Hey everyone, welcome to today's day trading recap for Wednesday August 6th, Green Day Today plus $916.25.   So let's go through these, I'll show you what we did. Let's start with the mighty 90s and check out Tesla. Tesla, Tesla, Tesla. So Tesla was coming down, coming down, coming down, got some increasing volume here. I was waiting for it to crack through the lows and get down to yesterday's low, this yellow line got, I started here and then added here and then just caught that bounce right there for a nice winner in Tesla. Facebook was not as nice as Tesla. Facebook was pushing higher, had this spike in volume got short right here and then I added right here at the unchanged mark, caught that down move and ended up minus 65 net net. On to the runners, Roku was a really nice winner. This was a first trade of the day and this is probably my favorite kind of trade here. So we got our first five minute bar and then the second one, the volume just started moving, I mean within the first minute of this first five minute bar, it was as high as the first. So with those, we don't like to wait, got to be aggressive getting in, jumped in probably about right here and caught this and just peeled them off all the way up to that pivot, booked a book 684 on just a few contracts there. So nice quick run in Roku for us, Nvidia. Nvidia was a small winner. So market bounced back up through highs of the day and then when it pulled back to unchanged, got long here, scaled out of three quarters of my position at this point here, held one and then it came back down and I added looking for another bounce and just kind of kept trailing, trailing trailing.  Snap.  Snap made this big push up and then now let's see. No, no, no, I think I, what did I do here? Well, I don't remember. I think it was, I think it was this volume runner to the downside. No, no, it was right here. That's right. Big spike in volume here. So when it pulled back here, I was looking for a continuation higher and it just kept going lower. I was really quick to cut this one off, which ended up being a good idea. So a small loss and snap. And then on Coinbase, this was one where I just, I cut out really quick. Had this big spike in volume here. So when it pulled back, I got long, started to bounce. I was really close to getting out of half and then when it rolled over here, I just, I cut back out. It wasn't going anywhere on these volume runners. We really like a quick move. And if it doesn't happen quickly, you got to be quick to cut NASDAQ two trades here. So let's go to the futures. So in the NASDAQ, the first one was a downside runner had this, the market started, this is, I tell you what, this is one of the most difficult types of markets to trade in where you get these big swings and no follow through and then you get faked out. So if you can make money or just preserve capital on days like this, that's a win. And so the NASDAQ started off really strong, three big strong bars in a row and then just fell apart all the way down through the lows. And so when it bounced here, I was looking for a continuation lower. So I got short. And actually, I think maybe right around here, you got short. And then this thing just ripped. And so very quickly with just a few contracts, found myself down, you know, over 900 bucks, so I ended up just cutting out there. And then it started chopping around right on round unchanged above the highs of day. So I got long about right here. And it looked like it was getting ready to rip. And then it just kind of fell apart, just kind of started chopping around. So you see, you not only didn't get that follow through, but you had to be patient. I mean, I said through this thing all day, I just kind of kept my eye on it. And then finally, this thing bounced up and above the highs again. And so when it pulled back, I added, added some more. And then I scaled out as this thing ran up and booked over 1000 bucks on that on the long side. So that is my day. Hope everybody else had a good day of trading plus $916.25. We'll be streaming live tomorrow and Thursday. Look forward to seeing everybody in the live stream room. See you then.


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um this is uh now conversation number 17 of season two of unrehearsed futures and we continue to sort of try and understand um where our future lies and uh are our way forward and Kameli's been coming into a lot of these conversations. I've also had some conversations behind the scenes with him. Abhishek and I have I don't know come up come up in theater around the same time in India. I think that whilst I went into pedagogy and I'm trying to do something there, Abhishek has just done some phenomenal work over the last over the same period of time that leaves me awestruck. Beautiful article about him in an Indian magazine called Caravan recently which Falguni will paste the link to in case you're interested. um and I'm going to really start with uh the blurb question um that is the sort of conversation here but it's a conversation which is what kind of theater writing is expected of us the writers the theater makers now beyond the pandemic has a pandemic provoked us to think in new directions uh what social responsibilities to write do writers bear and in what ways can an imaginative approach to writing for the stage transform for issues like social change for example and that kind of is the official sort of thrust area um and we'll just start there just to let you know the format of the conversation because we've discovered over the last couple of unrehearsed futures conversations is that uh some people are comfortable speaking on the record whilst it's being recorded but as soon as we start the after party usually a lot of people more people come off mic um don't imagine this as two people on a stage and a bunch of us in the audience imagine it as everyone has come into a room and there's a the setup is a circle of chairs and we're all sitting there together and Kamali Abhishek and I are sitting together at one side of the circle to just start off things um but please do um feel free to put your comments your provocations your thoughts in the chat window to start with and I'll ask you all to come off mic uh somewhere around the 45 minute uh somewhere around the 45 minute mark we will go so we're going from recorded moderated to unrecorded uh moderated and then at the one hour 15 mark we will officially wrap up but of course feel free to hang out for the water cooler chat that happens afterwards um most of you are known to each other um please do if you can stay on camera so we can see you so Abhishek and Kamali also have a feeling of who they're talking to it would be lovely um and otherwise do listen in and uh also I just put my name in a particular format you can look at it Jehan M Mumbai uh and you'll see that it's a a good way to just sort of sense a sense the plurality of the space that we're in currently uh one of the teams of this season possibility planetarity plurality so without further ado uh Kamali a few words about yourself and then um your thoughts and Abhishek a few words about yourself and then your opening thoughts sure sure sure um thank you for joining us yeah thank you guys for inviting me thank you Jehan for uh setting this up I've been sort of semi-badgering you for the last month I guess or so about this particular topic I guess um I think Amy had brought it up to me originally because she and I have been having some kind of deeper conversations both in and out of UF um and uh yeah uh we started talking about bringing Abhishek in on the conversation Abhishek I've known for uh oh god we met in for the 2007-2008 and I've known him for a lot of years but I hadn't spoken to him in probably 10 or 12 so it was really interesting catching up to him but Abhishek's been very prolific as a writer uh since I've known him actually and I remember him talking to me he was one of the first people who came up to me uh in our pre-Lispa party we both went to Lispa together and uh he was very he was very uh curious about some things about writing and I was like oh who's this guy and and we started to kind of have a more interesting conversation about because we were both kind of fish out of water right I was this black American in this kind of uh British environment that was very multicultural at least from a certain perspective but we're all kind of middle class aspiring somewhere and then Abhishek uh was very he was very adaptable but you know you got the impression he could speak multiple languages and he had been in different environments before and he was he was very he didn't have a problem with space I remember us black Americans were very big on get back get back stay away from any of my space and I remember thinking boy Abhishek is so adaptable he could live right and I mean he was he was very good in parties and things too so uh I don't know if that's a good introduction for Abhishek since he's done so many things but you can read his bio later I just wanted to make sure you understood that he's a very lovely guy uh maybe that's just me I'm not a close talker but I love that somebody is very uh somebody can be intimate with you very closely and you understand who they are very uh from from a close angle and that's that's that that was rare for me to see a kind of person who I can see their heart beating um so this is Abhishek and and I'll speak a little bit more about this whole project in a second too but Abhishek I don't know if you want to speak a little bit too yeah thank you Camille uh I think that's a great introduction thank you for introducing me as your friend I think more than anything else and uh and yeah I I I do have to say that I this was one of the most important friendships for me as well in that time uh I was out of home for the first time in my life out of the country and um it was great to be in that diverse a place and yet to have a bearing in friends like Camille with whom I think we started in a way thinking about the theater outside of the tradition quote unquote whatever we had so I'm excited to be here and also excited to be here thanks to Jahan in drama school which were all ideas that uh you know I remember talking to Jahan about drama school and he him talking to me about it before they started in Adishakti in Pondicherry and we were talking about what might happen uh so that's really exciting and of course there's Amy who uh I have never actually I realized when I saw Amy's name here I had never completed a piece in front of Amy ever in my life because she she wouldn't she whenever I sat down performing about after about two two and a half minutes she would say thank you and she would stop us and then she would tell us what we were doing so I'm hoping for the first time in my life to be able to finish something in front of you Amy but other serious love thank you very much for being here and Madhu who's also a very old friend um and I really look up to her yeah thank you Amy sorry what you're saying no I was going to say thank you Amy for putting that a stage fright back in us after all this time too and uh we have another person here Carlos here he went to go to school with us he went through our first year with us too Carlos so hello Carlos so listen the the the topic that I kept pestering um Jay Hahn about was this particular uh notion that we've got posted up on the chat I want to make sure I say it right so I'm gonna read it out loud what kind of theater writing is expected of us writers in and beyond this pandemic with a social responsibility to writers bear in what ways can an imaginative approach to writing for stage transform issues like social change right and um I was much more confident during the middle of this pandemic about everything right I thought okay what as soon as this these ideas I have as a theater artist uh are able to be implemented during this pandemic things will kind of sprout out and things will just magically uh take place and I've really related to I've heard Jay Hahn talk very uh romantically about what he felt like his school and his theater is able to do and I'm always kind of right behind him when I hear him speaking um about what could be what what could press through all this pandemic uh these pandemic problems that are that are likely to uh to press through our lives and uh how does theater work in that way um in my mind um what I remember about theater is being a very collaborative imaginative project right very close to the way uh I had my mother read to me when I was a kid and so uh I felt like while she was reading to me I could read off the page and I would be halfway building the house with her that she was constructing while she read it to me right and that's how I always understood uh theater to work as a verb right if it was ever a verb to me I didn't call it anything it might have just been a ghost that kind of uh I guess kind of possessed particular uh I guess rituals or behaviors that we got into and one of those was when my mother told me stories I the only way I could participate is when I read along with her in the story then I was constructing the house and so I always felt like theater unlike tv and film which kind of seeks a certain versatility was really fabulous for me when I got a chance to actually experience it as a kid when some actor or actors came out on stage and start speaking to us creating the world and then we went with them on a journey in a completely you know otherwise completely bare black box theater and for me that meant something like belief like I had to believe in what they were doing in order to go on that journey with them and I wonder if uh because I read about some of the things that you've gone through in terms of your producing a play I'd be sure and you've had these these these political tumultuous things happen around you I wonder if you can talk about the role that belief has in terms of what theater does for an audience how the audience is working with what they believe in front of them and what does that mean when you're doing something that's kind of politically fraught just curious yeah I mean I think in the kind of you know there are two or three different kinds of things because of working in different languages invariably you know like when I write for say a street theater performance it's very different from you know writing for the royal court let's say as a spectrum of do I know who the audience is I know more or less when I'm in that street theater performance do I know at the royal court I don't know I land up and then one day I figure out okay there are these people who come towards this play but in terms of belief I should say there is a particular challenge that I find right now and I'll stick to you know a very specific example I developed this play for a street theater company Delhi called Jan Nartiman which is quite a you know historic street theater company in Delhi that they work is very political and the show I did with them was called Tathagat which which is another name for the Buddha and it is a play about caste politics and how there is a sculptor who has been commissioned by a king to in the 8th century to make a sculpture for for of the Buddha because it's a Buddhist kingdom on the day of his you know grand coronation he's going to take over multiple states and become an emperor from Mr. King and the sculptor ends up making this sculpture which he's been given a lot of white stone to make this sculpture and instead of using the white stone he sculpts the Buddha out of the black rock and the king calls him and he says you're going to be tried because you're insulting me in front of everyone and he argues that well actually is the Buddha yours or mine if the Buddha has mine then why would he be why would the Buddha be white the Buddha would look like me which means he would be black and you know so it's a it's a play about who does this god belong to is it the people or is it this king and how he imagines himself as well now this is often performed you know in this has been performed in the pharma struggle earlier in labor there was a big march in India which was done by labor unions and it's also performed in a lot of localities in a very politically charged atmosphere now during the pandemic the challenge has been that on one hand social inequities have been at their peak you know they have been exposed remarkably because people haven't had food to eat if they were not you know employed and they were daily wage employers most people who were our audiences for that show were essentially taking the largest hit in cities during the pandemic which means that that even politically they were at the most marginalized place and they needed to have the greatest warriors but at the same time the street theater company very simply couldn't go out and perform in large groups because they would be also placing these people who they are you know becoming the political voice of they would be placing them at risk by performing so it was a continuous catch for a new situation with display whether to perform it in its original with its original intention and how should it be and how do you social distance in a locality in Delhi you know like in the crowded market in Delhi you cannot really be social distance there it's not that's not what happens and we have audiences you know I've seen shows of display where there are women standing in houses on there's a guy who's climbed a land post and there's a man with a chicken in his hand all of them are there to watch this play so there's no question of social distance I think those are some of the challenges that I find Kamili of that kind of work I mean not with the I think the proscenium is extremely guarded you know there are there is a unionization if not in India but in other places but you know there is there is something like when we say protecting the theater I think there's a lot of focus on protecting these big theaters and these you know the the big proscenium stages of the world and I wonder you know what happens to all this other theater which goes and performs amongst the people how does it get protected and you know I want to ask the question back to you as well like with your practice where do you do you see challenges of performance affecting the political intent of your work and how do you think that can be you know negotiated yeah I'm I'm always really hesitant to talk thank you I mean that's a great question actually I'm always really hesitant to talk about the the American political scene because I say this I'm embarrassed to admit that I as a black American I'm always having to gaze through a lot of filtered understandings of of of an American as an American citizen so in other words somebody says they're helping me because they're interested in black lives but there's no material advantage in them trying to help me right they're just doing something that says they're doing something and again I can't tell anymore right as a black American I'm completely confused often by someone saying they have my my my my best interest at heart I say my being black Americans and yet there's no material advantage at all and the the projects or initiatives you engage in or what ends up being a six to eight month kind of initiative that becomes very complicated I think black farmers are going through this where biden assigned something that says black farmers should get something and apparently no black farmers are getting what they're supposed to be getting because people are complaining but it's also been set up to look like ah white farmers can't get anything so it's like what is this poor is this a game we're playing so so when I talk as a black American I'm talking as a person who's lost a lot of faith in what I'm seeing in front of me right and so as a sensitive person as an artist right when someone lies to me in front of me and we both know they're lying I don't know what to do with that because that feels like force that feels like hostility it feels like somebody's punching me in my face so and I mentioned in other unrehearsed futures that I've lost a couple of friends through this pandemic but it was bound to happen because I'm now negotiating their friendship through a zoom and um these are people who you know because of traumas it's always because of traumas right but these are people who uh who may not be able to face multiple lies and this is what I think is happening in society at least in my society right now which is that sometimes when you're caught you say anything but once you say anything you set something in motion you free up a demon right and now you've got multiple demons being let loose every time you say something because you're lying right and now you can't catch all of those demons they're just flying around the room and so the political experience of a black American typically is to just go along with whatever the left is doing or saying because it's too far too complicated to understand it through all these other filters we have somebody who's and I won't say their name but who's the second in command who's done uh who's done a pretty good job of locking up people who look like her and so again I don't know what that means this is a person who was so unpopular that Andrew Yang pulled better than her and yet she was chosen as a second in command to this country so I don't know what all this means except that I as a black American need to need to tread very lightly and figure out how to abstract what I do and say so that it seems as harmless as possible even to the point of just removing myself from authorial kind of of a presence in terms of the writing just because I don't know what my face really means to people other than an opportunity to take advantage of it because I'm black right and again I'm speaking very honestly about what I see is my colleagues people my age people young given me being absolutely taking advantage of I feel when I see all this black lives matter I see black people being exoticized and and it disturbs me because it wasn't like this only five years ago wasn't like this every 10 years ago and I don't see material advantages happening as a result so this is why it concerns me this is why I brought but all this up in the first place is because I'm not sure if everybody's having the same political kind of disadvantages that I'm having in terms of being able to trust anything that anybody's saying to me anymore especially with the face like me you know and so it becomes a concern because my mother with when I was a kid the mother with I had was that I could trust most black people that I ran into because we were navigating some sort of underground even in the 1970s I don't know if I have that same feeling anymore so it's put me into some sort of you know I'm 48 years old so I'm not a boomer I'm not a millennial I'm in this other world where I've seen both worlds right where it was much more a clear cast system and now we're pretending like there's not and it's it's just bizarre so anyway I say all that the kind of almost give up the goose back to you I wish and I hope somebody else can actually speak a little bit about this even if you're not African-American you can relate a little bit you don't have to be African-American you don't have to actually not it's just something it's been a concern of mine so the biggest concern for me now is just what do we because even just you're talking about being able to do something while social distancing dealing with all these factors within the context of trying to do this performance with a belief systems that you're kind of pushing up against what are we as artists to do and you've had situations there life and death are we artists picking up bricks and sticks and stones what do we do with forces that don't feel so malevolent but they don't feel benevolent what do we do with forces that don't feel so aggressive but they sure as hell don't feel unha style they're just maybe passive aggressive and as artists is that our is that our responsibility so that can be open to you Abhishek right now but I'm just curious about it yeah thank you for sharing what you did Camille you know first I just want to say that a year ago I started being very interested in the relationship between Ambedkar and Debuyi because when we speak of Ambedkar we often speak of you know Ambedkar being the most probably important leader of the anti-caste movement in India so on and so forth generally known as the person who was the founder or the father of the constitution of the country but I think he's also had a much larger role to play in terms of cast politics in India and not just this one constitution but what is very interesting is that Ambedkar had when he went to Colombia I think early 1900s it was the time when segregation was being taken away in New York and there were still areas which were segregated and the impact that that had on his own thinking especially his reading of Debuyi Ambedkar's own writing in Colombia at that time has a lot of footnotes and you know on the sides which are all him kind of working through caste oppression but learning in a way what to do through the work of Debuyi and through what the black movement was shaping up to be at that point and I find that really interesting because it's just an early example of genuine international solidarity because it's not surface solidarity there's no I don't think there's any from whatever I have read of Ambedkar there is no general sense of you know that is an operation and this is an operation so it's the same he doesn't equate it like that in fact he finds much deeper connections and things that are similar and things that are separate the Dalit Panthers movement in India is sort of named after the Black Panthers movement in America there are so many you know like Martin Luther came to India and it was it's very interesting because what is his relationship to Gandhi on one hand is you know to learn non-violence but on the other hand Ambedkar is Gandhi's one of Gandhi's greatest opponents and Ambedkar is kind of criticizing Gandhi for his policies and saying that this is a very upper caste Hindu Brahminical idea that everybody has to be you know non non everybody has to be vegetarian and you know everybody should follow this but violence is not just hitting people what you are doing to us as upper caste Indians is violence for years so when you play some Martin Luther there who has resonances who himself learns from Gandhi but who also learns from Ambedkar so I'm just saying that I think that is a very interesting period to study that I have found in this in this time because it really complicates the notion of what is international solidarity what does it mean to you know find from another place the tools to be able to address your own your own inequities and how do we go beyond sort of very narrow I would say you know identities which are not historically defined but identities which are defined post the rise of capitalism because this kind of very watertight identity politics is very useful for you know the spread of a certain way of thinking and there are resonances of this in 1920s which is which I just find fascinating that you know you are you're talking about something that was there even at that time as far as my relationship to you know aggression is concerned look unfortunately I was brought up in Delhi Delhi is a great place but it also prepared me for Delhi is also a very aggressive place you know so this sort of aggression doesn't bother me ever you know I've had two or three death threats in the last 12 years but you know guys who give death threats are even right now sitting around the corner from my house maybe you know they're just some guys who sit around and bum around and then they very easily give you know death threats and things like that so that's not the problem I think that the real challenge and that's something I'm I'm up for like I wanted to be a writer because of you know Salvador Hashmi who was at Jannatimanj and Lorca and you know all these my all my heroes were people who stood up for things I don't know if I'm as courageous as them or if I'm as relevant as them or if I would ever be able to write something even close to what they have written I'm not sure that only time will tell but they are definitely my heroes so death threats and bands and censorship this doesn't it has an impact on the family for sure sometimes you know like you go back home and then nobody is watching you you realize that it has had an impact you know you're at your home like one morning I remember my wife and I Pallavi and I we were sitting and discussing whether we should send my daughter to school or not because in the papers it said that my play has been banned and it's a you know there is the thing of you know it's a national it was in the national news and the current mood in India is such that it can blow up so easily you don't know whether you should send your child to school who's who's going to kindergarten at that time so the effects that a writer's politics can have on his or her family is enormous you know I think that's been a real one of the concerns but personally otherwise no I don't think so what has been very interesting for me is while working abroad I think I've been able to spot the real the really damaging racism versus the kind of easy racism like easy racism is somebody saying you know oh you know I remember this British academic one said international theater started with the first ship which went from England to Indonesia and that is where I said you know but that's really strange that everything in this world starts with the first ship that leaves England and to assume that that is what internationalism is this kind of bizarre but that's easy that's easy to pick you know that sort of racism what is hard to be is sometimes what happens is you you realize after two or three years in a in in a certain kind of relationship that you know this person is not hearing you and they don't want you to argue like their notion of an Indian is somebody who doesn't argue is somebody who's spiritual and who has an you know who's kind of a little bit in the hills all the time and who who always checks in with themselves and some kind of you know 1800 year old god to come up with you know and there's like full of wisdom and but this is not obviously this is a huge generalization and there is a problem in many international curations when you start arguing I suppose that's the kind of racism that is hard to unpick you know because that's that's that's the racism of the benevolent which is infinitely more damaging than the racism of the person who's clearly racist I mean I love those race that kind of racism which is open and not this other type yeah I suppose that's what I you know is my I'm riffing off of what you're saying talking about race and color no you said a lot man I mean and I first of all I want to appreciate the fact that you're kind of defanging these these people these individuals who make death threats I think it's important for us to hear that from someone who's actually faced death threats that you know they're just guys hanging on the corner these are they're actually people right you can actually define who these people are and so on some level I mean I hear people talk about Jeff Bezos and these kind of he's almost a trillionaire he'll be a trillionaire soon in a couple years and you know the fact that he's flying over our heads and everything and I think it's important to recognize who these people are right they're just because they they have these huge monstrous mccanton mecca kind of existences around them that there's still individuals with uh I I guess maybe just predispositions and maybe even flaws and fallibilities that allow them to be a part of some sort of you know inhuman mecca in some ways too so I mean I think maybe that's where speaking with with jayhan is actually writing in the chat is that where do where do our creative impulses take us uh then when we when we're dealing with I mean again I love the idea of saying those people who have power those that person behind that tank who has the ability to press a button and explode my life and turn into uh and turn my life and my life and my family and everything to have these enormous consequences I wonder if there's something about that that I can make fun of first of all I don't you know again as an african-american and as american you're taught that first and foremost you protect yourself right and um and my brother and I talk about this a lot too when when we're talking about um our experience with people who are immigrating into this country or immigrate who have immigrated into this country they're sending money back all the time and always concerned about your family not just their family back home and my brother and I always talked about it when we were younger as boring right you know because we're so used to having this experience of being these kids who have these individual lives even if you don't have no money as an american you tend to think very selfishly about some things and um and I wonder if for for for here part of the revolution is is just to present fables or morals where we actually put ourselves into some sort of contention around what we want versus what other people need and want around us right and I think we as as an american I can only safely say that I see those morals needing to be re-taught to us in certain ways whether you you color it or texturize it or put a different kind of spin on the story I think the story still needs to be that we as america for whatever reason we take pride in having this lens of focus just on us so are you saying something okay sorry no don't worry but that's that's one of the approaches I'm I'm concerned about is just how do I then articulate that do I is it a matter of going into you know I talk with one of my colleagues about like figuring out levels of abstraction right am I going to talk about COVID whenever we're able to get back into a theater space uh am I going to talk about it as a direct correlation of what has happened in my my my locality am I going to abstract it in some way so that you know we're talking about COVID but there's something kind of a little bit tingly about the fact that we're putting the parallel uh experiences together really close by or am I going to abstract it to the point of we're just talking about large shapes and sounds and it's going to be like children's theater what's healthy what's helpful for an audience right now is a question um um that I have I have uh for artists in the future and I'm just like you can you can take that but I'd be curious about anybody j hon or anybody else whoever's whoever's interested in that answer to that question how abstract do we do we get and how close to the bone do we want to get in order to be able to make sure that everybody's getting the point of our story I've got um if I can just jump in with a couple of uh queries um I've got this sort of question which is really about this bear with me for a second if one is I mean Camille I got a real sense from you that that there is a sense of being unmoored recently uh and unhinged with what what you know what's not unhinged but unmoored and then therefore you know not knowing how to respond next and that's why this topic has been so uh uh close to you I wish I I don't necessarily get that feeling from you because I feel like a lot of the experiences you've had uh is constantly in a state of change flux uh danger this that the other um but at the same time and you said that you know the pandemic is not really uh I've got a lot of things going on in terms of notions I want to explore etc but this moment or this moment that we've all experienced going through I'm just trying to figure out where it's you know what is it bringing to the fore in terms of potential uh interventions and impulses going forward as writers in terms of who do you write for what do you write um how do you how do you write about it uh abstract cutting to the bone or not seems to be one one fork but then which fork do you take and why as Camille said so that's one um and I just want to know like maybe if you think about projects you're thinking about or ideas you've been thinking about going forward you know not just the commissions that have been postponed indefinitely but literally like if you had to sit down and think about something you want to do right now what what what is coming to mind and that's one big question um the second one is also this question when you describe the Jan Natya Manj situation and you know whether they can do that play uh we went down to Mumbai Marathi Satya Sangh where the drama school Mumbai exists after nine months to just check out you know is everything okay etc and the lady I met there vaccinations are now happening all over the all over the place and all and she was just like you guys are worrying about this way too much I was like you haven't gotten vaccinated she's like no I mean I'll get around to it but I mean you guys are worrying about it way too much we're all fine over here we've been fine the whole time we've you know we've worn our masks we're drinking a hot a hot decoction every night Kolkara which is made of you know turmeric and peppercorn and other kinds of things and we're good uh you've made too much of this you privilege people and I just imagine that moment where you also you come into that space and you're worrying about how to conduct a street theater play responsibly with social distancing norms etc but when I'm walking through the gully on any given day there is no social distancing they're all managing somehow cheek by jaw because they can't afford social distancing so suddenly when we come out to perform with that that it's a privilege responsibility maybe or it's a responsibility that comes from I don't know and and I'm just thinking and then who's writing like this act of creative authorship where uh what would happen like who needs to tell the stories and and because the other thing I'm questing about sorry this is the distraction but the other this is the final thing is is there a way that they can be given the tools to tell their stories or are we missing a point because I just felt like I completely missed the point when I walked into that room and Shanta Devi was saying to me you know you guys are making too much of this and and we just I felt like an idiot for like not not running a drama school all this time in the pandemic and just I feel like we're missing a perspective because of who I am and where I am so two things one is that so there are really two questions very separate but I used the first one to just say where your creative impulse is lying what are you thinking about right now and the second question is is really about have we missed the point because of where we're speaking from I wish you want to want to try and see I'll tell you Jehan with the I let me go for the second one first my experience is that it different from yours in that case because all the places that we performed in many of those kind of places where we were performing were also places where I was regularly in for relief work then I'm part of these schools that you know which which are running in which have been going for 12 or 13 years now so in my case at least it wasn't something that was outside of my community it was very much a part of a community where either I'm at night school from like 11 at night to four in the morning anyway or if I'm not at night school then we are involved in you know some other during the pandemics particularly with ration and you know the food supply and then later on oxygen and this and that and the one thing that I learned very much in the pandemic is that information had to be made available from anyone who had more information to anyone who had less information so there were a lot of things that I was learning about social distancing from the mall view of the mosque who runs the free school you know now on the surface one would think that oh you know this is would be a very crowded place and so on and so on but he was trying to tell people who are part of that locality whose children come to our school that look we need to make sure that the children are able to write some of these exams that they were writing and at the same time they are socially distanced right and the method some of the methods that they came up with for those were things I was learning from him because he was there all the time right so actually I don't think the the difference the demarcation was so much in terms of you know we and us was not at least from my experience that you know people who who live in this particular area or people who don't but it was really even within the community there was a lot of there is a lot of disparity about who says I will go back to my village and I will not live in the city anymore because in the village there is no coronavirus versus who says that no I'm going to sit here and wear double masks so that I can continue to work because I have to repay the loan that I've taken in my village like there are lot of differences and I just want to say that sometimes I think our imagined not in your case I mean you had this real experience but I'm saying sometimes our imagined sense of who we are and who they are is very different from actually what it is once you know once you're in the community and you're working in a community it's really you know different ballgames so I didn't quite feel that was the case I think politically people who are setting up markets in Bangalore for example are so scared you know just one month ago we had so many deaths due to COVID everybody knows at least three people who have died every single person and when they have opened up shops it is because they do not want to stop that's why they've opened up the shop it's not because they don't believe in this and somehow I think our popular media has created this myth you know that because people don't believe in coronavirus that's why India had very large numbers but of course that's I mean they didn't have anywhere to go how would they get home or what would happen to them I think there's part of it is that yeah let me stop there let me pass the first question actually or maybe even the second question to Camille and see what he what he has to say yeah I'll just follow on with questions that are originally put the Abhishek which is the you know around around the idea belief which is I mean again for me theater had a lot of competition growing up and again speaking at a particular time it was just wasn't accessible it was a little too expensive even though we had the the oldest black American theater in the country at the time of freedom theater in Philadelphia it just wasn't it was it was until August Wilson came along it wasn't necessarily always doing anything but commemorating past experiences of black drama and so we would have a show that would start and it would be called black whatever and it would be some sort of form of the the Jesus story the Christmas story or whatever and so it wasn't really speaking to me as a kid so trying to find some way of you know having an artistic life so to speak was through video games comic books tv and film and those were very accessible right they weren't $35 or $20 a pop so for me what I think might be possible within theater is not necessarily that you just stage things in a space or even over a crowded space or a protracted time period I think theater ought to be as cagey and as fun as what advertisers do right they put a lot of hidden messages and things they're trying to be cute but what they do is then turn your mind like lying right it's setting off demons outside of things you can control so you'll end up finding yourself as a kid repeating behaviors that you've seen in a commercial that no human being does to another human being and what I'm saying is that we can turn the tables in terms of theater by just enabling our audience to be as smart as us so that when we put out advertisements that look like advertisements you might see I don't even know if you get anything you snail mail anymore but email certainly and there's sort of a wink around this being something that you and I know is going to be a production of some sort it might be a way of being able to sneak theater into just the promotion of theater right you're actually telling story you're promoting a world but you're not necessarily doing it in one staged event and I'm sure everybody's kind of practiced this in their own kind of ways of presenting theater to other people but I'm not even talking about necessarily even having a staging ground I'm talking about just entertaining people in ways that make them feel like they're part of the like I said with Children's Theater right you feel like you're a part of it because on some level you have to imagine so much you know and I think that may be available to us right we've got acrobats we've got clowns we've got comedians we've got strippers we've got all these things that are part of theater that we never take advantage of and if you put them into play in a realistic way I say realistic meaning that they're a part of life you know and that they wink at us occasionally as audience members and they wink at us occasionally when we're participants it might it might be a really interesting way of being able to bring Children's Theater into our real world and I think a really constructive way that's my idea and however I'm doing it I won't even get into the details of it because we can all imagine what we're what I'm talking about it's not too hard it's just a question of um whether you're going to pay for it and whether you're going to get me authorial credit for it that's another thing right so I'm going to take this moment to just say that you know there's been a lot of material put out of varying natures um we're going to stop the recording but continue to have a conversation in chat um so do feel free to raise your hand use a raise hand feature or just put your hand up and I think I have an eye of everybody who's on video and we'll we'll continue to the conversation so


Welcome to BMC's ControlM installation video series. In this video, you will learn how to install ControlM server on Unix using an Oracle database. This custom installation allows you to choose the database server, database names, user names, host names and port settings. If you want to install multiple instances of ControlM server on several computers using the same configuration, use the automatic installation as described later in this video. A few things to know before you begin. The default installation is interactive and uses a GUI display. X server must be running and configured using the display environment variable. If you do not have the X server available, BMC recommends that you continue with the console installation or perform an automatic installation. Before you install, verify that your Unix operating system and Oracle database software is compatible with the current version of ControlM server. For a detailed list of Unix and Oracle requirements, see the ControlM help and ControlM server release notes. In addition, if the site DBA does not want ControlM server to have the select any dictionary privilege, verify that the node dictionary environment variable is defined. To start the installation process, mount the installation DVD or from the temporary directory extract the tar.z file. Next, set your display environment variable. From your home directory, run the setup.sh command. The ControlM installation wizard opens, which will guide you through the installation process. Read and accept a license agreement. Select additional installations and then select the ControlM server option. To install with Oracle, select custom installation. In the database server type screen, select Oracle. In the database server connection screen, the Oracle server hostname determines where the existing Oracle database server resides. The hostname can be local or an AWS RDS endpoint. Click Test to confirm its availability. Define the Oracle listener port number and the Oracle database service name. Due to security or organizational reasons, you might not be able to log into the Oracle database server with the system user credentials during the ControlM server installation process. In this situation, before you install, the site database administrator needs to create the ControlM server user in the Oracle database. This is known as a non-system installation. For more information, see the ControlM help. In the database owner properties, enter the Oracle database owner user and password. And in the system administrator properties, enter the database administrator user and password. If this is a non-system installation, enter the database owner user name and password provided by your site database administrator. Select the database size for the number of jobs that you intend to run on a daily basis. Ensure that there is enough available disk space for the selected database size on the external database server computer. By default, the tablespace name, size, and file name are populated. In the ControlM server configuration screen, the local IP interface name and the ControlM EMTCP IP communication configuration agent, agent to server, and server to agent port numbers are set by default. If needed, change them within the valid port range. In the summary screen, review the installation details. If you want to install multiple instances of ControlM server on several computers using the same configuration, click Generate and select the location to create the XML parameter file. Copy the file to a network location that is accessible to all computers and run the installation script. For more information, see the ControlM help. Now, let's install. After the installation completes, close the current session and start a new one to start working with ControlM server. The ControlM client is available on Windows only. To configure the automatic startup and shutdown script for ControlM server, see the ControlM help. Thank you for watching this video.


People wanted free money. Trying to convince venture capitalists who have never paid in over just being their life. We got laughed out of the room a hundred times. It took like 120 meetings for us to finally get one investor that, mostly like the team. I don't think he really loved the idea that much. After that investment, we figured out the loss rate. We got it down to 2%. About a year later, raised money to billion dollar evaluation.


Thank you. In a bit commitment scheme is a cryptographic primitive that's used, for example, in zero-knowledge proofs and multi-party computation. We have Alice, the verifier, and Bob, the prover. Bob has selected the value of some bit B, and but he does not yet want Alice to know that value. On the other hand, he wants to convince Alice that he can change his mind about that later on. So he sends a commitment. And Alice should not be able to learn the value of B from that commitment. That's called the hiding property of the scheme. And when it's time to reveal the value, he sends an opening. From the commitment and the opening, Alice can compute the value B and also perform some check to see if Bob prepared the commitment honestly. That means if, for example, he commits to zero, then changes his mind and tries to open to one, Alice will detect that and can abort the protocol. That's called the binding property of the bit commitment scheme. Information theoretic security is impossible for bit commitment schemes. And that also holds when the two parties can use quantum communication. So we either have to make computational hardness assumptions or bound the quantum memory that the two parties have, or one final option that was suggested by Ben Orr, Goldwasser Kilian, and Wichtersen in 1988, is to split up the prover into multiple entities that can't communicate with each other. Let's see how such a multi-prover scheme might look. On the top, we have the two provers and they both know the value of the bit B that they want to commit to and they have some shared randomness R. But during the protocol, they can't communicate with each other. Now the protocol works as follows. A select, Alice selects some random message A and sends it to Bob. Bob computes B times A, so just scalar multiplication, and XORs that with this randomness. So that's essentially one time pad encryption. So Alice can learn nothing about the bit B ahead of time. To open, Charlie sends the bit B together with the randomness and then Alice can compute the XOR of both messages, basically decrypting the one time pad and then she can check if the outcome is B times A as it should be. Okay, we saw that the scheme is hiding, let's see why it's binding. Suppose now we have dishonest provers, still with shared randomness, but they can communicate and if Charlie wants to open the commitment to zero, then what he has to do is send the same message as Bob. If he wants to open to one, then he has to send the message from Bob XOR with A. But if he can send both of those messages, it follows that he knows A. And but Alice did not tell him A, Bob can't tell him A. So the only way he can know A is by a very lucky guess. And therefore the scheme is binding. So now we have a bit commitment scheme that is secure based only on the noncommunication assumption or maybe not, as Kripo, Savaii, Sima and Tapp pointed out. What they pointed out was that this proof assumes the provers only have shared randomness. However, the security of bit commitment schemes depends on the resources that the dishonest provers have. For example, we can consider shared randomness as we did before. Also quantum entanglement or general non-signaling systems which are basically only restricted by the noncommunication condition. So basically if we want to say that a bit commitment scheme is secure based only on the noncommunication assumption, then it has to be secure in that third setting. What Kripo at all showed was that the scheme we just saw is binding against classical adversaries, binding against quantum adversaries, but non-binding against non-signaling adversaries. And also if we tweak that scheme a little bit, we get one that is binding against classical adversaries but it already fails in the quantum setting. And furthermore, there is no scheme known at all that is binding in the non-signaling setting. So what we are asking ourselves is, is it even possible to have a scheme that is binding in that setting? And we have an impossibility result for the two-prover case or surprisingly a positive result for three-provers. Before getting into that, I need to define more formally what non-signaling means. So this box here is a bipartite non-signaling system and it has on the left and on the right it has one input and one output. And what the non-signaling condition means is that the input-out behavior on the left is independent of what goes in on the right and vice versa. More formally, that means if we take the marginal distribution of the first output variable, then it's independent of the second input variable and vice versa for the other side. However, the output variables can be correlated in arbitrary ways. So let's see an example of a non-signaling box. We have some input A and the output on the left is a uniformly random X. So clearly that's also independent of B. And the output on the right is B times A X odd with X. So something, X or something uniformly random, so clearly that's independent of A. So the box is non-signaling. However, if we X all the two outputs, we always get B times A. So if you recall, that's exactly the acceptance condition of the scheme we just saw. So if the dishonest provers have a box like this, they can always break that scheme. Now what I'd like to show you is our impossibility result for a restricted class of bid-commitment schemes, which we call simple schemes. What that means is that the communication works exactly as in the scheme we saw. Alice sends some message A. Bob replies with some message X sub B. That's dependent on the bid he wants to commit to. And to open, Charlie sends the bid B together with Y sub B. Now since Charlie does not know A, his message must be distributed independently of A. And finally, Alice has an acceptance predicat to check if she should accept or reject that commitment. Now we want bid-commitment schemes to have the following properties. First, soundness, which just means if everybody's honest, then Alice will accept in the end. The hiding condition, which means that conditioned on any A, X0 and X1 need to be statistically close so that Alice can't get much information about B ahead of time. We say that a scheme is perfectly hiding if the two variables are distributed identically. Now we have the binding condition, which is a bit more complicated. So in the binding game, we now have two provas that are still non-signaling. And Alice sends a message A to Bob. But Bob does not yet know at this point what bid the commitment should be open to later on. And then Alice sends the bid B to Charlie and basically tells him, I want you to open the commitment to that bid. And then Charlie has to produce and then the provas win if Charlie can't produce such an opening and they lose if they can't. Now the provas play according to some non-signaling strategy Q and we write P0 of Q for the probability that they can successfully open to zero and P1 for the probability that they can successfully open to one. And we say that the scheme is delta binding if those two probabilities sum up to no more than one plus delta. Our first impossibility result is that if a simple bid commitment scheme is perfectly hiding, then it also is completely non-binding, which means that the dishonest provas can always win. So to prove this, the two boxes up here are the strategies for the honest provas and the Y has to be always independent of A because of the no communication condition. And now from these two boxes, we construct a strategy for the dishonest provas, which basically just adds a switch that tells the box to output X0 and Y0 or X1 and Y1. If the two provas have this box, then they can clearly perfectly emulate the honest provas and thus they always win. So the only thing that we need to check is that this is non-signaling. So first on the right, we get the output Y0 or Y1, but in any case, that's distributed independently of A. And on the left side, we either get output X0 or X1, but by the hiding condition, it follows that X0 and X1 are distributed identically. And so we learn nothing about B and thus the box is non-signaling. The dishonest provas can use it and they always win. So a natural follow-up question is, what about non-perfect schemes? Maybe we can weaken the hiding property just a little bit and get a big improvement in the binding property. What might encourage us here is that the proof before crucially relies on the perfectly hiding condition because if the scheme is only almost perfectly hiding, then it's also only almost non-signaling, but almost non-signaling is not good enough. However, it turns out that that's not true. So if the scheme is epsilon hiding, then it is at best one minus epsilon binding. So if this epsilon is small, then the provas can win almost all of the time. As a tool, we use the following technical lemma, which I'm not going to prove. And it states that if we have two distributions, X0, Y0 and X1, Y1, so that the marginal distributions X0 and X1 are close to each other, then we can glue all four variables together into one big distribution so that X0, Y1 is statistically close to X1, Y1. Let's see how to use this. So the two boxes are again the strategies of the honest provas. And the epsilon hiding condition says that X0 and X1 are statistically close. So we apply the gluing lemma and get a distribution of all four variables. And then we build this box as follows. On the left, we always output X0. On the right, we output the input B and get Y0 or Y1 depending on B. Let's first check that this is non-signaling. On the right side, it's S before, the Y0 and Y1 are always independent of A. And on the left, we always output X0 anyway, so that's clearly independent of B. And now how does it hold up against the bit commitment scheme? First, in the case that the provas have to open to zero, then they always win because well, the output distribution is X0, Y0, which is exactly like that of the honest provas. And in the case that B is one, the output distribution is X0, Y1, but that's statistically close to X1, Y1. So the behavior of the dishonest provas is statistically close to the behavior of the honest provas. So Alice has only a small chance to decide if the provas are honest or not. And we also had a result for more general schemes where both provas communicate in the commitment phase and in the opening phase. And we still have the result that perfectly hiding schemes are completely non-binding. And also, if they are epsilon hiding, they can at best be one minus five epsilon binding. So we have some loss there. We can go even further and look at multi-round schemes where the commitment phase takes multiple rounds of communication. We still have the same result for the perfectly hiding case, but we couldn't find anything for epsilon hiding. And finally, for the positive result I promised, a three provas scheme, it works almost exactly like the two provas scheme, except that, well, we have the third provar here. He looks like Charlie, and he also has to have the same output as Charlie. And otherwise, Alice won't accept. We claim that this is secure against non-signaling adversaries. And I won't give a full proof now, but the reason is suppose that we have adversaries that can break the scheme and always output the right thing. So what happens if in the binding game, we give them different inputs? So Alice sends A to Bob, get X and gets message X back. Then she sends zero to Charlie one, and he replies with X because he wants to open to zero. And then she's, but instead she sends one to Charlie two, and he sends back X, X or A because he wants to open to one. But now if they do that, they both together somehow must now A. So basically from Bob learning A, Bob learns A, but they somehow also learn A that violates the non-signaling condition. So to sum up, in the non-signaling case, all perfectly hiding schemes are not binding at all. In the run around case, that also extends to schemes that are not perfectly hiding. And finally, for the simple schemes, we have a tight bound that can't be improved upon. And we get a security by adding a thought prover. The remaining open questions are, if it's possible to improve the bound for general schemes, and if we can do anything in the multi-round case. Thank you.


So I guess we'll do what we do every day of our lives. We'll watch Boeing and we'll see if it makes any sense. I just, I don't know. I mean, part of me thinks we should do nothing today. I gotta be honest with you. So what's wow? Is there something else I missed? Again, as far as the market goes, I'm not changing my opinion. There's nothing to change. We're gonna sell off again. This isn't correcting the uptrend, at least not in the spy. The queues have been in an uptrend. I looked at everything again this morning. Amazon and Apple are out Thursday night. They will definitely, definitely, definitely move the market. So don't expect the market to do anything before those big earnings happen anyways. In other words, if the market's gonna do something critical, they would probably be Thursday night into Friday at this point now unless something comes out of the blue. What would that be? Anything, anything at all? We live in a crazy time and we're selling off on every gap up. We don't follow through with the rallies, right? If we gap down one day, it lasts for a day, that's it. So I mean, we have to capture the moves and books profits and the things when we get them because this market is still very volatile. So we were up more, we're selling off right now before they open. Look at this. We were at 286 here in the spy. So we're gonna sell off. But I guess we'll watch this just for so. I know it's gonna go. I said it every day in the last month. Look at that volume though. 29 seconds into the open and look at the volume and bowing. I mean, that's pretty crazy, isn't it? Like this is just, this isn't doing anything here. This is not like news or earnings. It's just like, look at that volume. 40 seconds into the open. Look at that people. This is, this is definitely on the move. So for those of you in the options, you gotta be just a baby patient. Let's look at the market. It's, this is really, I have nothing new to say about this. You're probably all tired of hearing me talk about it. Nothing different in the market today than Friday or Thursday or Tuesday or Wednesday. I just don't know how aggressive we should be here. Hey, I'm going to watch this, not be aggressive. And if we miss it, we miss it. Yeah, look at this. This isn't right here. This should not look like this here. All right.  It's really hysterical actually. Stop's going to be 130, 35. Let's do 99 by 35.  Oh, no, I didn't even get it. Look at that. Nope. I don't know if anyone got it. I just said 99 by 35. Here, it's backing up. Here, it's backing up. We could still do 99 by 35. Did anyone even get that? Here, do it, do it. If you don't do it, now you're not going to get it. 99 by 35 is valid. It just hit again. Make sure the stop's in it, 35. 130, 35 is the stop for Boeing. And I think we're going to be okay with that, but I'm going to watch this like a hawk for a little bit. Targeting this is, there's ridiculous targets in this. If you got it, you got to get it now. Doing this again. 127, 126, 125, 120. Here it goes, Boeing. Boeing, Boeing, Boeing. And we probably could have gotten in a dollar earlier. I just wanted to wait for the confirmation. And then we almost missed it, because it hit so hard. And now here's, right away, here's going to break 127. Here it goes. Here it goes. Let it break, let it break. Let's see if we can get this down to 125 here by 945, 940. Definitely by 10 o'clock, because it'll hit through 125, I think. But you could scale out of a little teeny, beanie, went a bit of that if you want to. Oh, you know what? I forgot to check out this morning, the banks. That's what I forgot to do. This may rally today, because it's on support. It's not going to last. Again, Apple's out Thursday night. The most interesting earnings right now this week is really Apple. I mean, Amazon, it's neither here nor there. But this is one of the most interesting, simply because it's tied so tightly to China. This is, I didn't even look at this. This is down today. We're not doing anything with that, but. You could have scaled out a sum here. 66 it hit. Let's watch through a break of 126, and maybe we just take it out in a flush. Let me look and see why Apple was down this morning quickly. I have the screen off for a minute. Amazon is accelerating. Why? That's odd. It's the strongest stock in the market right now, and you can't, no matter what that does, I'm not going to change my mind about that even. Here goes, boing. Apple demand outlook is uncertain. Boop-de-doo-de-doo-de-doo. No June quarter guidance. All right, well, that's probably why it's down. Here we go. So I wasn't going to do anything today. The setup, we did it. I was conservative on the entry. It worked out. If you're in it, you're in it. You can get out of it here. You can hold it down, whatever you want to do. This is a real in it. Actually, if you held the puts that expired on front, which was completely insane. I'm talking about the very, very, very old ones, which a lot of you killed, if you can even believe it. That's how solid that was of a call. Let's just see here, that this is going to break 126. Time of the day is 9.36. We're looking for a sell-off for four more minutes, three more minutes. Let's see if we can get it. Here we go, under 126. Here we go. Here we go. Here, just broke 126. Here, we're going to get this down, and we're going to have a fast, here, yay! Or you could be out if you want. You could be out if you want, or you could have your hand of the button here to watch it. Or you could be out. Actually, let me just look at the market really quickly. Boeing is on its own, but I don't think the market goes anywhere today. Apple was down. This is going nowhere. Netflix is not going anywhere either. Okay. Again, you could be out of this Boeing if you want, or you have your hand of the button for one more push. And then that's it. Our Monday's over. Back in a normal situation here for fast trades, which I'm very happy about, which I did say on Friday. Here we go. 57. Again, you could be out of this. This is so much lower, though. This is so much lower. And today is today. It probably breaks that error you've been watching. But you could be out of this here for the day trade here. A great read on this. Did anyone get out of it there? Wait, wait, one more push. I think I lower my push, which could be out of it. Did they do a press briefing over the weekend? Cause I didn't, if they did, I missed it. And I've been watching them all. Did they do a White House press briefing over the weekend? If they did, I missed it. I didn't see one Saturday or Sunday. So I'm thinking they didn't do one. Does anyone know? Did they or didn't they? I don't think they did. I don't think they did. Saturday morning they had one. Oh, I totally didn't see that at all. In the morning they had a briefing, Jackie. Cause I didn't see that anywhere. I guess I'll have to Google it. Oh no, sorry, lunch. No, I didn't see it done at all. Zen trader, I'm not getting into political arguments with you or discussions. Can't do it. 126, here we go. Under 126, here we go. This is it for the day trade soon when it breaks the low. I think it was 56 or 57? 57.  Here we go. Such a nice read on this. We've been waiting for this for so long. We don't have to wait any longer. Here it goes today. So for those of you that are in the options trains on Collin Bowen, you must watch this today like a hawk. Here we go. Here we go. Here we go. Down to 125. And you must watch them like a hawk today because this could fall off a cliff in a millisecond. Kind of like the market did last week that one day. Remember, here we go. Let's try to hold Bowen down to 125. I'm talking about the day trade. Here we go, we're gonna get it. This is a nice call. We could have done this even a dollar earlier. It was very conservative today. Just let it sell off, sell off, sell off, sell off. Just let it sell right off. What a nice start to the week. Here we go. We're gonna break 125. Try to hold it, but you could be out here if you want. This is not gonna back up though at all. Let's take a look over here, over here, and this here. It's funny, I think the only reason the market is even trying to hold on at all is because the banks, which is funny, even though these are not gonna go anywhere up either. All right, did anyone get out of this? We got 15 cents, 13 cents from the number. I said 9.45. Let's not be piggers. I just think this has a little bit more in it. Jack, you did a great job holding this last week. One of the days, whatever, was that Friday? Or I don't even remember. One of the days you did a great job holding it. I thought this was gonna break late Friday. It just ran out of time. This, I had emailed out a second trade Friday, like it completely ran out of seconds. I thought it was gonna be another day like earlier in the week. Things fell into the clothes. Oh, and you could take. You could get out of it here for the day trade. Again, I'd let the puts ride. Make the most out of these puts if you can. Just give me just a little bit more wiggly jiggly. Then we'll look at what's out for tonight. If there's anything we could wrap our heads around tomorrow. Like I'm gonna look at that right now. Let's see what's out for tonight. FFIV, here goes Boeing. Here we go. PPG, there's a lot out tonight. Nothing that like immediately stands out for me. O5, here we go, Boeing. Oh, and a nice trade. It's gonna break 125 if you're still in it. Here it goes. Here it goes. Market's going on. I'm so shocked. I'm so surprised that the market isn't rallying. Here we go, Boeing. Yeah! Wow, look at how that just broke through that 125. Wow, again, hold the puts if you want. Make sure you book money in the day trade. Look at how that broke so fast like that through the number. Here, it's almost done a 124. Here, again, if you're in the day trade, make sure you book profits in this. That was a nice, nice, great call. But the puts, I've let those puppies ride. Don't be piggy about it. Just know that this is gonna sell off. This is gonna sell off, just know that. So you gotta watch these today. Here, look at this. Great call. Great, great, great call. And great read here on the market too because the market's not gonna go anywhere. So every rally is getting sold off. Not gonna worry about it now because I look at things sometimes at night and they change in the morning. I look at things in the morning and they change at night. So who knows? I'll take it day by day and I'll read it live and I'm doing a good job doing that. Here, this just broke 124. Look at that. Woo, the day trade. 25 so quickly, so fast. It broke it like 55 cents. It went boom and it was done like that. Monday for Jackie, great way to start the weekend. We're back on track here for a fast, fast, fast trade week in the shorts.


Hello, love bugs and welcome back to my YouTube channel So there are many ways that the universe God our spirit guys angels Whatever Try to Get in touch with us communicate with us send us messages Let us know we're on the right path or really kind of like what we should be doing and in today's video I'm gonna go over a few of those numbers if you do end up liking it Let me know in the comments below or shoot me a like on here and I'll make a follow-up video with some more numbers if you're new here I'm Sarah and I help teach people how to find inner happiness through fitness and spirituality and today We're gonna get into it. We're having fun. We're gonna do something a little I'm excited for it so angel numbers otherwise known as repeating numbers such as 111 222 555 888 you got 1111 is probably the most Mainstream angel number because each angel number or repeating number holds a specific meaning and while The the meanings of the numbers are pretty universal They're obviously going to change or vary a little bit from person to person depending on What point of your life you're at where you're going? What's going on in your thought world? What's going on in your subconscious? It can also depend on when you're seeing the numbers. Oh There's a spider there's a big spider No, no no no no we're going inside I try to enjoy the outdoors. I try and the bugs Pages told darker in here, but you know what so where were we? Angel numbers can vary This is not working out for me BRB Like this is a universe telling me I shouldn't be filming this against the table to Marvel table so it hurt like a lot of times these numbers are not only meaningful for you in your own life but really how you're connecting to other people such as family members or Your soul family or soul mates and twin flames and things like that So we get into that in other videos if you guys do like this one Okay, so the biggest thing with angel numbers is That often when we see them we have kind of like I mentioned are my last video Like an intuitive feeling like almost a knowing that you're trying to receive a message or someone's trying to send you a message And you just kind of know So for example, I see two two two and six six six very often And sometimes when I see other repeating numbers like three three three or eight eight eight every once in a while like I notice it, but it doesn't really like do anything to me So in that sense, I know That the two two two and the six six six and six six six is not an evil number bt does I know that those are meant for me because I just have an intuitive feeling where When I see other repeating numbers or other angel numbers, I don't have that feeling so I know that like you know, they're not as big of a part of the message as I as my guardians or god or the universe is trying to Send me so with that being said Let's get into it with 111 so this is a super powerful number for kind of Checking in with what you're doing in your life and your thoughts and your feelings because basically What it means is that whatever you're doing in your life or whatever you're focusing on or whatever you're thinking in your head Is becoming a reality. It is manifesting into your life So This could be positive or it could be negative. So it's really just like a hey Check in with your thoughts. Are you thinking positively? Are you thinking negatively about a certain circumstance in your life? It signifies New beginnings or starts So if you're seeing 111 pretty often check in with yourself, especially when you actually notice the number so like if you were driving or whatever and you're thinking about, you know, how Miserable you are at your job and you look over and you see 111 Check in with your thoughts and basically that is signifying that You're you're magnetizing that thought With the angel number. So if you're unhappy, that's what's going to continue happening so this is like a really good time to kind of check in and and Look at the glass half full instead of half empty because whatever you're thinking Whatever you're feeling is coming to you is coming into fruition for you.  Whereas If you step back and change that thought frame and have some, you know, positivity and overlap it a little bit You'll will bring more prosperity into your life So if you're thinking those thoughts and you see 111 and you're like, hold on Sarah said I need to check in with my thoughts and feelings and right now I'm feeling negative. How could I feel positive? Well, hey instead of being upset that I didn't get that raise at work I am so grateful for the money that I do have I am so grateful and happy that I'm able to You know live in a home and put food on the table and and put clothes on and do the dishes and wash things And and just make sure that you're really on that more positive path And that doesn't mean as I said many times before That you need to be thinking positively all the time. Is that the goal? I mean, yeah, kind of sure But like we're human not realistic. So if you're seeing 111 check in with yourself Check in with your thoughts and feelings. So 2 2 2 This one is near and dear to my heart over the past year So number two is the number of duality of pairs of union. It's all about listening to your intuition. It's listening to Your faith and trusting that things are working out for the better good. It's all about Balance and trusting that whatever you're doing Is working and you're moving in the correct direction 2 2 2 represents balance and harmony and because of its duality nature 2 2 2 often represents that you have a union coming or a twin flame In your life twin flames whole other radio topic I actually have a guest speaker coming on the channel soon and we're gonna We're gonna talk about that a little bit. So that'll be fun and a lot of you know who said guest is I'm very excited So just know that the number 2 2 2 Signifies that things are coming into balance for you that things are working out to have trust and have faith not only in yourself But in whatever bigger energy you believe in whether it's god or the universe or whatever source energy or creator It is sending you a message that you were on the right path That you were doing the right thing and that everything that you were doing is working out And to keep on going Okay, next It's angel number 3 3 3 And this number signifies creativity it signifies Spark it's letting you know that it's you still have work to do and it's time to step up Whether it's in your personal life Whether it's in your professional life and know that whatever you want Is attainable and you're on your way But you're not there yet and you have to keep working and moving towards it to hit whatever that goal is And you want to really listen to your heart Listen to your soul. What does your heart want for you? Is it time to step out of the societal norms? Is it time to Start that new business or that new hobby that you really want to that you're it's almost like What it feels like to me is almost like listening to your inner child and you know the inner child's like You know stuck in a box.  The timing is right Let yourself be free to stay focused to keep moving forward and to do what makes you happy or what you believe will make you happy It could mean moving forward on something that You've been a little uneasy about or you've been a little unsure about you're not sure Your angels or your guardians god is telling you Make the jump make that commitment.  I don't know if you'd really like to sit through a five hour video for me But um, I'm a little hungry. So I'm not going to do that So if you guys do like this type of content Let me know and I will make a follow-up video with some more angel numbers and another tip is Something that I do to kind of like magnify the power of these numbers when I'm seeing them Is speaking about something or speaking about whatever that number represents Either in my head. Usually I say it out loud. So for example, if I see 111 I will say something like You know, I am so excited to be on this journey I'm so grateful with where I am and I'm open to New ideas, fresh ideas, and I'm open to opportunities If I see 222, maybe I will speak aloud a loving message to Someone I'm thinking about on the receiving end. If I'm thinking about number 333 I'm thinking or saying hey, I'm open to creativity. Hmm. What are the things that? You know universe god show me. What is the next move for me? Show me. What is the next thing I should be doing in my life? You know, help me get that creative spark And I'm open to it So I love you guys so much. I really had so much fun making this video I think angel numbers are like super cool So if you liked it, like I said, let me know below and don't forget Be limitlessly yourself