier to think of 10 branches instead of two, but I have done the drawings for two branches. So I will explain it first with two and we are going to see it with 10. So we have this point, the red point, the red dot here. And in the, when it begins, it is on the left interval, there are two intervals, the left interval, which we are, we are going to call zero and the right interval, which we are going to call one. Okay. So in the first iterate, in the zero iterate, it's in the zero interval. So its symbol will be zero. Okay. Now we iterate it. Still in the left interval. So we will put a zero. Now we iterate it again. Again, zero. We iterate again. Again, zero. But since this is a doubling map and if X is positive, eventually it will change sides or it will be a fixed point. So now it's one. Okay. Again, one, zero, zero, one. And now it begins to be periodic. So at one point it will be repeating one, one, zero, zero, one, one, zero, zero. And that will be its itinerary and a type of coding. In this case, the coding is unique. We are going to come later to this. But in this case, the coding is unique. Let me, the middle point is exactly one, one problem we have. What happens with the middle point and with the, with zero and one? What do we do? When there's, when our red dot falls here or here or here, this is the same point, we have a problem of which notation we should use. Okay. And it's, in fact, we will use both. It's easier to see it when we have ten branches. It's harder to draw. But when we have ten branches, we have 0.9999999. It has the same symbol as one, zero, zero, zero, zero. Okay. So we will use both symbols for the same point. It's the same as happens here. We, if we want to mark this point, we can put zero point. Well, the sequence will be, will be in the left. Well, let's, let's choose the left here. And then it will be in the right, in the right, in the right, in the right forever. We first, from these two, we choose the left, the left interval. But then once we have chosen the left interval, it is in the right interval of the left. And on the right of this one, and on the right of this one. And then this is one possible symbol for this point. But on the other hand, we could have chosen the right interval. And then it will be on the left, on the left, on the left, on the left, on the left. So these two symbols will be useful to mark the itinerary of this point. The itinerary has two possibilities. In, in this case, we will have more possibilities. Okay. Well, not more possibilities. We will have also this situation. The situation will come with 0.999. But this can happen, this can happen in any, in any of these branches. Because we can have 0.3999. We will have this situation at each separating point. So for each itinerary, we will have a unique point. But not every point will have a unique itinerary. Some points we'll have and some points we won't. Okay. Okay. So this is essentially coding. Coding is assigning to each particle in the interval a sequence of symbols. In the case, by means of its dynamics. So we, we have chosen the, the map f equal 2x mod 1. And it's itinerary will give us a symbolic, a coding for it. So we will define the space of symbols. We will define a metric in the space of symbols. We will see that this space of symbol is particular. And we will come later into it in more situations. So we, we call this space Sigma. And there are many notations I have chosen this one. Sigma plus 2. I will explain it. The plus is because we are going to choose. I'm sorry. The two is because it is two symbols. And the plus is because it's n and it's not the integers. Okay. We will see later that there are also space of symbols, the my sided sequences. But we are going to use only one sided sequences for this space. And this is, this is an example of a sequence. We will have sequences of zeros and ones. Many of them. We know that this, the cardinal of this is Aleph 0, Aleph 1. And we can define a metric on this space. We can define many metrics. But we are going to define one which is useful for us. And which is the following. We want to measure how distant, how distant two points are. We are going to measure the distances between each entry. But we are going to give different weights to each of these distances. Okay. The closer, the closer to the first position, the more weight it has. Okay. And so we are going x, each of these will represent the sequence. Okay. These are going to be xn with n in n, yn with n in n. And this is the metric we are going to use for this. Okay. So the distance of this is going to be 1 over 3, plus 1 over 3, plus 0, sorry 2, plus 1 over 3 to the 4, plus 1 over 3 to the 5, et cetera. So if the difference is 1, we weight it by 1 third to the power of the position it has. Okay. So since this is a convergent series, it is a well defined metric. I leave you as an exercise to check that this is a good metric. Okay. It could be infinite and still be a good metric, but this is a finite metric. Okay. And we have the following, we have the following properties. This is a compact metric space. Well, we have to check that it is a metric. I leave you, I leave it to you as an exercise, but it is also compact. And also it is a very practical metric because we can measure exactly the distance by means of how many entries coincide. Okay. So if, if two sequences coincide up to the entry force and then they are different, then its distance will be, in fact, will be 1 over 3, 5. And then, so this has an interesting consequence. Well, we have to check it is compact. I don't know. I have not much time. I have not much time. But this has an, it, yes, it is a product of, this is a, yes, this is a short proof. It's the product of, countable product of compact spaces, it's compact. So this is a short proof. Well, this, with this metric, but it's okay. Thank you. And this, this other equality, inequality, I leave it to you as an exercise, but it has an interesting consequence. I will leave it, this will be the first exercise in the afternoon, but this has an interesting consequence, this situation. The, the consequence is that this is a totally disconnected space. What does this mean? It means that every point has a neighborhood basis of cloven sets. What's cloven? Cloven means closed plus open. They are closed and open at the same time. Okay. And these both are closed and open. This is also an exercise, but it's easy to check because we, you have that, the distance is less than one over three to the n plus one. Then it's easy to show that this is an open set using the triangular inequality because it is symmetric. On the other hand, this equality, that the fact that XI equals YI for I equals zero to n is a closed property. It's easy to, to check that this is a closed property. So this is the, this, the set of poles is the cloven basis. And this is interesting because we are going to show that, well, we have, we are going to prove that there is a semi-conjugacy between one map we are going to define in a minute and expanding maps of degree two. We are going to define a shift map in a minute and we are going to show that there is a semi-conjugacy between this and any expanding map of degree two. But this is crucial. It is just a semi-conjugacy because this is totally disconnected and this is connected. Okay? So it cannot be a homeomorphism. But this semi-conjugacy closes the gaps. It is totally disconnected. You can imagine this as a cantor set. Okay? A cantor set. You are familiar with the cantor set? Well, the cantor set is a totally disconnected set. So you can imagine that this semi-conjugacy closes the gaps. And the gaps are produced exactly here. You have these two different symbols for one point. Okay? So let's define this what's going to be our, oops, our map. Okay? Here, points that are in the ball of sequence, in the ball one over three to the sixth of center one, one, one, one, one. It's all balls that its first six entries are one. You have infinitely many. Okay? Okay. So let's define this map which is going to be semi-conjugate to the all the degree two maps which are expanding on the circle. Which is the shift transformation. The shift transformation is defined by shifting. We shift, this is a sequence we have here x0, x1, x2, x3, etc. And then we shift all the sequence. We erase the first entry and we shift all the sequence to the left. This is why it's called the shift map. Okay? So the shifted sequence we have as entries, as entry zero, what was the entry one of the previous sequence. Okay? And maybe you can see it better with this sequence of sequences. This is x. So this is x. And we shift the sequence. Now we shift it again.  Okay? The shift. Erases the first entry. So the shift map is not invertible. Okay? Because each point has two pre-images. There are two possibilities for each sequence. You can put, if you want to come back, here you can put either zero or one. Okay? Okay. So the shift has many, many properties. We are going to, the shift is the example of chaotic dynamic, chaotic dynamics. Okay? Everything that can happen in a chaotic map happens in the shift. Okay? And for instance, it has dense periodic points. But at the same time, it is transitive. It is topologically mixing. All of this, we are going to see it today in these 10 minutes. And in the exercise, in the problem session. Okay? So what is the property of a fixed point by the shift? How is a fixed point by a shift? One sequence? One constant sequence. Okay, yes. A constant sequence is a sequence, is a fixed point. Okay? If you have, if you have two different ones, you no longer have a fixed point. Because when it shifts, it's not equal to the previous one. So you have the next, the next one has to be equal to the previous one. So that implies that it is constant. Okay? And so we can do all the calculations just by the definition. If the shift equals x, then that, that implies this. And this implies that xn plus one equals xn for all n. And so once we have defined x0, all the other ones will be automatically defined. We only have freedom to choose the first entry because all the rest will be automatically defined. So we have two possibilities, either x0 is zero or x0 is one. And then we have the sequence of zeros and the sequence of one. So these are how fixed points look like. Well, then you can imagine how periodic points will look like. Periodic point, you know what a periodic point is, a point with a finite orbit. So at some iteration, we will go back to the initial orbit, to the initial point. And well, let's see what happens with periodic two points. We have this, then we have this. And this implies this. This is a recurrence of degree two. And for those who have worked with recurrence, you know that you have two degrees of freedom to choose the initial conditions, which are x0 and x1. And then you have four possibilities for x0 and x1. But then after you have chosen these four possibilities, then all the rest has to follow. And you have no more freedom than that. You will have four periodic points of period two. Well, you can easily guess how many periodic points of period n you have. But then it's a good exercise to prove that periodic points are dense. You have to put in any ball a periodic point. That is a good exercise. Well, I have so many exercises that I don't know what to choose this afternoon. Okay, that is a good exercise. And so they are dense. They are dense in the totally disconnected space. You have your, in any ball, you can plug in a periodic point. You can plug in many periodic points, in fact, infinitely many, because they are dense. And this I like it very much. The shift transformation is transitive. But there are many ways in which you can do this. You can prove, in fact, I will leave it as an exercise to prove that it is topologically mixing. And we have not proven it, but topologically mixing implies transitivity. If a homeomorphism, if a continuous map is topologically mixing, then it has a dense orbit. But another way of proving that a transformation is transitive is to show a dense orbit. And then this is more interesting. The shift transformation is transitive, and we are going to construct dense orbit. And why, how do we do that? I have three minutes, but I would like you to think about this.  You have the number of entries and the length. Because you have, if they coincide in this n entries, then it's radius. If you want this to be in this, with radius 1 over 3 to the n plus 1, it has to coincide in the first n plus 1 entries. And that's all. So we want this orbit to eventually enter any ball. So it will have to contain all the strings of zeros and ones. So we will want to construct a sequence that contains all finite sequences. And how do we do that? Well, we start with zero, then one, then the sequence is of length two. Zero, zero, zero, one, one, zero, zero, one, one. Then the sequence is of length three, one. And eventually you will have Romeo and Juliet written in binary code inside this sequence. Everything will be inside this sequence. Your favorite book will be inside this sequence. And it will be transitive. Okay, and I think this is enough for today. Thank you.


Alright boys, most feared drop number three by far the best drop and it's time for a 50-50 most feared theme team The fastest players in the game will offense defense special teams What is up with these guys super bummer dude If you can you should try to get a 50-50 most feared theme team make your way there Most of the cards are cheap the limits and things will get up there for sure But at the end of the day, I don't think the cards matter that much I'll show you guys what I'm working with we are going to 50-50 you can watch me play live all the time on twitch Let me know if you guys will watch me stream live on youtube now as we are now allowed as twitch partners YouTube partners to multi stream to every single platform. So if you guys would rather watch it on youtube Let me know. I am a big twitch streamer. I feel like that's the live streaming platform YouTube is a video platform, but let me know what you guys think We got a 50-50 team team. Let me show you what I got We're starting an offensive side of the ball every single night on twitch boys And tonight we're actually going to have the bot wars live tournament open free 500 dollar tournament I will put that link below this video. Make sure you guys sign up We had to extend it. We had over 120 people already signed up the tournament will go to 250 people So if you guys can get in you can play for free tonight Cross platform mud all that stuff, but this is my team. I said, let's take a look at the actual team right now We got 51 most feared so I can add different players if I'd like to but we're going to rock obviously most feared Oh line outside of Lincoln Kennedy Donald Parham jr. Pitts is really good right now But parham is just huge We're going to rock the vante Adams. We're going to watch him our chase and dk medcaf just dk medcaf so monster If you guys been watching all year, he's been one of my favorite players We still have him Old del beckham is another great option But when you have chase and you have atoms who aren't huge Pause you got to put medcaf just have some wide receivers with a little bit of girth out there And we're going to rock lamar jackson the only ability I use on the mar right now is gift wrap gift wrap Is the number one must have ability on offense? I think it's honestly the only must have ability And because lamar jackson does not get hot route master We're going to have to rock three apprentices to be able to try to simulate hot route master But you see lamar right there 93 speed. He's got the 90 throw power I mean it's lamar jackson boys. He's honestly been really good at madden pretty much since he's been in the league He's had an elite muck card And I think I mean he's going to be the best quarterback in the game if you still like hot route master I think montana is really good that three ap hot route master is definitely a steal. It's definitely Solid for sure. And there's nothing wrong with using montana right now And hopefully lamar being out drops montana's price if you guys don't have them But that's neither here nor there the vante adams jamar chase. I believe jamar chase is actually 93 speed now with the 50 50 93 speed so he's the fastest why I'm receiving the game right now jamar chase Yeah, and uh march on lynch breeze hall. These are all most feared guys I actually use this card the vante foreman, uh, the the angry runs guy from the bears Uh, this dude's a monster. I think he's better than adrian peterson I think if you have adrian peterson and you're you know, you can afford to get the bond I always call him the vante freeman from the falcons. But that danta foreman Uh, yeah, if you can get him this guy's really tall and the difference between him and adrian peterson Is he has that 90 juke? So he's going to have a bigger juke Separate more space from defenders. This guy's a stud and actually has 91 truck That's actually higher than adrian peterson. So I think this guy's the best running back in the game right now Danta foreman from the or dante what I you know, I don't know this guy I really don't bear his fans in I think he's been on a lot of teams want to yell at me, but there it is We have grave digger. I think is the best the tackle in the game. We use him as well Let's take a look at my defense right now. Um, yeah, we're gonna have a money hooker the limited We're gonna have justin simmonds up top. We're gonna have avante maddox in a slot My corners are a little different as you guys see here I have jalen johnson the team of the week because this guy is actually kind of fast 91 speed Uh, yeah, he's and he's not as short as chiayir alexander or avante maddox or something like that So he has he's six foot tall Really good speed Uh, 95 zone. I got him boosted up on kems. I'll talk about my strike cards later paul kraus I use at the other corner paul kraus because he's the only card in a game that has deep zone Knockout they're running a lot more zone lately If you guys been watching the gameplay is a lot more I come out in zero coverage But then I audible everybody pretty much to zone So paul kraus is the only person with the deep knockout ability on the outside That's three ap and then I have a money hooker with the mid zone knockout That'll get anything from a safety anything inside the numbers from like 30 yards. He'll knock the ball out I don't think it's that good It's really that deep knockout with paul kraus. That's really good in a perfect world I'd have two of those but he's the only one that gets it. We have debon white. We're gonna use her He's the fastest linebacker now in the game, especially most feared as we're sitting here at 92 speed with that lurk artist Another must have ability on defense They made it so everybody else drops pick and make you kind of forces you to use this new ability They put in the game on miller k-von thibodeau judan Jared allen. I don't know really where i'm playing all these people, but I got them all most feared theme team So, uh, definitely gonna rush von miller, uh, and our boy thibodeau thibodeau I believe is 91 speed now So I think he definitely has to rush the passer because he'll be able to catch that new lemar for sure But yeah, this is my team I'm rocking as you guys know I'm rocking west coast playbook I'm rocking the kansas city cheese defense I pretty much stay in three three for the most part all these ebooks are live on mad interf.com that link is below I changed all my defense of uh, strat cars the zone to run a little more zone So there's that, you know, and like I said offense, we are rocking just gift wrap on lemar We're rocking slot apprentice on jamar chase slot apprentice on donald param and Running back apprentice is on dante form and danta form and That running back the angry runs guy. That's my squad. That's what I'm rocking with most feared Like I said bot wars is tonight boys. Make sure you hit that link below sign up or tune in 8 p.m Eastern the tournament kicks off.    That was just another great. Oh my god, dude I got when I see two tight ends. I just gotta be ready for that. I shouldn't even put a flat right there I really shouldn't I mean dude, I I feel like we need that ball out there. I really do.   I might really do I would have never hit that without a yellow All right cross playing a little different.  It's a dog.   Who's number 23? Is that ola kwan? It is Oh my god, there's no way we didn't catch that juke Did they patch the turtle pitch is that gone now, and that's why that's why rag be going through it like we talk about like People getting patch rag might get patched the most low key like low key rag might really get patched the most I mean, we'll never catch that one.  I've never had all my dudes let up like What is this?  I swear to god. I would just it's just how it's just how we're getting down here boys Look at this Could be worse could be better I mean that was his best play of the day.    Is there another option?  It's like almost where I just played three deep here, huh? Why even use wire series when tighten? I mean, oh, that's not a bad point.  Why do I have the vante Adams out here and not kiddle?  I don't know Bro, I don't know how sweet. I dude.    Is this for real? Like when do I say is this real? Like what's up? Like are we really acting like this? Like when do I like bring it up? Like I think tomorrow we got it. We got to ask Did I drop that pet thing? I don't know this game was not this bad I swear to god a month ago. This game was not this bad. It really wasn't.  I don't know why I thought like he had like I swear to god When I do that, I thought he had the inside spot. Don't cross you can't play hard flat Hard flat. Oh my god. I thought just knock him out of bounds. Stop the clock.  Where's the RPO boys? Where is it? Somebody knows something like this is I have no idea Yeah, boys good hustle don't understand why there's just no quick one in a situation AR what's up, man? How are you? Johnny hacker, I need better out of you.  This is like oh my god Let's go Jair. Are you gonna have some Dave East on the play on the playlist? Not a lot though. Not a lot Gigi Gigi Gigi Gigi Gigi


I'm in again. You can go sat night I used I see him. I see him. I see him. I can't stop him. I just can't stop him I know exactly where he is nice. Nice. I'm coming out in one. I'll just pull freeze.  I'm moving there You if you're off in there, okay, okay? I'll set this because they're doing nothing He's up to me. It's like I just said this as well. Oh fine. Oh fine. They've used everything I'm gonna jump down when priest gets it. Okay. I've Asian Got the shield Point piece. I'll gauge I'm gonna use my last vanish to stop here. I think He just gets me Yeah, okay Did you drink it? No, no, I'm fine Rogues prep vanish actually Got double got double roguo He's gonna stop me, baby Set me set me to me. I got him out as well. Yeah, I'm pulling rope Priestess is spelling me. You can go priest if you want or stay rogue. You're cool I can stop priest. I can stop priest ten seconds from I think you can resap and then I fear okay I'm gonna kill It's gonna be small kidney No clue your visions So this thing mess Maybe keep them I kept them mess again like what I got a charity blackout I'll stay a pair more I should have seen should have seen he blames me for Oh Please the zone getting open though. I can't stop. I'm so playing for peace man I believe I feel that is whole fiend. I can resist on it is one year That's one thing you can open it I need to No, no, no, no, just kidding Dodge man. I need to bring this game. Oh my god.  Yeah, if he draws like this He kept me what? I'm drinking man.  This is nice. I'm gonna catch up a bunch. Yeah, I couldn't nothing drinking a lot too though Gourge is me You're blinded you can drink I don't have food for it. Yeah, that's fine. Yes. Oh, he made his life to nothing That shield resisted to straw he blames me for all you know, I'll lose my wins here at least He doesn't achieve that Nice Bruce will The kid nice dodge I'll try in front of got it bandaging into it. Yeah, I'm gonna reset drop come on drink Gouges me. He has every gauge man He doesn't blame for ages second blind.  He can burn me here. I'm gonna do insane damage. Can you blind? I Can full-stand and don't talk when I went for the yellow jump fair did not get it. I'm in there I got the shield Gonna just drink Priests is relatively into I should get six Got the greater Kept priest He's gonna read I kept to get nice and seen and seen and this whole area every every goat He has every good. She wants to be a priest. Yes point please. I'm fed. I'm fed. I'm fed. Okay, I Blinked I read and I just destroyed priest Riggs dot still He's gonna try and set me there No, I'm I don't I death him death him Okay, just built upon a nice. I thought I got one thing this game He wants to be


Hey, I'm Ty Whopper, and you're watching Talking Dirt Fueled by Monster Energy. Hey boys, bring back dinner. If you don't catch anything, don't come back. Riley, did you see the fish? So Riley's fish condo. Right, right. It's been gone four hours, and one fish. Boys, they asked you for your photos? No. Magnus, I know who you are, but the people watching don't. So who are you, where are you from, where is MX World Collection, and why have we got, why is all this stuff in here? I'm Magnus from Vimerby, a small town in Sweden. I started, I guess it's about 12 years ago, I started to restore a lot of bikes, and then I started to collect on them because from the beginning the meaning was I should do a business, restore a bike and then sell it and go on, but I couldn't sell anything that I made by myself. So instead, one day I woke up at home and I had 110 bikes in my home and that was not so popular, so from my girlfriend. And then after that I also started for to collect factory bike and world champion bikes, so and then I got the idea to build a house for the bikes. A house for the bikes? Yeah. I've been to Magnus's house, he has a house for the bikes. He's not joking. How many, how many bikes are in here? Just below 500, I think it's 490 also. And soon you're going to have my bikes here? That would be an honor. We've already said that you can have them. I said you could have them two years ago and we still haven't organized it. Yeah. My bikes, my championship bikes are set in a, Morgan Hughes in his workshop, they're just kind of, when you walk through the front door they're just sat against the side, but he's got so much stuff there, he probably wants them gone, so we'll arrange to hopefully collect them in October and you need to make some more space. Yeah. Never forget this race because it was, everyone was honoring, everyone was honoring Darcy and row with those and it was in Torun and it was there you secured your title. That's the bike that Darcy crashed on, hey? It is, also you can see the helmet and they sewed it together that the doctors cut, yeah. Insane. Darcy was so quick that year. Yeah. He was so fast man, insanely quick. Yeah, there's some special stuff in here. Let's go look at Tony's stuff. Yeah. There's one, two, three, four, five, six, then nine of Tony's bikes. It's 11 of Tony's bikes with this and this is his first bike that his dad Stig built and there is the first clothes that Tony used. He had a brother who was very good in Speedway. He said that yet Tony, you are not so fast, so you can have this and we give the helmet to your brother instead, so you can drive with this and here is mostly from Tony. Here we have one from Egon Miller, but there is one very special here somewhere. It's also a world champion and it's this one. That's really cool. I have to do something to maybe hang them in the roof or make a glass for them. When I have time, here we have Lee Adams and here is a prototype bike also tested by Lee Adams. The engine goes at the other direction. 730, push back half an hour, lots of rain coming through. All right, 730 boys. He just wants to, he said he wants to brush it off first. We are here in Sweden, Malilla. It's just rain. We're waiting for the track to be prepared. The practice has been cancelled. So while we're waiting, Jerry, show them the skydive edit. Matty, what are you complaining about, mate? What's wrong with you? I'm filming. I'm legit. This is going on the edit. What's up, dude? How do you want to do a running race today? Yeah, do it. Unrun? Encyclical? You can't run. Jonski, what are you saying, bros? Oh, mate, wait for the rain to stop. You seem to be happy with it. What have we done, mate? Hello. What's up, dude? Welcome to my crib. Now we're looking at your face. It's not bad. It's not bad. Carton, you want a skydive? Yeah. Yeah? You want to try it? Yeah. Yeah? I don't believe you.  This is talking bad. Oh, OK. Hello, everyone.  How was your night? Not all your plans are safe yet? No, like I said, you know, over the last few weeks, we're rocking up to Grand Prix and testing engines to try and find something that works.  So I'm on the back foot from the off, but we keep fighting and keep pushing. For sure, I showed a little bit better speed today. Um, so, yeah, good test next week in Roswell, and hopefully we'll be a little bit closer. Cool. See you in Tagliati. See you in Tagliati. Sick. Sick skydive edit. Yeah. Watch it. Again. Watch it again. And again. On my channel. Wait, watch your channel. Ty Wolf and Embraya. So, what are you going to search? I should have come straight up. Show me your guns. Gun. Show us the muscles. No, not that. The guns.


Hello everyone in three ways to connect your desktop and your phone. So a couple of things first you're not seeing my face because I usually use my phone to do that and I need to use my phone right now obviously and also I'm using GNOME right now for reasons I'll explain later but of course this applies to both plasma and GNOME. The first one which is pretty cool let's open a terminal is SCRKP or screen copy and you need to enable a db debugging to use this but then you just install it and run it and the gold thing is that it will just show the phone and if you control this thingy from the desktop it will also apply to the phone and if I use the phone it will also apply to what I'm seeing which is a super useful very easy way to actually you know use the phone without touching it and in fact I think I'll just use this one to showcase the next features as well. The second one is using your phone camera as a camera for the computer there are a couple of ways to do that I do have both so let's open up this and in this case having a touchscreen laptop is very useful DroidCam and DroidCam X so DroidCam X is a more of a classical camera and then there's DroidCam OBS which is what I used to record with OBS and it's very easy so I take the phone I put it somewhere where it makes sense like here hello so you see that OBS is doing his thing and it's actually already connected to this OBS that you're seeing which means that just by opening up the app you can now see my pretty face of course I put the phone in the wrong direction but hello I'm here it's me the next one and let me get my face out of the way as soon as possible by hello how do I get out of here okay and of course the next one and please phone get back to vertical to showcase this is well it won't get to vertical but doesn't matter the next one as I was saying is kd connect in this case I'm using gnome so it's actually a gs connect and you install kd connect on your phone and then you install the kd connect on plasma as well or if you're using gnome then it's gsc connect extension and you get here in plasma in this instantry as well a little icon with the name of your device the battery and a lot of options to interact with it so you can interact both ways the first one is as an example just to take the messages which are sms so if you need to quickly send an sms this is super useful then there is the next one which is ring to find your phone if you lost it and then next one the keyboard to actually use your desktops keyboard to type on the phone which is very cool mount to reach the files photo I think is particularly cool and to do this actually let me open up again a scroll pie so scroll pie so you're actually seeing what's happening so this is kd connect and if I go here and type photo I get the camera on the device and then I can take a picture I press ok and then I wait for a couple of seconds and that photo automatically transfers to my desktop and opens up here so without almost touching the device I can take a photo with my phone asking from the computer which is super cool I love it then what else do we have there's sure to share a file obviously and if we go into mobile settings and there is actually more to that if you click here we in theory should be able to sync the clipboard but android is messing this up you can also share the media players between the two so if you're watching a video from your computer you can pause it and change the volume from the app there's also lots of stuff in the app itself you can send files obviously but also as an example I find remote input particularly cool I can as I'm doing right now move the mouse using the the phone and I can also type from the phone which is cool I also can run commands and then of course there's multimedia control I can change the volume and even like within the device so lots of options here you can even peer more than one device here in here you also get a bunch of stuff the battery you can I think this is pretty cool in telephony you can pause the media you're watching if you get an incoming call which means that if you're watching a video on youtube and you get a call then the video on youtube automatically stops and that's so cool it once happened to me and I was like whoa technology is actually working and that's about it these are the three cool ways you can connect your phone and desktop so number one skirk pie number two droid cam and number three kd connect and honestly I don't know what else you would want well of course you might want to run well you might want to run applications on your desktop that are for android but that's not really connecting your phone and that's way droid and of course I will sooner or later talk about way droid on this channel so stay tuned and as always let me actually get back to droid cam obs so I can say hello and as always as always actually as yesterday I haven't birthed here the new animations for the donations sorry about that but I'm still working on it and before tomorrow it will be done I hope you found this useful see you tomorrow


In Jordan Peele's new movie, Us, the beach scene was the perfect depiction of a trauma response. So in this video, we're going to break down that scene, discuss trauma so maybe you can learn a little bit about your own experience, or you might be able to help someone that you know. What is up everybody? This is Chris from the Rewired Soul, where we talk about the problem, but focus on the solution. And if you're new to my channel, my channel is all about mental health. And what I like to do is pull different topics from movies, TV shows, music, and all sorts of other stuff to try to teach you how to improve your mental and emotional well-being. So if you're into that stuff, make sure you subscribe and ring that notification bell. So yeah, in this video, we're going to be talking about childhood trauma and trauma, the way it was depicted in the movie Us, and kind of explained it a little bit further and deeper. And just before we get started, quick disclaimer, if you're new to my channel, I am not a licensed therapist. I am somebody who has worked in the mental health field. I love to read books and educate myself about mental health. But if you are somebody struggling with trauma or you know somebody who is, check down in the description below. There's going to be some resources. All right? So anyways, yeah, I want to focus on the beach scene as well as another scene. So if you haven't seen the movie, there is like a very minor, minor spoiler that I'm going to be talking about in this video, but whatever. It's not that huge of a thing. All right? So anyways, yeah. So let's talk about leading up to the beach scene. So Adelaide, when Adelaide was a young girl and she got separated from her parents at Santa Cruz Beach and she went inside, you know, the little mirror fun house place and she saw her doppelganger and it traumatized her and she didn't speak after that. Well, when she's older and she's married to Gabe and they have their own kids and they're going on their little vacation, they decide or well Adelaide gets talked into going back to Santa Cruz Beach. All right? So before they actually went, Adelaide was like trying to make every excuse there is not to go to that beach and talking to Gabe, Gabe kind of guilt tripped her and they end up going to the beach. And in a minute, I'm going to talk about avoidance of trauma survivors. But anyways, they go to the beach and Adelaide is sitting there and, you know, she has her eyes on Jason who's over there building little tunnels in the in the sand and stuff like that, but then she lose sight of him. So the first thing I want to talk about is like Jordan Peele, the way he wrote and directed this scene was absolutely amazing. Like, so I'm somebody who has been diagnosed with a generalized anxiety disorder, so I can just go into anxiety just at random times, even sometimes when not triggered. And I remember sitting there watching the movie and when Adelaide was, you know, experiencing her trauma response of being back at that beach, he, Jordan Peele managed to, managed to capture that perfectly, right? Just like the hyper focusing on everything and all of your senses just completely aroused.   Just like ready for anything. And I thought he did an excellent, excellent job. So then when Adelaide realizes that Jason's missing, she freaks out, runs off, finds him and then she like kind of shakes him. Like, don't do that. Don't do that, right? So what we're going to be talking about is what actually happens. Like, and why that scene was so good. And, and, and it explains what a trauma response is actually like. So first off, let's talk about the neuroscience. What's happening in the brain when it comes to a trauma response. Okay. So anybody who's been through a traumatic experience. So I will be referencing one of my favorite books on trauma, which is this one right here and it's called on your brain by Dr. Faith Harper, amazing, amazing book. I'll link it down in the description below. But anyways, so when you or anybody else experiences a trauma, it doesn't matter what age you are, right? So this could be childhood trauma. It can happen in your teenage years. It can happen when you're an adult, whatever it is, what happens is is when that traumatic experience happens, it locks into your brain. All right. Some of you have been around my channel for a while. Let's do the hand model of the brain real quick from Dr. Daniel J. Segal. All right.  If you fold your thumb over, this part right here is the amygdala and this little part of your thumb that is called the hippocampus.  So basically when a trauma happens, this part right here, the amygdala as well as the hippocampus, those are part of the limbic system. Okay. The limbic system is your most developed part of the brain and it is for your survival. All right. So as you can see that the hippocampus and the amygdala are tied in together. The hippocampus's responsibility is to store memories. Okay. Then the amygdala is the part of your brain that is part of your fight, fight or freeze response. So when a trauma happens, so for example, when Adelaide was at beach as a young girl and she experiences a trauma that locked into her hippocampus, which is tied into the amygdala.  If anything triggers it, which can be sights, sounds, smells, you know, whatever it is, then your amygdala, it's hijacked. It goes into this uber, uber survival mode, right? So when you see Adelaide at that beach, basically what's happening is that her amygdala is just in full force. All right. So when you're experiencing any type of anxiety or panic or whatever it is, your, your, your body changes. All right.  So anyways, in Dr. Faith Harper's book, she talks about what's happening. Or why people, you know, may avoid trauma and things like that. So she talks about arousal. The amygdala is always wearing its crazy pants and you find yourself freaked out when you shouldn't be or don't want to be. You may or may not know why, but your brain may process something it considers a threat that you aren't even cognizant of. And all of a sudden you are falling apart in the middle of the grocery store or in Adelaide's situation, she was falling apart in the middle of the beach, right? So then it says avoidance. You find yourself avoiding things that trigger arousal. Grocery store was bad. I can order my groceries online. Really don't need to leave the house for groceries, right? So that's what I was talking about with the earlier scene with Gabe, when Adelaide was trying to avoid going to the beach altogether and talking about, you know, going to the beach that they're already at and, you know, all those things. So people who experience trauma, they may want to avoid places that they know are going to be triggering for them. Intrusion, thoughts, images, memories related to the trauma experience start shoving their way up. The things that your brain was protecting you from don't actually go away and they start bubbling to the surface without your consent or willingness. This isn't the same as rumination where you worry over a bad memory intentionally, but when stuff shows up when least expected and you can't manage everything that is building up, then lastly, it says negative thoughts and feelings with all this other stuff going on. Is it any wonder that you never just feel good or even just okay? All right. So there's a lot going on for people who have experienced trauma and trauma like something that Dr. Faith Harper does a great job in this book with is she talks about how trauma is a different experience for everybody. And that's one of the things just that we need to learn about trauma in general is that everybody's trauma is different. Okay. Like something that might be traumatic for one person would have been traumatic for another person.  To minimize their experience. You know what I mean?  I had trauma. You know what I mean? It is completely based on that person's experience and the way their brain processes that event. For some people, for example, like trauma can be somebody they know, you know, passing away, right?  I'm thinking about doing a video about that because I live in Las Vegas and, you know, just a couple of years ago, less than a couple of years ago, we had, you know, one of the biggest mass shootings in history here and a lot of people in my city struggled with trauma, even though they weren't actually at that event. So I might do a video on how stuff like that happens.  So the next scene and last thing I want to talk about with this was when Adelaide opened up to Gabe that night about her trauma and like what actually happened. And she was telling him that, like, that was an example of what you don't do if somebody opens up to you about their trauma. OK, so Dr. Faith Harper in her book, she actually has a section on this titled, What if I love someone with a serious trauma history? So I'm just going to read a small passage from this. It says, This is not your battle. You don't get to design the parameters. You don't get to determine what makes something better and what makes something worse. No matter how well you know someone, you don't know their inner processes. They may not even know their inner processes. If you know someone well, you may know a lot, but you aren't the one operating that life. Telling someone what they should be doing, feeling or thinking won't help. Even if you are right, even if they do what you say, you have just taken away their power to do the work they need to do to take charge of their life. There are limits to how much better they can really be if they are continually rescued by you. So in this instance, like in the movie, in us, like Gabe is talking to Adelaide and he tries to joke about it. You know, you can see the looks on his face, which, you know, she takes offense to and all of that. This is often why like if you have a loved one who went through trauma, like try to like try to encourage them to get help or let him know that you're there to talk. So lastly, what I'll talk about is if you or someone, you know, is dealing with trauma, here's what should be done. OK, get help. There's nothing wrong with getting help.  There are many, many, many different therapies that are excellent for trauma survivors. All right, like talk therapy is great. There's something called EMDR therapy, which is great. All right, there's things like cognitive behavioral therapy and a wide assortment for some people to peer support groups can be very beneficial. For example, veterans, like at the treatment center I was working at, we got a lot of veterans as well as first responders.  We had a lot of people who were first responders who came into our treatment center, who developed an addiction as a result of their trauma. And, you know, they had groups where they would talk to each other because there's this comfort and being around people who get it and understand what you've been through. All right, in some, you know, treatment aspects, there's like group therapy sessions where it's kind of like, you know, that peer support aspect, but it's being facilitated by a licensed professional. So if you need help, all right, one of the first steps that I recommend is talk to your doctor, talk to your primary care physician, see if they can recommend anybody. If you have health insurance, call your insurance company, see what kind of therapists they work with, or even psychologists or psychiatrists within your network. Like, look into that, check reviews, and like, you can also see if the person you're going to work with specializes in certain forms of mental illness, such as PTSD. OK, if you are somebody who is looking for online therapy, there is a link down below. It's an affiliate link. So I'm an affiliate of BetterHelp Online Therapy. So if that's an option that you would like to try out, click or tap on that link down below. And basically what that means is that you get affordable online therapy, working with a licensed therapist, and a little bit goes back to support the channel. All right, but there are options out there. If you are a loved one of somebody who is experiencing trauma, something that I just recommend is like, read books, educate yourself, learn about these things, see what they're going through. Like, for example, like I said, this book by Dr. Faith Harper is going to be linked down in the description below. Like, just educate yourself about this. There's a lot of stuff in here that will help you learn how to help someone you love who is recovering from trauma. All right. But anyways, if you saw the movie, I was like, let me know like what your thoughts were, how they depicted like, you know, not even just trauma, but just anxiety as a whole. All right. But that's all I got for this video. If you like this video, please give it a thumbs up. If you're new, make sure you subscribe and ring that notification bell because I make a ton of videos and a huge, huge thank you to everybody supporting the channel over on Patreon. You're all amazing. And I will be recording the Patreon Q&A this week. And if you would like to become a patron, get involved in our monthly Q&A and all that good stuff. Click the top right there. All right. Thanks so much for watching. I'll see you next time.