Hi, I'm Adam, and I like movies and movie posters. And since I have a background in web design and development, one of those was relevant for this conversation, I thought today I would reflect back on some of the Star Wars posters over the years, see if they're good or maybe not so much. There's a lot of Star Wars posters, and I'm probably gonna have a good amount to say on them, so for this episode, I'm just gonna focus on the OG trilogy. Next time I'll do the prequels, then we'll do the sequel trilogy. Well, we'll do it that way. I think that's more manageable. Hey, if you like movie posters and movies in general, why don't you do me a favor and force push that subscribe button. It'll only take you a second, unless you've already done so. If you are subscribed, don't do it, because then you will unsubscribe, and that would just be- that would just be the opposite of what I'm trying to accomplish here. Let's begin. 1977. Why don't you go ahead and mark that as the date that posters hit their peak. Don't think anything's come since then that's really rivaled it in any sort of real way. It's entirely possible that nostalgia's playing a major factor in this, but still, there's no denying how iconic this poster was and still is today. Even though illustrator and painter Tom Young did an amazing job on this poster, I still prefer the original interpretation of it, the original design with the stand-in characters. The final version of the poster has a better representation of Luke and Leia. The color though is a lot drabber, really pushing the focus to the front of our heroes. They're glowing, they're almost mythic. This is the 70s, so it's hard for me to look at the poster and not see that Death Star as a giant disco ball in the sky. The Thai fighters flying up to it ready to attack, or in this instance, maybe dance the night away. I knew the beat, I didn't know the words, but I was already committed to the bit, so I went all in. Here's the final and probably most recognizable poster done by British artist Tom Shintrell. It's a beauty. It's really hard to argue or point out flaws when these are illustrated. They look so good. There's style to them. There's some substance there. Sure, it looks like Princess Leia and Han Solo are blasting lightsabers out of their guns, but it's interpretation. You're taking some liberties with it. Creative liberties is what it's called. Everything's nicely contained. There's attacks coming from all angles. They're in space.  The only thing I would maybe criticize is that little Mos Eisley tucked off into the corner or whatever planet that's supposed to be. I'd maybe get rid of that. That seems unnecessary.  Just keep the focus in the center frame. I really dig this poster for the Empire Strikes Back. It's the teaser, came out in 1979. It almost reminds me of the Jaws poster where you have this looming threat, this larger-than-life presence rising up. The Darth Vader mask is just so timeless. Plus, even the reflections and how they use the lighting here, they could even be mistaken for Imperial ships. I don't know if this decision was made with that in mind, but we are in space, we have stars. There should be some ships, right? I tend to like the simpler stuff better, so for me, this is an A+. Let's get gone with the wind. The 1980 poster for Empire is straight up gone with the wind. I'll put them back to back so you can see. Look at this. Look what's happening here. Roger Castel did this one. He was very inspired by Tom Young's painting from Gone with the Wind, so it makes sense that this is how it came out. This poster didn't last long. I read online it was pulled by Lucas because Billy D. Williams was actually a little perturbed that there was no black representation on the poster since he's the only black dude in Star Wars at the time. Yeah, you might want to throw him on there. You might want to give him his due. This might be my favorite Star Wars poster. I think this is great. I love Darth Vader here. He's so menacing. His cape's opening up to reveal the darkness of space. We have the Hoth-like surroundings everywhere else. We got Billy D on here now. We have Lando himself in the corner. Everyone is just though so tiny, so dwarfed compared to the magnificence of Darth Vader. And it goes with the story so well. We know in Empire, things are very dire. Things are grim. It's not a good time for our heroes and optimism is an all-time low. Luke has things revealed that aren't very savory.  The Empire is taking over. The resistance is faltering. So the people are looking up at this menacing figure thinking, we're screwed. We're in trouble. But then there's also light off to the side in the distance. Far. Maybe it's hope. Maybe it's a new hope out there. For our heroes, only time will tell. For me, this poster is everything. I don't think I can talk about Star Wars posters without mentioning Revenge of the Jedi. The poster that was quickly pulled when Lucas changed the title and said, you know what, Jedi's aren't all about revenge. That's not in their nature. This was illustrated by Drew Struzan. I don't know how many of these posters exist.  It's probably worth a decent amount of money. Maybe, I would think. As far as the look of the poster, I really don't like this at all. There's a lot of colors clashing here, along with people clashing. The font treatment with the ugly gradient doesn't work. It doesn't really go with the other posters so far in this trilogy. This just seems a little tame in comparison. Especially worth for a final. Now, that's not saying the poster we do get is much better because I think it is definitely the worst of the trilogy. Done by Kazosano. I apologize if I mispronounced. I do that a lot. This one is just not doing it for me. It almost comes off like a bad photo collage. Especially on that left side with Jabba the Hutt who doesn't have any headspace. Looks like he was cropped in. Luke is very glowy with the lightsaber and the aura above him. Very Jesus-like. There's just so much busyness down below. You got the Ewoks. You got Harrison Ford again. You got Leia front and center in the Bikini. Obviously, we have to speak to the dude bros who didn't see the original two and thought, whoa, Bikinis, I'm in. I like to live in the top part of this poster with Vader, the Death Star, the TIE Fighters, the X-Wings.  So we still have Luke on there. He's still very much the force to be reckoned with, pun intended. And then we have this just much more open space shot where we can really breathe it all in. We don't have to have all this nonsense down below. That's just cluttering things up. It's not really adding anything to the story, which I guess is a good representation for Return of the Jedi as a whole. There is a lot of noise. There's a lot of spectacle that need to be there, because when all is said and done, it's about father versus son, good versus evil, and hopefully good reign supreme, and the heroes win out. That's the journey. Let's focus on it. Let's make it more intimate in that respect. The noise that can be in the film, let's keep it off the poster. Now, since these movies are pretty old now, they've been released time and time again over the years, special editions, re-releases, remasters, Blu-rays, yada, yada, yada. Different cover art, different posters have come out. None of them are even close to matching the spectacle of those original posters. We can take a look at some of them now. I'm not going to dive into them deeply. There's just not a lot to say. They all look like a collection of different scenes taken from films, plopped onto the posters willy-nilly, and then maybe there was some illustration effects applied to the top of the photos. At best, they're passable. At worst, they're downright ugly. Those are my thoughts on the original Star Wars posters. There were a few that I didn't talk about. Some were re-released, some were just not that impressive for me, so I just avoided them all together. Now I want to hear from you. Leave a comment below. Tell me if you have any of these posters. You might. You might just have an original signed by Lucas himself. How amazing would that be? And probably very expensive. Alright, like the video if you had a good time. Subscribe if you want to hear more movie content, and I'm going to talk about those other Star Wars posters, so you might as well stick around for that, right? I'll look for you in the comments in the next video. You know what they say in Star Wars? Live long and prosper. That's not right. Keep it going, man. Keep it going. And I'll say thanks, Jesse. I probably shouldn't have said a name there.


Так, спасибо большое, у меня есть дуэлс-статус. Так что, как один из организов, я должен сказать спасибо всем учебникам, кто уже остался, и кто будет верить очень скоро, для того, чтобы здесь приходить. Так, спасибо большое. Так что, secondly, как много лет, коллаборатором и другом Максима, я должен следить за традицией и сказать несколько слов, так что я должен считать, когда мы встретим, что случилось, но, наверное, я имею в виду, что это слишком много слов о том, как кто-то встретил Максим впервые. Так что, когда я подготовил этот ток, я просто пытался вспомнить несколько эпизодов, как бы снапшот из моего память, и я вспомнил три, которые демонстрируют Максима, broadness and power, and mathematics. Интересно, что все эти три реколекции, которые происходят в 1-й годе, я просто скажу в 1 или 2 фразе, и люди, которые знают, что произошло после, что был разработок, они будут реально понимать. Первая реколекция, это произошло в старом строении Макс Планкинститута, а не в новом, и... Да, да, да, да. Я также помню это по-другому. Я помню, Максим встретил меня в коридоре и спросил, если я знал, если я встретил формулуру для количества рациональных курсов и CP2, походящих через фиксированные поиски. Это был один. Окей, да. Второе, это было... Я был в Институте в Адвентстаде, и я discutал с Делиней деформационной кванитизации. Он был интересен в том, что в то время, и даже написал пейпер позже. Один день, я получил информацию от Максима, который говорит, что хохшелт, хохшелт, хохшелт, хохмологический комплекс от алжебровых функций по-сонному, должен быть формулуру, деференциал, алжебра. Итак, я сказал Делиней, он не верил, он сделал компьютер, он не верил, но, как мы знаем, все эти деформационные кванитизации, история, и Максим был прав. Да, я думаю, что он даст. И последний, это произошло, я думаю, что я был в Институте, и я оттензовал семинар, курс, который был от Юрии Манин, и в день, перед тем, я получил информацию от Максима, который basically contained just one phrase, I understood mirror symmetry. И так, это было что-то, как-то 1992, 1992 года, и я сказал Манин, что он был шокен по этому поводу, и 2 месяца позже, там был Арбай Стагнон, где Максим дал его話, о том, что сейчас называется хомологическая мировая симметрия. Итак, это 3 истории, и теперь вероятно, что мой話, который, конечно, тоже может быть, просто маленькая часть о том, что мы делали с Максимом. Это про хомологический холл-лжебраз. Репрезентация. Так что эта нотика была introduction в нашу joint с Максимом. Я думаю, это архивная референция. И я бы хотел покинуть этот субъект о моем репрезентации, соединяющейся к Максиму. Было несколько лет, Виктор Катс был в ВИЧ, и это была половина дня, к его 70-х годов. Да. Максим говорил о том, какие-то similarities с геометрией в Викторе, и с симметриками и с кусимметриками. Поэтому, он мотивировал эту notion of wall-crossing структуры, которые мы делали. Я бы хотел спекулировать, что хомологический холл-лжебраз есть что-то, которое появляется на скусимметрическом стороне, на симметрическом стороне, в котором у нас конвенсиональный холл-лжебраз конструктивный холл-лжебраз или холл-лжебраз или холл-лжебраз может быть просто неправильно, но может быть не так. Поэтому, я просто объясню немного, suppos we have a quiver like an oriented graph finite graph this is a set of vertices and suppos we are interested in finite dimensional representations of the quiver so say over complex numbers or a finite field that really doesn't matter to each vertex we associate vector space of some dimension and to each arrow a linear map so then we have dimension vectors which adjust collections of non-negative integers and the Euler form or Euler-ringel form as people say associated with this quiver so in general it's indeed Euler form on the k theory in this case the category is homological dimension one and it can be computed entirely in terms of the dimension vectors so this is collection say gamma2 is a similar one so that's the formula this is the number of arrows between vertices i and j so it's neither symmetric nor skew symmetric so there are two possibilities we can symmetrize or skew symmetrize so if we symmetrize so then we can associate the corresponding cut smoothie Lie algebra and it has triangular decomposition into the negative diagonal carton and positive part and one can quantize the positive part or the direct sum of carton and the positive part intrinsically this is ringel's idea for that one need to consider representations of the quiver over finite field and construct the whole algebra which is basically algebra of functions with finite support on the stack of the abelian category of this representation so if we have two functions with finite support for example delta functions so it's constructable version then their product is defined up to some normalizing factor for which there is some ambiguity so it's basically sum over all possible extensions geometrically it can be interpreted in terms of certain hacketype operators because here we consider flags of an object and sub-object so you can imagine this is a kind of hacketype construction and so what we get in the end that this whole algebra gives us a quantization it's quantum group in the sense you want me to be very pedantic okay so you consider the sub-algebra which corresponds to say simple representations with a dimension vector of this type simple representation you generate the sub-algebra so those give you shiwale generators in the quantum groups and so on so this is a kind of very very classical story it's an industry with many names starting with Ringel so I really do not want to give the full list of names and even the partial list of names but what I would like to mention this constructable whole algebra let me call this constructable whole algebra so it appears in real life in geometry not only in algebra when one it's impossible what people would say or physicists would say on the instanton side of geometric engineering namely one consider torsion free shifts torsion free shifts on p2 of a fixed rank with fixed framing at the infinite line so this gives some modular space actually collection of modular spaces which depends on the rank and on the second churn class for r equal 1 one basically get just a Hilbert scheme of c2 and so on the direct sum one get action of hecke operators kind of hecke operators and representations of algebras which are closely related to constructable whole algebras appear this is the work of many people including nakajima shifman basero i think maybe more recently akunkov probably i should mention kapranov in relation to the whole algebras associated with curves anyway this is what i would like to think of the story associated with a symmetric well it's kind of a nakajima quiver varieties so then we first should symmetrize so we basically in dimension 2 there are kind of a nearby kalabiyao so then our bilinear forms are symmetric now on the kalabiyao side geometric engineering in physics so the original idea was to compute i don't know to model the spectrum of certain 4 dimensional gauge theory in terms of the stream theory and it's not well understood mathematically but there are some nice coincidence of certain generating functions for example for like kind of a classical story for r equal 1 here one can consider the generating function but not just of the cohomology of Hilbert's scheme but equivalent cohomology of Hilbert's scheme with respect to to these torus and this equivalent cohomology generating function like that it's it coincides with the generating function of this partition function as physicists will say of certain 3 dimensional kalabiyao for r equal 1 it will be the resolved conifold the total space of rank 2 bundle o minus 1 plus o minus 1 on p1 so then it's a kind of a very active and stimulating idea yeah this run if you change the rank you change your kalabiyao so it's like you have something with i think a or maybe a r singularity and then you resolve so that's what so what's happened on the kalabiyao side so this scheme of course remembers very well but not everyone may be in the room know so let me brief you recall it's a cohomological whole algebra story the idea of cohomological whole algebra story it's a following it's very general so if we have a 3 dimensional kalabiyao so we have a duality a third duality in dimension 3 so then the Euler form alternating some of dimensions of x group is Q symmetric it's Q symmetric for any odd dimensional kalabiyao yeah alright and so basically 3 dimensional kalabiyao category it's kind of an analog of the algebra endowed with a scalar product it's indeed like if it had one object it would be kalabiyao algebra so then for any object here one can define the potential kind of a generalized чернсаймон where I have these brackets which is a scalar product or pairing kalabiyao structure the objects and these are higher composition maps because everything is a infinity in this story so this is a potential alpha is in general is an element of degree 1 so then it can be thought as a function as a partially formal function kind of defined in the it's an intuition it's an idea, it's not very precise but it's useful so as a function defined in the formal neighborhood of the space of objects so then one can hope that if one has a function so which actually for which objects belong to the critical set just look for the shift of vanishing cycles and so kind of informally the space where the product structure should exist should be the cohomology of the actually it's a stack something nice it's a stack of objects and this is the shift of vanishing cycles yeah that's so I compactly supported then you should dualize that's true but anyway ideally we would like to have such an algebra which exists even in a triangulated framework so this goal is not achieved but there are some special cases which appear in the nature in applications and it's a framework in which we did define this cohomological whole algebra it's very explicit so it's a quiver with a potential so quiver is an oriented graph and the potential let's work over complex numbers it's a polynomial in arrows of the quiver which is cyclically invariant if there are no cycles then the potential must be equal to zero and so this kind of wish or desire in this particular case it indeed becomes a theorem which says that if we consider the graded vector space it will be the sum overall dimension vectors so because the stack of objects is a disjoint union overall dimension vectors of quiverient cohomology compactly supported if you wish here I have representation space of dimension gamma with the coefficients in the shift of vanishing cycles and if I have a cyclically invariant polynomial then the trace is well defined so I have a regular function now some shifts so yeah introduces Euler form it should be the shift by the value of the Euler form on this vector and so I have dualize I think this is it so this is actually the same but now it has a meaning and so the claim is that these vectors this graded vector space in fact it has more than just the grading with respect to the weight latest with respect to the dimension latest but the claim is so h carries associative algebra structure but you jump from Calabria category to quiver and then quite explain so if you have you see in this case it's category of homological dimension one and you can use you can extend it I mean there is an algebraic way to do it you can add x3 and x2 and x3 such that this will be these two spaces will be dual these pairs will be dual it's like in geometry like if you have a curve you should know I mean physicists especially like it if you have a curve you can for example construct a three-dimensional Calabria starting with something one-dimensional so there are several ways to do it in geometry but anyway the product comes so the product on H it comes indeed from the Hecke correspondences so we consider so that's diagram maybe let's do it this way and basically okay so this is a space of flags of representations of these dimensions and this is a space of representations of dimension gamma one representation of dimension gamma two so then the projection this projection maps the flag into the quotient this is the left and the right is of course the projection to the middle term so exactly as in the definition of constructible whole algebra and so this pull back push forward construction gives associative product so of course one has to prove it and okay so then there are several versions of cohomological whole algebra so for categorical purposes one has to use the shift of vanishing cycles but in fact what we have if you see we have some algebraic scheme whatever x and the function only the regular function so any cohomology theory for such a pair will give you a version of cohomological whole algebra and we considered all of them for example you can take like relative cohomology something like this or maybe even just this okay so anyway yeah you can start the space objects is a function and then this cohomological whole algebra what do you want to say you see you have upstairs this I want to say that in general in order to define algebra structure I need to define the space and the space is cohomology with coefficients of shifts of vanishing cycles and some function in three dimensional it's a kind of in geometry you heard it from Richard Thomas talk that there is some perfect abstract so like space of objects if you can make it even in the modular space it's a space of critical points of some function so this is a sort of sticky version so I want to have some potential and ideally to define it in a very general framework for any inconstructible three-kalabia category with some conditions like orientation data so I don't know how to do it in general nobody knows where it can be done one example is a quiver with a potential it defines the three-kalabia category by means of Ginzburg construction you can even assume that the potential is zero then you still can make it into three-kalabia then you get just a cohomology an equivariant cohomology of the representation spaces which simpler but in all the cases for example if W is zero so you can use hacketype diagram to produce an associative product it's not really a subject of my talk it's just I didn't give you no I didn't give you any algebra there are two final fields ah, to constructible no relation it's similar yeah very very different no that's the whole point so it's something which sits on the it's not just in general it's an object Категории, тендер-категории экспоненциал-ходж-структуры, потому что, видимо, есть ходж-структуры в Кахамулахе. У них не только один грейдинг, но и много грейдинга. Для Квиво-Рой-2 есть много грейдинга. Да, для Квиво-Рой-2 есть много грейдинга, но это что я хотел сказать. Есть очень несколько случаев, когда это не explicitly. Очень несколько случаев, когда это может быть компьютено. Я имею в виду, что это очень страшно, потому что один из моих мотиваций в этом интервью было обзорвать идеи от физики, например, от Харвиа и Мур, и конструктировать, что они называют БПС-элджебра. Элджебра от БПС-элджебра. Есть дефинит, но, несмотря на это, мы не можем компьютать в экземплярах, которые интересны для физицей. Да, это... Окей, но в любом случае, что мы знаем? Если мы имеем Квиво-Рой-2 с тривиалом потенциалом, а х-элджебра от Харвиа-элджебра есть шафел-элджебра. То есть, продукт может быть компьютен с локализацией Торус. Например, потому что я нужен этот пример позже, если у меня есть эквивер с 1 вертекс и n-лупс, это, опять-таки, это экземпляр с нашим пейпором, а потом корреспондент, так называемый qn, а также алджебра, которая есть шафел-элджебра, но, в принципе, она может быть компьютена в любом случае на что-то, которое нет. Так что, если n-элджебра есть даже, например, если нет лупсов, то это инфинит-грасман-элджебра, и если n-элджебра есть от, например, эквивер с 1 лупсов и нет потенциалов, и тривиал-потенциал, это инфинит-симметрик-элджебра. Опять-таки, variables, но, ок, инфинит-симметрик-элджебра. Сейчас... Да, это вектор спейсов полиномиалов в один variable. Это мой следующий... Да, да. Для n-элджебра 0. Ок, так, дай мне его explicitly, потому что это мой главный пример. Так что это A1-элджебра, которая на обычном конструктивном алджебра сайт, это correspond to the l-элджебра SL2, и это quantization of... just quantization of the plus half of SL2, it's a polynomial in one variable, because there is just one nilpotent... A1, I mean just A1. You see, Sasha, one point. Ок, let me make it bigger. This is A1, it's not... But for co-homological... You see, the point is, that as a vector space, it's a direct sum of a covariant co-homology of the point. So it's already... it's polynomial for each n. So it's infinite dimensional, it has nothing to do with conventional whole algebra. So it's very big. One, three, five, seven. Ок. Yes, ok. So if you have a symmetric weaver, more general, the number of arrows from i to j is equal to the number of arrows from j to i, then this is a super... it's super commutative here. It was proven free super correct, free super commutative. So it's symmetric algebra of some graded vector space. Free super commutative, it was proven by Sasha Efimov, and more recently it was generalized by Ben Davison. So here the potential is trivial, and in Davison's story it can be non-trivial. And for him he needs a kind of what he called symmetric structure. It's an isomorphism of the quiver with the quiver with all arrows reversed. But the result is the same. It's generalization of your story. So it's still super commutative. And also there is like a special computation in our paper where we have Jordan quiver, which means quiver with one vertex, and potential which is polynomial of an arbitrary degree. So then depending on degree the algebra, the co-homological whole algebra is a tensor power of one of these. No, for any n, it's a tensor power of... if you have a potential... Yeah, but it can be polynomial. You forgot your own paper. It's too many things. I think it's power of this exterior algebra. Yeah, tensor power of this... Ah, okay, sorry, yeah, yeah. The one... So you remember, it's very good. Yeah, it's the power of this exterior algebra, yes. And actually I think we proved it just not for the shift of vanishing cycles, but then it's using the methods of Davidson. It can be proven for critical co-homology as well. So anyway, I think this is the end of kind of a reminder. And yeah, I can show you. So it took quiver. It's this one. So in this case, the algebra is neither... It's not a super commutative. And now we have two vertices. And for each vertex, we have... You see, it's a subquiver. So if you know the answer for the quiver with one point, so you know that inside we have infinite Grassman Algebra. So they sit inside. And there are non-trivial relations between these generators, which I don't remember, but I can look if you'd like.  Okay, now comes a question. So this is the end of the reminder part. And actually two questions, two natural questions. So we introduced this cohomological whole algebras for the purposes of the Motivic Donald's and Thomas' theory, which I'm not going to talk about. But there are two questions which I believe are interesting. So first question is a natural representation theory for cohomological whole algebra. And as kind of a motivation, which I can even refer to one of the talks at this conference, I remember there was a talk of Gukov at the beginning of the conference and he mentioned something like that algebra of closed BPS states should act on Gukov's talk on the space of open BPS states. And if you look at his paper with dosage, you will see pictures like this. So this represents open BPS states probably in some sense which should be understood. Physicists think about the maybe real analytic shifts supported on surfaces with a boundary, which are complex analytic on the complement of the boundary with some boundary conditions. So there should be a modular space of such, but this theory is yet to be developed. And so this is the open part, this is the closed. And this is a more familiar story, for example, in Richard Thomas' talk, he heard about stable pairs. So he spoke about shifts, pure shifts supported on curves. This is a classical story. Actually some people still think that Donald's and Thomas' theory is just counting ideal shifts. It's something about shifts with one-dimensional supports and this is a sort of an action. If you smoothen this somehow, you still get something supported on the surface with a boundary and then there should be an action of this part is understood better. And the candidate for this is a cohomological whole algebra. And this is geometrically not understood, but we can try to look algebraically what should be here. Especially since in some geometric cases we can model the space of closed BPS states in terms of the quiver with potential. This is the first problem. And actually I wanted to write down the second one on the same page. And the second one is a double of the cohomological whole algebra. So what do I mean by double? So people who are familiar with constructible whole algebra they know that whole algebra gives you the quantization of the nilpotent part of how it was devoted to GQ plus just one-half of the cut smoothly algebra. You can add a zero part, but the construction of the whole thing, the whole quantum group, it requires some extra efforts and I think it's still not very satisfactory I mean all the proposed solutions. So basically even in constructible case whole algebra gives one-half of what we need. And the question is how to construct another half. Fortunately we know the definition of the full thing which we want to get. It's a quantized cut smoothie algebra. But in the case of cohomological whole algebra we know one-half but we do not know what the whole thing is. So then the question is are there any methods which allow us at least to guess what will be this double? Okay, and I think that these two questions, these two problems they are connected and in particular studying the problem A we can give some guess at least in some cases of what should be the double. And the idea is kind of a rough idea. It can be traced even in classical papers by Nakajima. So the idea to B, if we know the answer A. So recall that in one of his very first papers Nakajima recovered Heisenberg algebra by looking at certain hecke operators acting on the cohomology of Hilbert's scheme on C2 or we can take equivariant cohomology if you'd like. But the point was that he constructed two representations of the polynomial algebra of infinitely many variables. Basically two representations of the same algebra which as we know in the end they constitute two halves of infinite Heisenberg algebra. But to see the commutation relations one has to go to the representation space to compute the representation operators and what we get should be called if we do not know any algebra and no just geometry should be called infinite Heisenberg algebra. So then we can try to do the same thing. We know what cohomological whole algebra is. So let's try to construct representations some natural representations but we would like to have kind of a two type representations in the same space by erasing operators and by creation and annihilation operators. Then commuting we get something twice bigger. I don't know the general answer so but let me illustrate it in the case kind of illustrate the idea for a one quiver. In that case we know what cohomological whole algebra is so we can recognize the answer. And the idea in general is to use so in general construct representations of cohomological whole algebra in cohomology spaces in cohomology of moduli of stable frame representations. So differently similarly to this story with PT stable pairs in that case we have smooth schemes not stacks so the cohomology are finite dimensionals and the representations can be handled. So how it works in the case of quiver A1. The framing so the representations of such a quiver is given just by a vector space of arbitrary dimension. So the framing is given by an extra vertex with a number of arrows. So definition I do not want to give a general definition. There is a very general definition of what the framing is. So stable frame representation so which representations of the quiver should be called stable frame.  For example let's consider just one arrow for simplicity. So then the representation to define this in general for general quiver what's a stable frame representation one need to choose a stability structure which in the case of quiver is just a stability function which is the same as a bunch of points in the upper half plane. And then we have the notion of slope stability in this case. So the representation of quiver is called stable frame. If there are no sub-representations which contain the image of this one dimensional vector space under all arrows and which has a slope which is bigger than the slope of the whole representation space. In the case of quiver A1 this is empty so the only stability condition is a trivial one. So then basically stable frame representations are just surjective maps. So then the space of stable frame representations is isomorphic in each dimension to the Grassmannian think gamma d. It's a modular stable frame. And so we are looking for representation. In this case there will be just finitely many summands of the infinite Grassmann algebra in this finite dimensional vector space. So and then it's quite easy to see. So this has a dimension 2 in the power d and the basis vector. So basically in general where we get such representations we get them similarly to the definition of the product on cohomological whole algebra we get them by considering short exact sequences. For example we consider short exact sequence where 2 representations are stable framed and this one is arbitrary. Then again we have 3 projections 2e1 e2 e3 and the pull back push forward constructions give an action of the cohomology of this stack on the cohomology of this modular space. So then we get representation in this particular case we get representation which is naturally realized in the finite dimensional motion of this Grassmann algebra by the ideal consisting of or spent by by wage products with the last with more than d more than d factors. No it's finite dimensional. No no it's No. No. No no no no All possible. The basis of the quotient maybe I just Only your polynomials. If d is 1 you have only polynomials in too many variables. It's still infinite. Maybe it's the last guy. The last guy. You are right. I don't imagine why he started from d plus 1. From starting from starting from d plus 1 I guess. I don't know. Okay. You are right. CD plus 1 and so on. So then indeed the basis will be just these things No. You are right. K We are K K from 1 to d I guess. Yeah. Agree? Okay. So and the action is a natural one. So it's just a product. And similarly we can project to the last factor which gives us which gives us so this gives us a kind of creation operators if you like. Texts like this and projecting on the last factor this is a correspond to the projection on the middle. Projection on the last factor gives annihilation operator contraction. So then one can commute what we get in the end what kind of representation we get and the answer is that we get representation of the Lie algebra of the orthogonal Lie algebra. So then the natural guess is that the double homological Hall Algebra in general in this case it's a Cliffhart Algebra infinite Cliffhart Algebra with two types of generators and the central element so this is one half this is one half so this is infinite grassman this is also infinite grassman and this is a constant times one of course when we consider finite dimensional representation this is finite dimensional story then the central charge must go to zero and of course it's well and it's naturally again to guess that if we have a quiver within loops and no potential then we have a similar story if we have even number of loops infinite grassman infinite Cliffhart Algebra even if we have odd number of loops we have infinite Heisenberg Algebra so very much similar to the story to the story with Nakajima alright so and of course well one can square is the quiver A1 and if you look for the one half you'll see that this XCIs plus they correspond to the positive part of the affine Lie Algebra SL2 hat so A11 quiver so maybe this is where the dependence on the quiver is hidden plus they in fact come from the corresponding affine Lie Algebra okay so do I have any time? theoretically not okay so then okay so then it's better to stop I know that there is a Russian tradition that you cannot wish anything to a person but and so for Maxim it will be in August but we are in France so I can break this tradition and wish you like happy birthday Maxim so thank you


فشرف بل اشتغالي بالعلم ولا تبغي به ما عشت يدى بدلا وياله من شراف عظيم الحمد لله رب العالمين له الحمد الحسن والثناء الجميل وأشد أن لا إله إلا الله وحده لا شريك له يقول الحق وهو يهدي السبيل وأشد أن سيدنا والنبينا محمد صلى الله عليه وعلى آله وصحبه والتابعين وقاله بإحسان إلى يوم الدين أما بعد إن شاء الله تعالى in today's lesson this is the fourth lesson right? this is the third lesson we're going to take the biography تعريف الموجز بمصني في كتاب البلوغ المرام من دلة الحكام الحافظ من حجر رحمه الله تعالى we're going to take a summary or a summarized biography of the author of the book الحافظ ابن حجر رحمه الله تعالى and the way we're going to take him is in the following way the point number one the first thing that we're going to be speaking about number one which is the first one is going to be his name, his lineage his his nickname and his Kunya his Kunya his Kunya is who is he attributed to as a son who is he attributed to as to be of his sons Abu Wat as a Kunya the second insha'Allah تعالى that we're going to be speaking about is موليده ومكان ولادتي which we'll speak about his birth and where he was born the second one is going to be birth and where he was born number three is going to be the third is going to be how he grew up his upbringing and his path in seeking knowledge that was the third right the fourth is going to be his position of knowledge his caliber of knowledge his status of knowledge what is it and how the scholars praised him what did the scholars say about him praising him the fifth insha'Allah تعالى is going to be his books that he wrote the books in which he wrote مصنفاته the books that ابن حجر رحمه الله wrote those are the five points that we will speak about in the life of ابن حجر رحمه الله تعالى number one let's go back to the first one what's his name his name is أحمد ابن عالي ابن محمد ابن محمد ابن عالي ابن محمود ابن أحمد so his name is أحمد ابن عالي ابن محمد ابن محمد ابن عالي ابن محمود ابن أحمد and this is that name that I mentioned is what his student he said in his كتاب الجواهر والدرار عالي مام السخوي in his book الجواهر والدرار and it's a book that he wrote in just a biography of who ابن حجر it's called الجواهر والدرار في ترجمة شيخ الإسام ابن حجر and it's three volumes and many scholars many scholars they studied ابن حجر PhDs were taken on him Masters were taken on him thesis and dissertations were done on his life رحمه الله تعالى one of the best books written on his life is the one that is written by دكتور شاكر محمود عبد المنعم دكتور شاكر محمود عبد المنعم he wrote a book called ابن حجر العسقلاني ابن حجر العسقلاني مصنفاته ودراسة في منهجه وموريده في كتابه الإصابة also Kamaluddin عز الدين لازبكود ابن حجر العسقلاني مؤرخا other than him عبد ستار الشيخ يروي بكود الحافظ ابن حجر العسقلاني وامير المؤمنين في الحديث محمد يوسف أيوب he wrote الحافظ ابن حجر العسقلاني حياته وشعره so many angles and many fields he was studied دكتور صالح السياح his book is also good because he talks about his methodology in how he speaks about the imma and the narrators that are in صحيح البخاري in which ابن حجر springs the ones who are criticized there are some who are criticized by ابن أمام البخاري some scholars they criticize some of the narrators ابن حجر he defended امام البخاري so a book was written on that by a doctor صالح السياح he called it منهج الحافظ ابن حجر في دفاعه عن رجال صحيح البخاري المتكلم فيهم so that's his name مع أحمد ابن عالي ابن محمد ابن محمد ابن عالي ابن محمود ابن أحمد and that's what his student الامام الصخاوي said after he brought his name like that after he brought his name صخاوي رحمه الله بعد انساقه after he brought نسبه he said هذا هو المعتمد في نسبه لا اذكروا زيادة على ذلك he said this is what is relied upon in his lineage and his name and he said I don't I will not mention any additional point to this I don't remember any additional names of his and the thing he's trying to point out here صخاوي رحمه الله and he's trying to point out is there's a خلاف in which occurred in his fourth granddad his fourth granddad you see there's a discussion that went which is is his name محمود or is it أحمد his fourth granddad is it what the fourth one is he محمود or is it أحمد there's a discussion so if you count don't count don't count his name and don't count his father's name so start counting from his actual granddad his father's father his father's father's name is who محمد so محمد محمد علي and the fourth granddad is going to be who محمود right that محمود is his name محمود or is it أحمد there's a خلاف that's a dispute as for the remaining there's no problem with it his nickname is this is his nickname that is his nickname his كنية is and his father gave him this كنية his father gave him this كنية and this is the كنية this is the the كنية in which he became very well known for now we've mentioned his name we've mentioned his nickname لقب we've also mentioned his what his كنية we now have to mention his lineage where is he from where's his lineage و أما نسبته as for his lineage فإنه يقال له he is called كناني his كناني العسقلاني كناني is a tribe نسبة إلى قبيلة كنانة إحدى القبائل العربية it's from one of the Arab tribes it's called كناني is one of the Arab tribes و أما العسقلاني و أسفو عسقلاني then العسقلان is a it's a city بساحل الشام من فلسطين it is a shore of Sham and you know Sham is what Jordan Syria Palestine Lebanon they all are what they are all Jordan they are all Sham even part of Saudi Arabia is Sham like تبوك those are frozen there Sham you see so he was he was what he's a Nisbah his lineage is to عسقلان which is a city on the what on the shores of Palestine are you with me and this place عسقلان this city كانت موطن أصولي و جداري this is where his lineage and this is where his forefathers are from that's the city but what happened إلا أن قالهم but they never moved from that city who moved them from there صلاح الدين الأيوبي صلاح الدين الأيوبي he moved his family and his tribe from this city to Egypt are you with me لما خربها بعد أن رأى المصلحة في ذلك after he destroyed it after he destroyed it and he saw صلاح الدين saw a benefit في ذلك على إثن الحروب صلابي صليبي after the fight that he had with the crusades he saw a benefit to destroy this city so he's what he's great granddads and his forefathers all of them are from عفقلان which is a مدينة it's a مدينة بساحة للشام من فلسطين also what is additionally added onto his lineage is المصري he's a mystery Egyptian and القاهري from Cairo why لأنه وولي دبي مصر because حجر was born in Egypt he was born and he moved to where he moved to القاهرة he moved to قاهرة so that's why you find he's Kenani because that's his tribe العصقلان because that's where his forefathers were from and the land that they were from but he's Egyptian in the sense where he was born in Egypt and he lived in قاهرة so he's a القاهري now the question arises as why is he well known as ابن حجر why ابن حجر و أما اشتهاره ابن حجر as for him becoming very well known as the name ابن حجر فظاهر what is apparent is أنه لقبل لأحد الأعلى الأعلى في نسبه what is apparent أنه لقبل لأحد الأعلى في نسبه that this is what that this is the nickname that was given to the Ahmed at the ending of the name the last person we mentioned in the lineage was Ahmed right that Ahmed because ابن حجر had the same name as him they gave him the nickname of his as ابن حجر and that's the opinion that was strengthened by كما رجحه ذلك الصخاوي as Imam الصخاوي strengthened that in his book في ضوء اللامع and Imam الشوكاني was strengthened in his book البدر الطالع and that is the opinion strengthened by الصخاوي in his kitab الضوء اللامع specifically mentioned that because since we were mentioning و الصخاوي was saying you might think to yourself that it is in his book الجواهر والدورة في ترجام الشيخ بالسام من حجر but that's not where he said this or where he strengthened it it is in his book الضوء اللامع and all shoukani رحمه الله Imam الشوكاني محمد بن علي الشوكاني in his kitab البدر الطالع so now we've finished the first point the first point of speaking about ابن حجر's name we mentioned that we spoke about his lineage spoke about his nickname and we spoke about his kunia we're now going to speak about the second point موليده و مكان ولادتي موليده و مكان ولادتي his birth when we say his birth we mean when he was born و مكان ولادتي where was he born the scholars that spoke about the biography of بن حجر in this situation the scholars that spoke about the biography of بن حجر in this situation we won't give them a high president و حجر himself spoke about his time of birth that's it if a person mentions their own time of birth and they talk about it themselves then the person knows himself and where he got this information from صحب و لذلك there's a book there's a book which is called الدليل الشافي this book is called الدليل الشافي and it has in it one of his students his name is called ابن تغيري بردي ابن تغيري البردي he's a student of ابن حجر رحمه الله he's a student and he put a question to ابن حجر رحمه الله and ابن حجر answered that by telling him what year and when he was born so ابن حجر himself said when he was asked about his time of birth and when he was born ابن حجر صر في ثاني عشرين شعبان I was born in the 22nd of شعبان and the year was what ثلاثين وسبعينة وسبعمائة seven hundred and seventy three seven hundred and seventy three and also that is the view that was strengthened by الإمام السقاوي in his كتاب الجواهر والدورر but where was he born where was the place in which he was born سقاوي added on to that he said أما مولده في الثاني والعشرينة من شعبان سنة ثلاثين وسبعينة وسبعمائة and then he went on to say so he agreed with ابن تغيري but he added on about another thing which is the place in which ابن حجر was born so where was ابن حجر born he was born على شاط إنيلي بمصر the river Nile in Egypt والمنزل الذي يولد فيه بمصر معروف and the house or the place in which ابن حجر was born is very famous it was very very famous it was known and it's a place as close to بالقرب من دار النحاس والجامع الجديد it's very close to دار النحاس جامع الجديد it's very close to it and then he moved from that place ابن حجر and he went to Cairo and that's where he died he moved from that place and he went to Cairo and he died there رحمه الله تعالى we're now going to move on to the third point which is نشأته وطلبه للعل he's upbringing and he's seeking of knowledge نشأ الحافظ ابن حجر رحمه الله تعالى يتي من ابن حجر he grew up as an orphan ابن حجر grew up as an orphan his father died إذا ما تأبوه في رجب his father died in the month of Rajab سلت سبعين وسبعين وسببمائة the year 700 and 77 so how old was ابن حجر at that time 4 years because 4 years وعمره أنا ذاك 4 سنوات he was only 4 years صح and his mother died way before that وما تتأمه قبل ذلك his mother died before all of that his father before he died he's father ابن حجر's father before he died قد أوصع بإثناني من الذين كانت بينه وبينهم مودت واختصص his father before he died he gave a farewell a farewell and he elected two individuals that he had a very strong bond with his father and they were very close and he told those two to take care of ابن حجر the first one of those two is أبو بكر زكي الدين محمد ابن علي الخروبي أبو بكر زكي الدين محمد ابن علي الخروبي he died a year what? 787 787 and this man أبو بكر زكي الدين محمد ابن علي الخروبي وكان رجلا صالحا he was the righteous man وتاجرا كبيرا he was a big businessman من تجاري مصراء from the businessman of Egypt the first second person is the second person is الشيخ شمس الدين ابن القطان الشيخ شمس الدين ابن القطان he died a year 830 from those two أبو بكر زكي الدين محمد ابن علي الخروبي and the second one who is الشيخ شمس الدين ابن القطان those two the first one who is ابو بكر زكي الدين محمد ابن علي الخروبي the first one قاما بأمريه he stood up for the affairs of ابن حجر خير قيام the best so the first one then a better job he stood up for ابن حجر the fair in an excellent unprecedented معنى فنشة ابن حجر ابن حجر had an upbringing رغم يتمه even though he was an orphan he had a very good upbringing he grew up upon chest he was protected from all the the the muharrabahd and the sins to the extent that ابن حجر grew up and no one knew of his mistakes and shortcomings and his faults and أبو بكر زكي الدين محمد ابن علي الخروبي he didn't لم يألي جهدا he didn't hold back any efforts في رعاية والعلاية بتعليمي in taking care of him and putting effort in him learning he used to accompany ابو بكر زكي الدين محمد ابن علي الخروبي he used to accompany him in all of his business travelings and ابو بكر زكي الدين محمد ابن علي الخروبي used to have a yali a yali travel where he would go to Makkah ابن حجر وزوز with him فأكمل حفظ القرآن أن ابن حجر فنشت قرآن وله تسعو السنين he was only nine years old at the age of nine ابن حجر فنشت قرآن أنه only that وأما بالناس التراويح هلد التراويح وهو بالثنتين عشر سنة twelve years of age هلد التراويح in the ka'ba and this was after what بعد أن حجر مع وصيه الخروبي وصيه الخروبي with ابو بكر زكي الدين محمد ابن علي الخروبي and he stayed in Makkah until the next year of Ramadan فهو يار from حج to the next year of Ramadan he spent there رحمه الله so the year he went and done hajj was the year seven hundred and eighty four seven hundred and eighty four he went and done hajj and with ابو بكر زكي الدين محمد وعدي خروبي and he stayed in Makkah until the year seven hundred and eighty five خروبي he had a very great virtue as a virtue and a right great in making sure that ابن حجر had the right environment in which he could just focus on seeking knowledge and he directed him towards the people of knowledge and so that's so whilst he was in Makkah he went to the Musnad of Makkah rather he was the Musnad of Hijaz all of Hijaz his name was a sheikh أفيف الدين عبد الله ابن محمد who died the year seven hundred and ninety when did he take from him this is who الشيخ أفيف الدين عبد الله ابن محمد when did he take from him he took from him the majority of صحيح البخاري غالب صحيح البخاري and this was said to be the first sheikh أول شيخ the first sheikh سمع عليه الحديث in which he heard a hadith from him he also took whilst he was there the Kitab عمدة الحكام للإمام عبدالغاني عبدالواحيد المقدسي on who على القاذي who was the scholar of Hijaz as well الحافظ أبي حامد محمد ابن ظاهرة الحافظ أبي حامد محمد ابن ظاهرة and him and his son Hajar they both researched together فق الحديث فق and the Jews students to extract from hadith they did it together so ابن حجر the first time أبتداء أطلب العلم عند الحافظ النحجر the starting point for ابن حجر in seeking knowledge was that year which in that Ramadan which was the year 785 that year 785 how old would he be at that particular time because I already told you how old was he when he led the tarawih 12 so he was 12 years of age 12 13 years of age then what happened was he came back to Egypt with Al-Kharubi and the year they came back was the year 786 and he busied himself فشتغف أقبال عالش تغالب العلم he busied himself in knowledge جد و اجتهد he strove he put effort in and he memorized ابن حجر و حفظ كثيرا من المطون العلم he memorized a lot of from them is عمضة الاحكام he memorized that book which is a hadith book he also memorized the book الحاوي الصغير by Al-Qazwini which is a shafiq يسفق الشافعي اسقود الحاوي الصغير by Al-Qazwini he memorized that he also he memorized مختصر ابن الحاجب مختصر ابن الحاجب which is any أصول الفقبق he also studied ملحة العراب by Al-Hareeri I memorized it he also studied the book من هاجل وصول by Al-Baytawi he also studied الفية العراقي by his own teacher by المم العراقي he also memorized and studied الفية تبن مالك which is a grammar book he also even memorized the تنبيه of I was حاك الشي رايزي the book by I was حاك الشي رايزي which is a فق الشافعي a book انحبد لله ياديكم الله أسلحب عليكم ابن حاجب did not stop that's what he memorized these books right now they are all volumes they're volumes he memorized all of that and he didn't stop there the student he studied at Jumia that's it he's a علم يضربوا إليه أكبادوا الابل people are riding beasts to come to him and take knowledge from him صح that's not the case the issue is he memorized these big these books صراحة never been studied some of them never been taught publicly because of the weight that they have and these were the these were the first stages of his life in seeking knowledge الفيتم الماليك who studied that except to us whoever studied الفيتم الماليك and understood الفيتم الماليك is what who do we consider him as we consider him as النحريب من النحات would say he's a seeper way of this time yeah إذا قالت حدامي فصدقوها فإن القول ما قالت حدامي that's what he becomes if he says if he studies الفيتم الماليك this was في أوائل الطارب this is the first stage of seeking knowledge he's a what he's first he studied مختصر من حاجب مختصر من حاجب is not a أصول فقبق purely أصول راضئة has الملكلاء من علم المنطق and everything in it it's confusing right with me ملحة العراب he's studying من هاجل وصول باي باي ضاوي أن تنبيه باي بسحق الشيارازي رحمه الله تعالى so these are big books really books that are taught has to go through a long منهج in order to get to them but that's the first stages ثم إنه لا يزالو then he still stopped there he started to read and he went around to read on the scholars of علم the scholars and the people of knowledge and to memorize the موتون still all of this was considered as what مرحرة الفوتوة والشباب this is his early stages this was his first phase you with me but the problem that happened was إم الحاجر with all of that which he was doing and all of that effort that he was putting in the problem that happened was الخروبي died الخروبي died the year 787 and then what happened was because الخروبي was a rich man and he had money he could suffice him حاجر from just to sit down and to seek knowledge and when a person has that opportunity where money can come into him and he can study and he can focus it's an opportunity والله because you never know when this can come to an end and I started to benefit from those opportunities and he benefits if he has a means of money to come in نعم but then what happened was when الخروبي البقر زكيو الدين الخروبي died it became a period and it became the reason كان موتوه سبب وفي تفوتوره عن العلم مدة 3 سنوات 3 سنوات ابن حجر became absent from the field of seeking knowledge and knowledge because he not only financially lost the aid and the support but he also lost the what من يحصوه عن العلم the person was pushing him to seek knowledge and telling him to seek knowledge فشتغل بالتجالة and ابن حجب this then what he did was he started to go into business and he started to go into business and he started to go into business why did he do that لأجل أن يكفى لنفسه so he can suffice himself and he can aid himself he went into business خروبي died what year? 787 right how many years did I say he was absent from the field so what year would he come back again? 790 90 so stay here 790 ابن حجر رحمه الله he came back how old would he be at this age 17 if I'm not wrong اكما لسبعة عشر من عمري he completed 17 of his years نعم but the issue here right now is when he did come back his perception and his focus now has become what? history الالتاريخ and he went towards الأدب لتشة he was focused on those rather he reached a point at this moment of his life حتى إنه لا يكادر يسمع الشعب that he doesn't hear a line of poetry إلا ويستحذر except he can tell you من أين أخده نظمه the person who said this if he heard you say a line of poetry he would say to you you got it from فلان ابن فلان who said it and when he said a line of poetry he got to a point where he would know where he got it from فتولع بذان he became known for that became very strong in that until ابن حجر رحمه الله تعالى the field of tariq history and the field of literature and the Arabic language and poetry and what not he became something else in his time and he passed وطارح الأدب الكبار he passed the great literature of his time he surpassed him and he wrote himself poetry and this is what he did for six years of his life he focused on that for six years he was into just literature and history so what year would this be 796 then what happened الله سبحانه و تعالى pushed ابن حجر and placed in his heart the love of and he realized at this point the knowledge that he took from literature and the knowledge that he took from the history he realized that he required and he felt in himself that he required that he had a he had a he was specific أحد علوم الشرقية one of the Islamic sciences that he learned one of them واللغة و والتاريخية the language he specialized in something to focus on something and now I want you to realize because the life of the great noble scholars like him helps us in our way to seek knowledge صح the thing that he started with had given him the upper hand to choose now what to study because when the person my brother is wallahi with all honesty if a person grounds himself on the Arabic language very well and he studies it very well my brother is wallahi he has the right he's got the chance of choosing what he wants to study


WE'RE GONNA GO SING SWEAKS! I'm so excited. We're going into Gondola Costa. Let's go! What do you mean? Wow. Ugh. Talk. That's not how you speak. Hey. It's not. 50 years of thrills, baby. We're about to get thrilled. What is thrilled on a plane? We're going to get, I'm going to thrill everywhere. Well, here we are. Six Flags Tundra Mountain. We're here and we're ready to take on a... Oh, that was great. Oh. So we're here at Six Flags. We're having a great time. Aren't we, Andrew? Aren't we? We're going on the first ride. The first ride of the day. The first ride of the day. The first ride of the day. And I'm sweating. Oh, wow. That was... I don't like it. I don't like it. It's like a life jacket. Hi. Hi. What if I drop it? It's good. I get it. Interesting. Does it? Because I held onto my phone. I would have lost it. I would have lost it right then. Right then and then. I would have gone down the hole. Look at that.  I'm holding it this time. I'm going to hold the phone. I hope I don't drop my phone.


A man found old belongings inside an abandoned locker, then he realized they belonged to a celebrity. For Anton Lulguraj, bidding on abandoned storage lockers had become a sort of hobby. He loved the suspense of not knowing what might be inside. Sometimes the lockers would prove to be valuable and other times worthless, but for Anton, he enjoyed the thrill of the gamble. So, when Anton bid and won a storage locker in Brewster, New York he had no idea that what he was about to find inside. After searching through a stack of old photographs, he began to recognize one of the faces. Could it be? It seemed he had purchased a storage locker that belonged to none other than Oscar-winning actress Diane Keaton. You won't believe this incredible story. Diane Keaton was born in 1946 and from an early age was fascinated with the acting world. Her mother inspired Keaton after she won a pageant for Homemakers, which increased her desire to act on both the stage and in film. Little did she know what a star she would be in the future. At first, Keaton began her acting studies in her hometown of Los Angeles, California. However, the stage began to call her creative fire. Therefore, she moved to New York City and joined the Actors Equity Association. Unfortunately, Keaton discovered that another actress had registered her name, Diane Hall. Deciding to take a stage name, she officially became Diane Keaton, a name that would eventually become cemented in film history. After struggling to land a role in New York, Keaton finally made her acting debut on Broadway in the original production of Hair in 1968. It was an incredible time for Keaton, who would see her career go from zero to 100, over the course of the next few years. The next year, Keaton would land a part in the play, Play It Again, Sam with Woody Allen. The performance was so well received she was nominated for a Tony Award. At this point, people in Hollywood and NYC began to take notice of Keaton's rising star. It would be three years later in 1972 that Keaton would make her film debut in the critically acclaimed film, The Godfather. This would open the door to a flood of acting opportunities for the budding actress. She would eventually come back for the sequel The Godfather Part 2. Despite her role in The Godfather receiving a claim, it would be the 1977 romantic comedy, Annie Hall that would skyrocket Keaton into stardom. Written and directed by Woody Allen, the film was based on Allen and Keaton's off-screen romance. To say it was a hit would be an understatement. Keaton won the Academy Award for Best Actress for the film. She would also go on to become a fashion icon thanks to her unique way of dressing. Soon fans began to emulate her clothing style, with more women taking to vintage men's clothing than ever before. Despite the film Annie Hall being iconic, Keaton doesn't want to be defined by one film or role. I don't want to be identified as one thing only. I remember somebody once said to me, don't ever change when I did Annie Hall. For Keaton, being defined by one role meant stunting her growth as an actress. I think that stunts any kind of growth, she continued.  I knew I had to change. You've got to change, don't you think? I mean, otherwise, what are you going to do? Over the course of 50 years, Keaton has had a flourishing career. Starring in films like The Family Stone, The First Wives Club, and Father of the Bride, she has become a household name in Hollywood. Keaton even started her own line of red wine. So, for a simple man like Anton to discover what could possibly be photos owned by her, it was an incredible discovery. While Diane Keaton loved being in the spotlight, Anton enjoyed a much quieter life. Living in New York City, Anton had inherited his father's candy shop, along with decades of sweet secrets that had been charming the locals for years. Despite finding success, the candy shop closed in 2006. It was a devastating blow for the entrepreneur, who became semi-retired in the aftermath of the shuttering of his father's business. However, he did develop new hobby, bidding on storage lockers that had been abandoned. Storage lockers become available for bidding at auction when the renter fails to pay the monthly bill. The sell-off process is a way for the business owner to reclaim some of the funds they lost when the owner chooses to stop paying the rent. Some business owners hold blind auctions, which means the bidders do not have any access to the inside until after they've paid. However, some auctions allow for the bidders to take a look inside the unit and base their bid on what they find. Everything inside is up for grabs. Anton had enjoyed quite a bit of luck when it came to bidding on storage units. In 2016 he had purchased a unit that belonged to singer Keith Diamond. Inside he found an original recording of singer Donna Summer, as well as photographs of Don Johnson and Barbara Streisand. How cool is that? It would be May of 2018 when Anton would purchase a large storage unit in Brewster, New York that once belonged to a man named David Parent, an ex-air force pilot. Parent had passed away and someone else had taken ownership of the unit, but they eventually stopped paying the rent. After winning it at auction, Anton was pretty thrilled with his find. He even found a motorcycle underneath the massive boxes. Anton's suspicions proved to be correct and there was an old motorcycle in the unit. In fact, it proved to be quite valuable seeing it was an Indian bike from 1913. He would later go on to sell it at auction for 10 times its value. However, that was far from the most intriguing item. As Anton catalogued and sorted the items in the unit, he stumbled upon an old leather wallet. Inside, he found 32 family photos, as well as the driver's license of the wallet's owner. When he looked at the picture, he couldn't believe who it was. At first, Anton didn't recognize the name, Diane Hall. However, when he looked closely at the photos he was floored to see that the wallet belonged to famous actress Diane Keaton. As a fan of the godfather, Anton was absolutely giddy with excitement over the find. Anton truly couldn't believe his eyes, so he continued to dig for more clues. Inside the wallet, he found Keaton's actor's equity association card, as well as more documents to confirm that she was, in fact, the owner. What a once-in-a-lifetime find! According to interviews that Keaton had given in the past, specifically one from 1978, she mentioned that she had lost two of her wallets by leaving them in cabs. Could this possibly be one of those wallets that she mentioned? The situation was definitely clouded in mystery. Did Keaton happen to no parent? How did he come into possession of her old wallet? While Anton had sold his rare finds in the past, he didn't feel right profiting on Keaton's personal items. Therefore, he made the decision to find a way to return the wallet to the actress. Thankfully, he was able to reach out via Twitter, though he wasn't sure he'd get a response. Hi, I bought a storage unit at auction, and in there I found a wallet and your driver's license and photos from the 1960s and 1970s. If you have any interest in this, you can have it back, Anton tweeted Keaton. Unfortunately, the actress didn't respond. Anton went to the New York Daily News with his find, hoping they might have more cloud in getting in contact with the actress. The publication tried reaching out to Keaton but also failed to get a response. During this time, Anton reiterated he had no intention of selling Keaton's personal things, believing her lack of response may have been due to the impression, he was trying to make a quick dime. Thankfully, it only took two days after the story was published for Keaton to acknowledge the lost wallet. She tweeted, I don't remember losing this, but I'm not surprised, because I've lost my wallet many times. Anton was overjoyed that Keaton finally acknowledged the wallet and quickly placed it in the mail for the actress, tweeting I hope it isn't lost in the mail for another 50 years. For Anton, reuniting the actress with her old memories was better than any money he could have made off of the items. After receiving the package, Keaton posted an old family photo on Instagram of her with her siblings. This photo was in the wallet, the actress wrote on Instagram. I'm on the far right. Can you believe those bangs? In the end, Anton was shocked to receive a special Christmas gift from Keaton, a box of her wines the Keaton, and they were signed by the actress herself. Anton was thankful for her gratitude but declared it wasn't necessary. He was just happy the actress was reunited with her precious memories. Talk about doing a good deed. We hope there are more Antons in the world.


We're not in the business to kill people. Yeah, that should be like the motto.  I told them, I was like, yeah, I already put my two weeks notice in. Okay, this is becoming real now. You pushed her off the high dive. I pushed myself off that. What's it like working for your cousin? It's cool. No biggie. What, do you feel the same way? Yeah.  Welcome to the show. As always, this is a show about failure. It's about screw ups. It's about figuring out what you need to do and when you're going to do it. Basically, it's about taking the leap.  On today's show, we have a couple of people that started their own restaurant, a poke bar, here in the Seattle area. So gave up on a great marketing career and another guy that was like working at four-star hotels in Hawaii, decides to take the leap and put this stuff together. But before we talk to them, let's check in with our resident mixologist, bartender extraordinaire, Mr. Jack Sanders. Jack, what are you making for us tonight? Tonight we have a brewed drink, flowering tea with a little bit of hot water and a whole lot of alcohol. Name of the drink is Lily's Musings. It's local bourbon as well as a non-alcoholic distillate from over the pond. We're going to start with that one. This is my seed lip and I decided to go with their Grove 42 Citrus, which has a few spice notes to it, but mostly is a citrus infusion. Next I have a little bit of apricot liqueur. This is from Rothman in Winter. And this will give us a fruit profile, just some warmth in the background of the drink. Next I have a quarter ounce of Averna. It's an Amaro little bit of a bitterness, some sweetness, chocolate flavor profile. A half ounce of one of my personal favorites, Grand Duque de Alba Spanish Brandy. And then we have some local rye whiskey from Mischief down in Fremont. This is their John Jacob. We're going to use an ounce of it. One dash of scrappy's aromatic bitters. And then we have a teaspoon of sugar that we'll add to this, just enough to balance out the overall drink. And at this point we want to add our flowering tea. So I have a white peony tea with peach. Let that soak for a little bit. And let's add our hot water dilution to fill. Name of the drink is Lily's Musings. Buddy, welcome to tonight's show. I guess tonight is Bea and Kevin. They have a Poke Bar in Bellevue at Tacoma, Washington. Thanks for being on the show. Thanks for having us. Yeah. Oh wow, you guys speak in unison. This is going to be amazing. Look at synergy. We've been practicing. Okay, we're going to get into your careers, what you've been up to, everything else. But first, we have some amazing drinks that Jack has made for us. Let's toast them out. Let's cheers, toast, whatever. Is there another way I can say cheers or toast? Do you guys know of? What should we say? Just cheers. Cheers. What are we toasting to? We're toasting to? A great new year. A great new year. Yeah, we always want a good new year. Cheers. All right. Let's go. Yeah. We may have another. Yeah, we said, this is supposed to change, I mean, it makes sense, it's tea, right? Okay, that's good. I'm going to take another one too. Let's just have B talk while you and I drink. Yeah. Yeah. That's usually how it goes. I drink, I'm with a drinker. This is really good. This is really, really good. Okay, so let's back up. We'll go back, for both of you, kind of go back to the beginning of where you got inklings of doing this type of stuff. Both of you start off in restaurants originally? Yes. Yeah, where did you start off at? I started off at Olive Garden, my first job. Yes. 17 years old. Yeah, did they have like the unlimited soup, breadsticks, salad stuff there? Soup salad and breadsticks, yes. Soup salad, yeah, I got that totally. 4.95. You said that very well. Yeah, you start off doing that. Did you stay in food for a while or? I did, I moved up, became a server. Yeah. And then I stayed at Olive Garden for quite a bit of time, all of us in college. Yeah. And then moved on, went to a hotel. Yeah. Worked at a restaurant there. That's like cutting your teeth in the food industry. Like is that what you wanted to do or did you just like land the job accidentally? Accidentally. How about you, Kevin? I've been in the industry for over 15 years now. Over 15 years? Yes, sir. Yeah, so you started, wait, where are you from again? I'm originally from Garland, Texas. Garland, Texas and you're from? Tacoma. Tacoma. Tacoma. Yeah. Wait, is that why you opened up the restaurant in Tacoma? You're like giving back? Actually, yes. Well, it's one of those things, you know, like we brought it to Bellevue and we got very good reception. Yeah.   What do you do that sort of sets you apart from other places? Let's say our customer service. Customer service, consistency. Yeah. Yeah, I mean, they're paying a pretty penny. Not pretty, I mean for like, you know, $12 average for a lunch item, that's pretty good. That's pretty good, yeah. You want it to taste good every single time. My biggest thing is going somewhere and it's good. The first time you come back the second time it's like, oh, what happened here? And that's something we stress, the customer service. The new team in Tacoma, we stress that since day one and they got it. And that's just something that, you know, little things that some people don't really pay attention to and we just pay attention to the details at least. Try to. What's it like working for your cousin? Working for my cousin, it's cool. Works like pretty opposites. Yeah. So it's kind of like what, like my strengths is like her weaknesses and her strengths is my weaknesses. So it's kind of like we keep each other in check. It's cool. No biggie. What, do you feel the same way? Yeah? No, you know what? It really is great. It's Kevin, he's always, he stays calm. And so I'm the one that's always like, you know, we got to do this, this, and this, and this. And he's kind of like, it's OK. Let's just focus on what needs to be done. So I think we are, we work very well together. And there's times when we're battling each other on like. Ideas and this and that. Like ideas for the whole place or just ideas on the food? Yeah, everything. I mean, sometimes we'll discuss like a sweetness level on a beverage or just how we cook this or do that. It's like, you know, we're, how do we meet in the middle? It's always compromise. And then there's a third, third party to this team. And Brian is like the voice of reason, right? Yeah. The husband that she met at Olive Garden. Thank you, Olive Garden. Thank you, Olive Garden. He's like the voice of reason for the most part. It's just, you know, we try and we understand. And the thing is that what works with us is like, we know it's what's best for the bigger picture. So we just make it happen. It's like, I'll give up something. She'll give up something and then just move on from it and just keep on. So right before you open up the restaurant, what were you doing before that? I was in corporate marketing. Corporate marketing.  And they're like, ooh. Like I dodged that bullet. Now I'm doing something else. Like what made you want to go back into restaurants? I think for me it was more of I wanted to work for myself. Yeah. I got tired of working for somebody else. I put in a lot of hours. And it's just freedom, right? To have flexibility. I have eight-year-old twins at home. I wanted to spend more time with them. And so that's kind of how the road that we went down. My husband and I always wanted to open something. We just didn't know what. And we kept going back to food. I'm like, oh, let's do this. Let's do this. And I got, I got denied so many times. I'd probably say at least a dozen times on different ideas. Oh, different ideas. Wait, who denied you on the different ideas? My husband. He was like, we are not going into food. Why would you even do this and go out on your own? You had a good marketing gig. Why branch off? I know you said that you wanted more time, but it doesn't a small business. Sort of eat all of your time. Yes, absolutely. Yes, it does eat up a lot of time. I think it was at the point where I'd lay in bed on Sunday night, and I'm like, I don't want to go to work. I just don't want to go to work. And it was like that every single night. And my husband was like, OK, well, what are we going to do about it, right? Now did you know just getting another job or another thing wasn't going to satiate it? Because we're just like, oh, I'll just get another marketing job. No, I just know. I knew that wasn't the solution. Only because you work so hard, and you put in all this effort. And I've been through it, and I'd bring suggestions, and people don't really listen to it. And so it was one of those things where I knew that I wanted to work for myself. And so that's kind of how that started. And my husband was like, let's find something. Let's figure out what it is that we can do to get us there. Yeah, you have an awesome partner. I mean, for somebody to just be like, OK, let's start something. He's probably tired of hearing me say, I don't want to go. He's like, let's fix this. I'm so tired of this. I mean, is he entrepreneurial as well? Like, is this something that he kind of leans toward? Yes. So originally, he wanted to open up his own accounting firm. Oh, OK. He wanted to be a CPA. That's super sexy. Yes. Yeah. It does sound like he completes the dynamic. Yeah, yeah. Be the accountant for us in our trio. So he wanted to do something like that. And instead, you talked him into, that's awesome. That's what I know. And so it kept going back to that. And I was like, hey, let's try it. And he challenged me, find a location, let's put a business plan together. And it kind of just took off from there. And I started on the business plan, and it probably took me about six months or so to do that. Six months with the business plan. Trying to find locations, emailing brokers. But you had, so how old were your kids at the time? Those two years ago, so six. So six? So you took the leap with two six-year-olds? In the beginning, though, I didn't even think about the time that it was going to be taken away from them and this and that. And so it was just more of the excitement, right? Like, hey, we're going to do something on our own. And this is what it's going to be. And we're running the business plan. And talking to Kevin about this is what's going to be on our menu. So I think that helped in that journey. And then as we were getting closer, that's when things started like, OK, this is becoming real now. We found a location. We're going to sign the lease. And I'd sit there and I'm like, I don't know. Are we really doing this? So it's one of those things that we started. And it just worked somehow. Was there a point when you felt like you were kind of at the edge of the diving board looking down? And you were like, oh, now once I jump, like I've jumped right at that point. Do you know if you're going off a high dive, you're like, well, this is it. You're in the air and you go down. I put my two weeks in notice six months. Oh, wow. Yeah, I told my executive team and stuff like that. I was like, yo, I think it's time for me to go. But we're heading into the busiest time of the year.  Yeah, yeah. And I love my team and Waikiki. And I love my team everywhere. And I stayed and did what I had to do. But I told them, I was like, yeah, I already put my two weeks notice in.  Are we really doing this? Like, I think that was a tipping point for me, like, we are really doing this. You pushed her off the high dive. I pushed myself off the high dive. Cousins, right? Only by blood. Only by blood? Yeah. Cousins, right? Yeah. But like, wait, not straight cousins. That's weird. Why would I say that? You're like an older cousin. You're like a grand cousin. Is that? Well, no. I'm her uncle-ish. If you break it down. Yeah. I am technically her mom's cousin. Oh, OK. But because of the age difference and because it's just weird to have somebody. Yeah. We just call each other cousins. It's easier to call each other cousins. Not uncle cousin. No. The kids call me grandpa. Uncle grandpa. Uncle grandpa? That's a good one. Do you like being uncle grandpa? It's fun. It's hip. All the single moms, they get a kick out of it. It's cool. You're like, it works. Yeah, it works. So when you guys, when you decided that you wanted to open up a restaurant, was he the first guy that came to mind? Yes. Really? Yep. I remember that. Hit him up in, I think it was Messenger. And I was like, hey. Oh, on Facebook? Yes. Oh, wow. I'm down in California because I'm a total foodie. I love eating. And so we take several trips down to California. And I just find really good places to eat. And so we were at a poke bar down there. It had just opened. And I messaged him right away. Because after each bite, I was like, oh my gosh. This is so good. This is so good. And I was like, hey, what do you think about this idea? And he was like, oh, that's cool. But then I never really heard back from him again. And so we went back down to California. I'd say three months later, my husband and I. And I said, OK, we got to do this. And at that time, there wasn't any poke bars up here yet in Seattle when we had this discovery. How long have you had the poke bar here? A little over two years. Two years. And so there wasn't a lot even two years ago. No. And so we were the first in Bellevue. And we would have been the first if we weren't so picky on our location. So you're one of the first. Yes. But Bellevue for sure were the first. And then there's like five more now. Yeah. Just nonstop, like popping up, yeah. So my husband and I went down. And then so I messaged him again. I said, hey, I really think this is a good idea. What do you think? And we talked about it, took some time. He flew up to Seattle. And when we visited or did we, I think we just started putting stuff together. Yeah. That's super serious if you fly up and you fly up for that. You got to understand my delay. I was living in Hawaii. I had a nice little bachelor pet overlooking the ocean. You know what I mean?  And they want me to give that up. It took me a while to realize it, but it made sense. Now what were you doing in Hawaii? What type of restaurants were you working for? I was a chef at Nobu in Waikiki. Before that, I helped open the Lanai location. Yeah. But before that, $100. So fancy, fancy. It's up there. Yeah. I couldn't afford it if I wasn't on it.  I like the way you say that powerful. Like she said, she's like, yes, I did. Yeah. Like I said, man, I'm a very chill guy. Hawaii was definitely for me, but they dangle that carrot in front of my face. And I was just like, OK, I have the opportunity to do my own thing, so I have no kids. I'm not married yet, or plan. But you didn't say that on camera. Oh, sorry. But yet. That's very hopeful of you. You know what I mean? If I'm going to do something big, this is my chance. OK, so you ever try anything that didn't work then? Like flavors you kind of pull together, and they're like, oh, no, no, no, no. Something specific. Oh, yeah. I mean, one of the sauces that we have on our menu now, which is the gochujang ponzu, that took about four to five takes. You know what I mean? I started off, and I wanted a real authentic flavor, but then it was too authentic, and I had to tone it down a little. There was just two on the fishy side. Like what goes into the sauce? The gochujang, obviously, is a Korean chili paste. Our ponzu sauce is pretty solid. It's soy, citrus, vinegar. I had some other things, and some spices, some anchovy paste, this and that. You put anchovy paste in it. Yeah, like for the fish. Like that umami flavor. Oh, you just said umami. Yeah, umami. Now we gotta talk about, yeah, yeah, yeah. Umami is like that savoriness, that depth and flavor. Yeah, cook it down, give me some umami. And that's the thing about us, is the same dishes I would do at Nobu or at any of my other stints, I put the same amount of love into our food I've been to over the bar, so some people appreciate it, some people don't, and it's too strong, you know? So when you would make the sauce there, it's a little... Yeah, it took a while. I was gonna say like too much umami, but that's totally possible, like it goes in, you're like whoa, whoa, whoa, whoa, whoa, whoa, whoa. No, it was just a little too funky, like we have a couple of Korean family members in the Mixed Pokebar family. They were like, this is something my mom would cook, and I'm like, ah. I don't know, that's what I was going for. Let's take a step back, and then I just kept working on it, kept working on it, and it was just something. I don't know if that's what I was going for. That's kind of hilarious, because I'd meet somebody else and they'd be like, well, these meatballs taste like my mom's, and they're like, yes! But not you, you're like, oh man. I'm so sorry. Just, you know, the application for the sauce is not meant to be like that, and that's where it just took me down a different path, and I figured out all the balances and stuff like that, so we got it right, and it's low key, pretty popular.  Absolutely, I think it's just being in the industry, I was in the restaurant industry for 12 years before we started this business, and as a retail, and so it's one of those things that it's like, customer service is always number one, right? I mean, you can turn somebody's day around, right? I mean, just by smiling, and you know, walking them through the menu, and I think Kevin can speak for this, is you know, we've had people approach us in Tacoma where they were, I think, they had a gluten allergy, and he walked them through the entire menu, and converted them, I mean, they actually ended up ordering what was, two bowls or so? Two bowls and came back, they're pretty, yeah, regulars now. So wait, they had the chef walking them through the whole menu? Well, I mean, I don't go around saying I'm the chef, but yeah, like, you know, like the thing, the goal is to have the person- You don't wear it on your hat? No, no, I don't. If somebody walked out there, they're like, wee-lee? I'm not like the Swedish chef, and I'm like, no, no, no, no, no, no. Or anything like that. I just do what I gotta do, and I try to get the team up to par, and they didn't know their allergies, they need to know what ghosts and saw this stuff. We're not in the business to kill people. Yeah. Just being honest. So that should be the, yeah, that should be like the motto, or like the tagline for the business, yeah. What advice would you give to other people that have, so they have a job, it's a good job, but they've got this itch where they kinda wanna create things on their own, go out on their own, they wanna make their own way, do their own type of stuff. What advice would you have for them? I kinda move forward with that. I would say, if you have the means to do it. Yeah. Do it. Yeah. What's the worst that could happen, right? It's a conversation that we've had.  Yeah. I think we're here in America, we have the opportunity, you know, there's so many resources out there that can help you. And there's like groups out there, like small business groups that will answer questions and stuff. And so I, any conversations that I have with people that even think about opening something on their own, I'm always like, hey, you know, I dig a little further and not really push, but it's like, hey, you could make it happen. Yeah, yeah, yeah. I just wanted to. And so, you know, I'm no, I used to be scared. I'm no longer scared now. I mean, we've been through lots of stuff. Every, every thing. Yes. Like simple things, like, just somehow it just slips through the cracks. But yeah, I mean, I think it's, it comes down to the American dream, right? Yeah. Our parents came here for a reason. This was probably the opportunity that they wanted for me and I took it and you'll never be ready. You just gotta do it. Yeah. And I told every single person like, I don't know what I'm doing. I think I know what I'm doing and I'll figure it out when we get there. Same with that.  You'll figure it out. Cool. Well, thank you so much for being on the show. We have drinks that we need to finish, but I won't make you keep talking while we take them down if that's okay. Bee, Kevin, thank you, thank you, thank you, thank you. You guys are inspiring. I love your story and I can't wait to to eat fish in a bowl right at your restaurant, man. And go find some real papaya salad. There we go. Yeah, right on. Okay, cheers. Cheers, y'all. Yeah, right on. Thanks, bro. Hey everybody, this episode is brought to you by GoDaddy.  And hey, hope to see you on the show.