st LGBT for opposing family values when a movie show a woman kissing a woman then that's become something wrong. There's an area to really push back as well as articulate further what can constitute violations of public moral, what constitutes a public in decency. Now in the implication when we look at what kind of collaboration is needed, certainly I think UN players, UN reporters would be really important players to work with the whole society and this could be in forms of developing experts meeting to further develop normative whether this could be initially declaration and then moving towards making it more legally binding whether this kind of as a new general comments if you'd like in the future or other normative form. This is where governments, it's great to have you here Claire. This is where government's message will really help UN reputers and civil society that have expertise in this area can help. So that would be one kind of a collaboration that we need to do in terms of strengthening collaborative. Among the UN system, we also see UNESCO 2005 conventions talked about cultural diversities. We see very little programmatic work and thanks to Karima for the report earlier, explore conceptual and the linkages between cultural rights and cultural diversity. I think the need, the gap here is how to operationalize those overlapping and also create that internal communications between UNESCO and Geneva, the Office of High Commissioners. And I think it won't happen automatically. Myself, I speak almost every year on this point UNESCO meeting and I think nothing has happened so far. So I think that's the, this will need fewer number of people driving forward, articulate what are the common issues that we need in terms of normative setting. Moving to the second part on monitoring. Again, this is fewer number of players, females has documented cases over 90 countries, 700 cases have been managed to verify. We still need a lot more support and collaboration in this area, especially in verifying cases of being in form of cases, especially in the global south. And this is where I think if, because there's going to be collaboration, you will have to be also, not only north-north, but north-south. And this is where civil society in the global south need to be strengthened their capacity to monitor, to report, to document and do it in a professional way so that you use human rights research, bringing some methodology rather than using the general common sense. So collaboration with the global south with an aim of strengthening capacity to monitor, document violations and compliance this overall. And this also including monitoring latest development of laws and policies that will affect artistic freedom communities overall. And so that will be some of the implication, I think collaboration in this area. We've seen some already. There's last room for collaboration. The third area on once we set the standards, we monitor compliance against standards, then we engage in terms of advocacy and campaigns. And this is where there's huge room for working together. Freemuse is going to launch a report on LGBTI and artistic freedom in Krakow next week with the mayor of Krakow. So we are very excited to bring artists together. And this is the first time we launch, not only report, but also the LGBT artist network for artistic freedom. So artists from Brazil where they face serious repercussion and different parts of the world will come together and we'll send the message that we need to fight back. The bad news is in the last 10 years, there has been 14 new countries that come up with propaganda laws against LGBTI expressions and that give a rate of every year there will be 1.4 new countries imposing illegitimate restrictions on LGBTI expressions. This is huge room for us to actually advocate and campaigns together. Not only on this front, I think a number of other aspects that we can actually do also refer back to the point of the need for us to engage with civil society in the global south. It just very badly needed. If you scan at the regional body, we have the African regional network, but not so in the Middle East and Asia. There's already movement in collaboration happening in Latin America. So from outside, females will try to pull this together by developing the global action network for artistic freedom to bring different people, different actors together. We also found that cases, for example, Galal that we all most of us know, a poet from Egypt who's been sent for imprisonment. There are at least four or five NGOs working on the same case. What we have initiated is also to say when we work on the same case, let's collaborate. There might be some case where females contact lawyers or artists, other organization contact different people. So I think that's where we try to create a common platforms. So females is offered now to develop, to sign MOU with like-minded organizations. So that we can actually coordinate our campaign. When we have a bit more information, we're happy to take the lead. When other organizations have more information or have closer contact, they can also take the lead. So we can avoid duplicating the work. So everyone is invited also to discuss further beyond. So to sum this up, this is really coming down to passing some recommendation to Karima. We certainly see that support donors as well as civil society, we need to looking at supporting and collaborate in all functions of advanced human rights and not only provides support to helping victims, which normally come to the Safe Heavens package. The work around standard setting, strengthening normative framework is just so important. Monitoring as well as doing joint advocacy will be the other parts. And my last one probably highlight the importance of bringing our friends and colleagues from the global south onwards. They do not enjoy the resources that we, even though smaller NGO's mostly in the global north here, in the global south they face even more difficulties. So I think that would be what I would recommend to take forward too. Thank you very much. And Helga, you have the floor. Thank you very much, Karima. Thank you very much, the Safe Heaven team. Icon is working to let the voices of persecuted writers, authors and journalists be heard. And we are mobilizing cities to do this work for us together with us. And I'm very glad you mentioned Shurak about the city of Krakow when you were launching the report there. That's I think it's quite a very important event. And what we see, for instance, I just mentioned in that with regard to the way Icon work is that cities are stepping up as actors for human rights and freedom of expression, particularly in Poland. Like we have Krakow, but also Wroclaw, Gdansk and Katowice and soon Warsaw and other cities will join. A really significant force that is working against the more repressive policies by the government and other parts of the society in Poland, just as an example. That I think is definitely worth mentioning. Just also a little glimmer of sunshine and hope in this very challenging corona times is that we have managed, and I don't say the organization Icon, but all our partners, all the cities and all the actors out there have managed to place almost as many persecuted writers and artists this year as we have been doing the other years, even though the borders have been closing and so on, all the actors, the cities, the governments and in many countries in Europe and beyond, they are able to see what's really important also in such challenging times to open a border so that the rights and artists that are persecuted and other threats in other countries can come into and start their residences in cities of asylum within our network. And this is only, of course, possible to do throughout when because of the cities and because of all the very good partners that we are having here. That brings me to the congratulations to the Safe Heavens movement because we have obviously been able to be there since 2013 when everything started in Malmö, in Sweden or Switzerland or wherever we are. But that has been very significant a row of conferences and we see that and also when we see the diversity of the speakers here and all the fields that we are covering together and the possibilities that we are having here to deepen the cooperation between us I think it's very, very significant. But there's one point that I wanna make in regard to what we discussed in November at the Safe Heaven and also the report and the recommendations from there because I think you, Marianne, you said in the beginning today that Safe Heavens started as a safe haven as a more strict movement of different initiatives that provided Safe Heavens for persecuted artists. But no, it's a lot more. And of course, obviously it has gone to a lot more and it's also have a huge significance in many other fields and in the global picture. But I think this is, then also the challenge follows to start being more conscious and more specific about, yes, we used to be a safe haven movement. Now we are a lot more, but what are we? What, who do we wanna be? What, how will we define ourselves? How will we define our goal or mission and a vision in this movement? I don't say that, I mean, the very huge quality is the inclusion and the diversity but how do we come towards a more also precise definition about how, and who we are and where we are going for others? I think that is also very important and also within that, I think that, I mean, the huge strength is that we are so many, we are as many different actors and we are working also, we are getting inspired by another working very closely together. And this platforms that safe haven is has meant a lot to icon and at the same time, I think that the other platform that this for icon has made a huge difference is the one that is having provided by protect offenders by the EU program of protection for human rights offenders, the platform for temporary relocations initiative have been immense successful in our regard, even though they didn't, they stepped out that they came into life for quite a few years ago with a lot of big goals that were not achievable but only the fact that they brought all of us together to get to know each other, all the actors in the field together and so that we could speak to get to know each other and then cooperate about very difficult challenges together. That was very, very important. But I think it is also when we meet on platforms and like the safe haven one know and hopefully also in the future, I think it's very important to be clear not only the platform as such but also we that who participate there that we are clear about who we are, what is our mandate as an organization, what is our mission, what is our vision. Is for instance, is it our mandate or vision or mandate and our mission to help artists directly or is it for our organization and the mission to help organizations that help artists? I mean, all of us want to do the best but I think it's also a time now when we see this movement grow to be very specific and I speak also of course to ourselves but to be conscious about who we are, what is our mission, what is our vision but declare each organization defines ourselves towards ourselves and towards others the easier it is to cooperate and to find all the good synergies in ad platforms like this. So this is the message I'm bringing forward today. I'm once again, lots of congratulations to Safe Haven movement and we are very much wanting to take part in the future as well. Thank you very much, Teira. Yes, so thank you Teira and thank you for having me in Culture Action Europe here and very, very happy to be here participating in the panel. And what I want to bring here today is like two things. First, the reflection on how we understand the principles of collective initiatives and then a proposal regarding the recommendation on the tools we need to undertake to undertake a cooperative projects in the complex field of freedom of artistic expression. Tools that as already mentioned should benefit all actors involved and should prioritize those who may be marginalized at some point in the process for diverse reasons. First and foremost, I would start to touch ground a bit with the four adjectives that the title of this round table proposal is Collegiate, Collaborative, Cooperative and Non-Competitive because they look like synonyms but they have a very, very specific meaning. Collision is an adjective that describes an environment where responsibility and authority is also shared equally by colleagues. This is one point. Collaborative describes an effort in which people work together. Cooperative involves a mutual assistance and non-competitive means not having the desire to be more central than others. And I think these are different meanings. But what do they have in common? So I think that what they have in common is the idea of the peer condition. The peer condition that is crucial for how Justine has Salet proposes as a partnership which is a relation that has no center, works in multiple directions and it's based on equality rather than power. And I think we need to have in mind this peer conditions if we do not want to incur in a rather symbolic effort when talking about a Collegiate, Collaborative and Cooperative and non-competitive initiatives. And from my personal point of view, the success of such initiatives has to do with diverse issues. And amongst them, the first one is the issue of legitimacy of who is truly recognized as a part of the dialogue. And the second is the way how we built this participation. And here I mean what is the real capacity, the agency of the participants to shape the framework, the contents, the tools and the policies. And this has been discussed through later during the first panel, but yeah, it's starting collaborative process affected by the action of other subjectivities sensitivities and backgrounds. And of course, this diversity will shape the process of dialogue and the common goals. But to secure this peer condition, this real partnership, I think we need this openness first, but also already mentioned many times in the panel before and also in the report, it is absolutely paramount the creation of a common language, which can be able and allows us to translate diverse positions to create common contexts and to facilitate this mutual understanding. And that is why culture in Europe think things that it's very important to work on useful talk, it's an informative guides created by different sectors regarding at risk professionals. And they need to be shared, accessible and available in a way that everyone involved can contribute and understand and use them as formulated in the second recommendation in the Safe Haven short report. In our opinion, one efficient inclusive way forward at this stage is to bring all these sectors together, arts, activists, human rights defenders, legal experts, jurists and decision makers. The main obstacle for this course of action is that we all have different approaches, speak different languages and have different appreciations of the issues at stake. Concretely, I'm going to talk concretely on the legal provisions. They seem to become a more common reference in policies and decisions, but this reference, artists perceive this reference as a limitation of their creativity, critical thinking and the freedom of expression. And for a structured dialogue based on common values and common understanding, it is crucial that we have a common comprehension of the legal framework. We don't have a common language to start a discussion, understand different but still similar cases, for example, of violation of freedom of artistic expression and we don't have a common guidelines either. Our proposal here is to, for facilitating the way is to create a handbook with guidelines for a structure in this dialogue. A handbook that is based on the available case law and in common law principles such the UN conventions or in the case of the European Union, the European Convention of Human Rights. Construction Europe is working towards the creation of such a handbook at your level, straight up knows perfectly what I'm talking about. And as Sria was saying, a lot has been done in the normative standard setting. But we are imagining a practical handbook outlined in a very accessible language, the available protection for artistic expression as well as the lawfulness of possible limitations of artistic freedom. And such a handbook has several added values, we think, such as, for example, for the world of art to facilitate access to rights and access to justice, for the world of law to strengthen the understanding of artistic practice that sometimes it's not easy. For the world of policy to raise awareness of the legality of the decision made and the consequences for artists and audiences. And for the EU, the European Union, to strengthen the possibility to design a uniform monitoring across the EU with the comparability needed for that. Right now, we are now further exploring the field and identifying partners from these different worlds to work together in this overarching and ambitious project. However, we have already started to work on it with Preliminary Study, which is conducted by Yama Malcubaydi and Marcin Gorski. And basically this is a study on the protection of freedom of artistic expression and the obligations available. The main approach of this study will be to prove that artistic freedom is protected by European law and community law and to draw possible paths to follow. It aims to lay the foundations for defining monitoring mechanisms, comparative evaluation and the possible need for more explicit legislation. It is about outlining the existing obligation for the EU under the 2005 UNESCO Convention, arguing that it is a community law since the EU is a party to the convention. As the EU is a party to the convention, the convention already had an effect on how the Court of Justice of the European Union interprets the EU law and in light of the convention. And although this type of study is probably, for most of you, could outwardly be redundant for the very, very specialized people, it has a think and novel component because it adds the value of gathering and constructing all that specialized knowledge in just 20-page documents that approaches a difficult topic in a very accessible and pedagogical way because we also need pedagogy in its integration of this language. The main outcomes of this preliminary study that will be ready at the end of January, 2021 should answer following questions like, what does artistic freedom stand in the European project today? How free is artistic freedom and where are the limits of artistic creativity, if any? Or could the legal ecosystem, the EU law and the European Convention of Human Rights provide us with guidance? Can such guidance instigate a structural European dialogue in the matter? How could such guidelines and handbooks look like and who could provide them? And at the very end, how can the world of arts and culture and the world of policy and decision makers as well as the world of law meet? So this preliminary study will give us a ground floor for a basement for a white handbook for the white handbook that we hope to develop with all of you. And yeah, I'm finishing here. I would love to leave you the link of a paper published at Caldraxion Europe website that constitutes, contextualizing in a more detailed form this proposal, this handbook proposal. But simply if you look, if you Google if you're looking in your search machines simply Caldraxion Europe handbook and freedom of artistic expression that will land directly to this document. And so we're only very happy, very happy for proceeding to your thoughts and your reactions on this paper because yeah, it could be a good tool or think that it's a good tool for bringing all these different worlds together. Thank you. Thank you very much to you and to all of the speakers for respecting the time and also for such interesting and important and pertinent and specific interventions. Just to draw together a few common themes quickly with the remaining time that we have. I think there was a real emphasis on structures, frameworks the need to have clarity about purpose, who we are what we're trying to do, common goals, common language thinking carefully about methodology but also thinking inclusively including all regions including different sectors including cooperation at the regional, local and global levels moving away from competition to a real peer condition, a real partnership and I really heard all this coming out of all of the presentations and I think the challenge is then to figure out in the short term how we begin to operationalize some of this should we for example be having ad hoc monthly meetings on the internet recognizing that that is going to also leave some people out but where we could discuss perhaps one month cases the next month themes and so on or some other more inclusive form of operationalizing this in the context that we're facing now should we have trainings like the International Service for Human Rights does where NGOs that are used to working at the UN could partner with those perhaps from other regions who don't have that experience or many other ideas that one could contemplate. One question I wanted to put on the floor and see if anybody wanted to address or a few people very briefly is what the obstacles to this collaboration and cooperation and collegiality might be and how we might address some of those would anyone from the panel like to say a few words quickly about this we have two minutes left and if not I can put that on the floor as something perhaps we need to think about going forward because as someone said there are often words but it's more complicated to operationalize those words and certainly that means addressing the obstacles. Would anyone like to say a few words about that Julie? Yeah, I mean just like in one word I think it's funding is the lack of capacity and especially in the global south organization we are working with I really have a very difficult time to carve a capacity for this type of meeting and gathering because they are overwhelmed with their own programs and they all are providing direct support to artists where they have so many applicants and so many kind of a burning situation in different countries where they operate. So I feel that it's really the funding and the capacity that is lacking and one of the solution will be to bring actually and capacity in those organizations and do capacity building. That's really what I think strongly believe that how it can work to really have those types of meeting and coordination available and fruitful and productive. Thank you. Would anyone else like to address that briefly? We have one minute. Anyone else from the panel? Yes. Sriwak, please. Yeah, thank you. I think part of this is the size of our, most of our organizations. I think the actors are relatively small. Most of us are under five staff or under 10. So the whole artistic freedom actors are relatively small. We don't have amnesty with 1,000 staff or Oxfam with 3,000. And everyone put their heads down as you know, doing their work. Then you get to see collaboration like let's organize this event together. La, la, la. And then you get on with very practical. I think there's limited space also for us to look at how can we collaborate strategically. What is really needed, where the gaps are. We don't have quite much space to discuss something like this. But having said that, I think there's some really, really good practice. I think Terry, Culture Action Europe, and Freemills on the coalition, on the European Coalition for Autistic Freedom that we managed to get some resolution done. So just some of these that happen. I think it's a bit of the opportunity to engage and really have conversation like this. I think that's very rare also. So I think it's just good for all of us to really lift the game also, to really ask the question of what is really needed. I think that part. The other point is probably the competition itself. And I think we have to be honest with each other also because mostly the players are small and they're all going after the same pots of money from donors and so on. So the competition will always be there. So I think we perhaps have to accept that as a reality also. But that doesn't stop us even though there's competition amongst civil society just like companies. There's also that doesn't stop us from working collaboratively and there's so many good practices already. So I think it's just good to put this also. Small actors competition will be that but also we can expand space for collaboration when it's really help advance strategy for each of the organization then we should really step into that space. Thank you very much. Marianne, were there any questions that came to us from the audience that we should address quickly? I know we're two minutes over time so otherwise we can wrap up. I haven't. What's happening to each other at the moment? And no, I understand that there aren't any questions that have come. Well, let me say thank you so much to all of you and how much I hope we can work on the basis of this very fruitful discussion today and really operationalize as much of it as possible. I think something that was mentioned, communication is critically important, perhaps even thinking about some sort of a list serve so that we're regularly sharing messages between us. But thank you so much to all of the organizers and to all of the participants and I will have to sign off shortly so won't be able to follow up. So I really do wanna say goodbye and be well now and how much I look forward to continuing to collaborate and cooperate in a collegial way with all of you. Thank you very much and enjoy the break. Thank you. Thank you, Karima, before you go away and start doing other work, which I know you're going to do. Thank you for all the participants in the panel and thank you for your stellar leadership of it and the words that we were all inspired by. Thank you. Before I turn over to Yan to also to introduce another musical interlude just to remind people that together with the music and a small break, we will be back at five minutes past five, central European time.  So please don't go away. Keep your camera off but keep yourself on. Thank you again. So now it's time for a bit of a real thing again and to the icon of Belarusian rock music, Lavon Volsky. He was actually invited for Safe Havens in Malmö in 2017. We didn't manage at that point, but no, 18 I think. But he's on now and he has the ability to do these catchy rockers and with lyrics that puts the finger right in the eye of the ones who don't like to have the finger right there. So enjoy Lavon Volsky and his band and also just a small report on the situation in Belarus. Tanya Usym, very nice to meet you in this initiative of TV-Framews, to show a couple of songs. One of them will be a song by Verme Straya, it's 22 years old, it's called The Air Force. The other will be the youngest song of this moment. It's called, it's terribly called, The War and the People. And we'll show you all of it with our band, Kurt Volsky. If you want to know more about the situation in Belarus, you have to know everything. If you don't, I can say that in the year 26, in the year 26, there was an authoritarianism, like I said, a stable authoritarianism. Some people liked it a lot now, because it was calm, they paid little, but stable. But there is a red line, which is often talked about in our government, which is that I'm naked and passed away, and something broke, and people don't like it anymore. And in the sense that the good will be at the level of good, but in the sense that freedom will be at the level of bad. Now there are a lot of absurd ideas that begin. For example, in the evening, the curtains are closed, or to distinguish the students who are called to the strike. In the culture, they are distinguished in the same university by about 25 people, in other situations the same. It's weird that they are engaged in exhibitions, some of the directors who earlier recommended themselves as such normal people, now they have already talked about their opinions. Well, in short, it happens on the streets of such unremarkable power structures. You can read about this on the Internet, you can talk to those who are more dedicated, this information is all over the place. So, Kolya Laska, and we, as music, we supervise our people, we help the people of this time, I hope. We write songs for them, we give them hope, we have been doing this for 26 years, now we just have to do it more mechanically, more actively. Well, we are this kind of people. The first songs are written in the air in 1997, it seems, in the year, 23 years old, not in 1997, but in 2008. The song, well, the meaning of the song, what is the text?  Therefore, now I'm telling the truth about this song, I'm Levan Wolski, Belarusian music, I'm glad that Safe Music asked us to do two things about this world enterprise. Thank you. Thank you. The song will be the latest, this year it will be written, together with the producer of my Norwegian snorkel, Bergerudan, it is called the voice of the people, she asks questions about what is happening in our streets and in our country now. Is everybody back? I wonder. I have to leave earlier than other people because I need to eat something and it's getting late. I stay as long as I can. Yeah, you said you're a night owl and it must be very late there now. Not so late, but I also have an early morning with lots of deadlines. Right, okay. As long as I can stay, I'll stay away. Oh, that's great. Behind the scenes with our little whatsapp internal group is kind of crying to each other saying, how on earth are we going to write a report about this day? It's just been so incredibly rich. But I suspect music, whoever's put together the music and the clips, they're wonderful. It's really great. Thank you. And Safe Moves. I think we should start now and Karima has had to leave but I still see that there are almost everybody who started with us. I think only three people have left. We don't know who's on the platforms will get reports from all those platforms later to see how many people turned into the webinar. However, I'd like to once again establish the rules of the game. We only have a half an hour. The people who are discussing have four minutes each. We've got six in this session. So short comments either about what the panelists said or about something that particularly resonated with you in the report. So once again, I'm sorry we don't have time for long introductions of your organization. But let me just hand over right now to Matthew Kovey, who's the director of Temizdat in the U.S. and also a law firm. And they are and he has been specializing for many years in law in the U.S. that's linked to immigration. He's a musician himself. He started out by helping musicians who wanted to tour and that was the beginning of a very long adventure for him. Second from the artist protection fund in the U.S. also Alison Rousseau who's leading a fund which also helps to relocate artists. Also speaking from I'm not sure whether you're on the west coast or the east coast Ashley Tucker who's director of programs for the artistic freedom fund in the U.S. which also is working with lawyers and with relocation among many other things. Marita Mukkonen director and co-director of Perpetuum Mobile Artist at Risk who is a curator and working with relocated artists particularly working on their artistic work. Kathy McCann who's who's coming from Penn International in the U.K. and is working on their Writers at Risk Protection program and also Elizabeth Dovic who's the program director of ICORN in Norway. And I will do just what Marita did before. I'll just call on each one of you in turn and ask you to please be looking at your watches. Matthew Kovey Thank you, thank you Marianne. You know I think there's been so many fascinating conversations happening today and I guess there's two things that I want to mention and these are in no particular order but just sort of reflections on what I'm seeing today. One thing as we have become increasingly involved with working with the U.K. as the U.K. prepares for Brexit and being at that juncture now and thinking about the ways that the laws in the U.K. are changing are going to be changing mobility into the U.K. for the culture and looking back on where we were in the U.S. I guess I want to make one comment about the extent to which the barriers for mobility and the barriers for culture really run the gamut from the nefarious which is largely what we're talking about here today which is really concerted efforts to undermine freedom of expression but they also run to the other extreme which is just simply the bureaucratic accretion of freedom of speech or accretion of barriers to freedom of speech and I think part of what's been interesting with the program that we've been running in New York with the Safe Haven's incubator for music is trying to figure out where to intersect ourselves into that continuum and where an artist at risk this goes back to that old definition this is something we've all talked about for years where an artist at risk and what is the risk that is important at what point does an artist's risk become significant enough that our community takes this on and I think part of what concerns me and I see this happening happening for three decades in the U.S. and perhaps happening elsewhere is this point where the risks are not imprisonment per se they're not they're not torture necessarily but we see across the board bureaucratic measures and systems that inhibit and just tamp down freedom of expression in ways which are much broader and also ultimately affect in some ways similar silencing but that's one thing that I think is it's kind of an outlier to the conversations we've been having here but I also think it's an important thing to keep in mind that these risks come from a lot of different areas. The other thing that is something I mentioned briefly earlier and that's I think in these discussions about collaboration and the community that we need to build I think that the role we just had a couple of interesting conversations with some of our residents recently about trying to figure out how to focus our efforts in terms of what we're trying to achieve for them and the thing that we keep coming back to is how important it is for them to build their careers and their own independence is something that they're so focused on and sometimes at least in the U.S. there's such a stark separation between what you do to make good art and what you do to make sellable art and I think we tend to be very focused as people coming from the arts community on good art and I think that we're trying to recalibrate right now to think a little bit more about how do we integrate them and what can we do for them professionally so that they don't have to rely on residency programs forever or they can really move toward commercial which is not as fun and is inspiring to me as a committee from the arts background but certainly ultimately extraordinarily important for what the artists are trying to achieve and it's something I think we lose track of and if we're losing track of it it may be something that others here are losing track of as well Thank you Matthew Over to Allison Russo Allison your name is there I don't know if you are there If not I'd like to ask Ashley to jump in from the Artistic Freedom Fund Artistic Freedom Initiative Thanks everybody Thanks Marianne I'm Ashley I'm the director of programs at the Artistic Freedom Initiative Marianne I'm back in New York so I'm on the East Coast that's where our organization is based for those who don't know us we are an organization led by immigration and human rights attorneys and we provide pro bono immigration representation to at-risk artists as well as resettlement assistance I think a lot of folks here already know our work but for those of you who don't that's what we do in a nutshell I think what really resonated with me the most and I was so glad to see had been a real touchstone in this year's Safe Havens conference is this idea of collaboration and legality and it resonated with me so much because this idea of collaboration is absolutely foundational to AFI's mission we've built an organization that operates at the intersection of art, law and human rights and we've really sought to build bridges between the fields of art and law and this has really been done by trying to bring in hostile partner operators and really centering and prioritizing partnerships and as an organization that's led by lawyers but as an organization that also wants to take a holistic approach to uplifting artists under threat we know the vital expertise and service that we can offer as lawyers but we also understand how critical it is for us to join forces with those who have other vital resources required to uplift artists under threat and save artistic freedom ultimately one of these programs is partnering for example with Thomas Dot on the residency program that Matt just mentioned in New York for organizations at risk so I think really importantly we've had to and have been very pleased to reach out to partners and collaborators who haven't historically already been part of the field, the sort of field of as we sometimes say in the safe havens crowd kind of usual suspects so to speak and we've really been able to bring them into this work which has been super exciting so in that way you know AFI has not only been building up our own network but we've really been working to capacity build for the field and familiarize folks across all three of our programs legal services, resettlement assistance which includes our residency program and our artists for social change program which creates platforms and opportunities like exhibitions, concerts you know putting on plays things of this nature we've partnered in pro bono attorneys law firms to the network to take on at risk artists cases we've you know brought a coalition together around our residency program we've partnered with a lot of arts and culture institutions presenting organizations in New York so we're very proud of our work to help capacity build for the field and recently we've just launched a certificate program in art and cultural heritage law which is being hosted and taught by Georgetown law in Washington DC we're super excited about it and this is another way we're really hoping to build bridges between fields and sectors so we can learn more together building partnerships and imagine how we might work more closely together to see apart the arts and artistic freedom so I'll just in the spirit close with you know for those of you who don't know our work or for those who are watching at home as I said you know our mission as immigration rights attorneys is to provide these legal services to at risk artists so if you or anyone that you know could use our help or if you're an organization that is interested in partnering or collaborating with us in some way please reach out don't hesitate you can email me at Ashley at Artistic Freedom Initiative and thank you to Karima for today and to all of you for your wonderful conversation and work and input thank you Ashley apparently Alison had to leave for some serious reason so Marito can I pass over to you are you there there you are moment yes now you can hear me right good afternoon for my part for everybody or good morning it has been a really fruitful day and I have lots of remarks but I will point out some of them are these at risk as an institution it is based on the idea of fear organization or a commons and that's the reason I will elaborate that a bit so basically our hosting model it starts from there it consists of fears so we have created a hosting model it's that we have in each AR hosting half actors from different fields I am co-funding director of Artist at Risk Ivor Stadolski we are great but also we have back around in activism and in politics so basically it's very holistic way so we bring together it's human rights lawyers, musicians unions, artists unions actors like national theater funders cities and so on and according to the artist we are hosting we invite more peers if we have a LGBT activist coming then it means that we include actor from that field and we wouldn't be able to host actually artists without this model and this also the mini competition if we talk about cooperation because we come from different fields different artistic disciplines and also it's it's kind of human rights field for example our funding mainly comes from arts and culture but we cooperate with actors like local pens and so on and that has been a very fruitful model actually to create this kind of cross-sectional or interdisciplinary corporations. Another principle which we respect is that art practitioners we host they are our peers which means that they bring our expertise to our organization which is really crucial in our hosting model and I think that that's something which is very important to emphasize in this work and this brings in something which was mentioned earlier that when we host artists we don't only look at the risk we look at the artistic career paths also in the relocation which takes us also to pre-location and post-location we know that it is internationally when you work with artists it's really competitive field so actually if you work with especially artists who have been silenced usually they haven't been able to practice their art in our program they don't have to do anything but so far we haven't hosted anybody who haven't been feeling actually to practice art so we need mechanisms also basically to support artists and their artistic careers after they are our residents and we do so but we would need more cooperation in that field from professional art actors and we do work with institutions like big museums like etc. in Karlsruhe CCCP in Barcelona National Theater in Tunis and so on so we always have both kind of grassroots level organization and big institutions so that artists we host also in different cities can exhibit and to be plugged into our network so it means that they don't only have a network in their relocation place but also we activate then its other institutions which might be interesting in hosting them and that brings us into kind of multiple relocations when you look at an artistic path often it's kind of the first relocated in Tunis in some case that's okay but if it's a Brazilian artist the future perspective might be rather in Europe, in Portugal or in France so we also have to look at in a holistic way how the artist can create a sustainable its career as an artist so we look at both this kind of risk and threat and protection but at the same time we really emphasize the fact that we work with professional artists and I think here something Mike Müller referred to earlier which is very crucially brings something what we are doing in Artist at Risk Secretariat a lot is grant writing both for artists and for our hosting organizations it's basically we do the capacity building in grant writing and then we actually do write grants both for Artist at Risk Secretariat students, alumni and help them to kind of learn this process but this is the same thing with our peer hosting organizations example for example our partner in Tunis they have capacity to do so but basically the problem is that many funding it's the mechanisms are for individual artists not for structures and therefore such new initiatives the protective vendors of EU like the shelter initiative is extremely important and we are now for example working with our partner in Tulum in Mexico that they would get structural funding because often hosting organizations outside of Europe they are depending on the funding of individual artists and so on so even though you build in the capacity and they could host the next artist there are no resources and no continuity to do so I think that there is also responsibility in this capacity building that if you build the capacity you have to be able to also continue that support so that people can actually host and support artists after that these are few points there would be more so it has been a good discussion but I will end it here Thank you and now I'd like to just pass the mic again Hi everybody very nice to be here so Penn is approaching its centenary year in 2021 and so we have been working on cultural rights for nearly 100 years now and the defence of freedom expression including artistic freedom is at the core of Penn's mission I would like to focus on some issues some points in the report but I think talk particularly to some of the operational obstacles in actually carrying out the recommendations the first is relating to funding funding for individuals Penn like many organisations provides small emergency funds for writers at risk and it's very clear that these short term measures really do not address the long term needs of writers and artists and I feel particularly that most of our cases they come to us perhaps in an initial emergencies but their situation is very long term and the situation for long term limbo particularly writers and artists who have had to flee their countries and are in insecure exile or displaced within their countries is very very acute and I just feel that we really lack sufficient strategies to address their situation and to assist them both short term and long term the second is about monitoring and the need for greater monitoring and documentation of cases of artists and cultural actors at risk we publish a case list every year and so we are carrying out this kind of regular case documentation work and research work and and this it's very it requires paid staff to do this work and therefore I think it's a kind of unseen all of our other work relies on solid thorough research and proper verification of cases and that goes for our direct assistance work and our advocacy and campaigns all of it's rooted in case research of individuals and it's very very difficult to do this work without decent paid staff and also outreach on the ground a network of membership or other local organisations that can assist with that the other point is around duplication it's it's much easier to say we shouldn't duplicate our work than to actually not do it and I feel that really we need to look at how we share information particularly on cases there's a lot of issues there to unpack around sort of methodology and process and I think we need more good practice in the field and to share that in order to actually understand how to do it and to work together in a proper collaborative way and finally around the issue about networking collaboration I'd like to really sort of talk about the challenges that we face and I'm sure many of other organisations face working with volunteers our membership grass roots membership based organisation the large proportion of our membership our volunteers most of them don't even have an office very few of them have any kind of paid staff and so there are really really serious capacity issues there and also many of them made more complicated by the fact that they're working in a very hostile environment and so I think the kind of the need to strengthen the capacity on the ground is very very complicated and requires a lot of resources and also expertise and finally I suppose I would like to say in terms of a good practice model that has been working very well for many years is that could be replicated I think is the collaboration between Penn and ICON we've been working together both formally and informally for over a decade now and that includes both at the international secretariat level and at centre level and I'll obviously hand over to Elizabeth to talk more about that but in terms of of actually a good collaborative model I feel that ours is one and it's good to share good practice and work together thank you thank you Kathy and brilliant numbered points easy for me to take notes and that's a perfect segue to Elizabeth Dubek from ICON yes thank you very much Marianne and thank you to the organisers thank you to Farida and Karima who have led us through this as well and thank you to Kathy that I was just actually starting with that we in ICON although we are we look like a large organisation with almost 75 or more residences worldwide we are a very small organisation when it comes to staff in the secretariat and when we started we saw immediately that we couldn't do this as an organisation on our own if we're going to employ people to do all the work that had to be done to run residences like this if you want to work safely as an artist you need to to have some rights in order to have some rights you need to have laws and regulations you needed to have and then when laws and regulations are breached you need protection and this sort of structure also shows the different levels that I could say the sector if you want can work on whereas we in ICON work on a subset of this because we do only relocation which is a small subset I would say of the protection work that goes on so we partnered very early with Penn that we knew had the knowledge and the competencies to do professional research on case work for writers and there there the systematic way they work made them able to also take on research when it came to other artist groups and other things because it's more the methodology than the actual profession that is needed in that sort of work partnering with Penn was also instrumental or important because we chose also early to do advocacy and lobbying and that's something that Penn does very well Penn is as Cathy said a grassroots organization in many ways it's built on poets and writers and activists if you want so some of the people who have been in the residencies of ICON have then moved on to work with Penn to set up Penn centers like the Eritrean Penn in exile and things like that so this type of collaboration is very important as it gives structure and builds on models that has been tried it's also given us access to Penn's extensive network but we have worked systematically in ICON to fill the gaps of our small organizations because there is a lot of competency and a lot of things that we don't have already in 2013 for instance I'll just give you two examples we partnered with Article 19 who let us use their accreditation to get into the Human Rights Council in Geneva in 2013 to be there for the launch of the readers report and that sort of thing is I mean we have found that all of you who are here all of those we have seen we work with almost all of them already and we have been for at least 10 years so I would like just to give a positive message that there is a lot of collaboration going on and I find that almost all organizations although we are really stretched and so on we are so passionate about the work that we do all of us that we are really willing to collaborate to cooperate with very few exceptions but and we have worked with universities like University of York who are of course experts in doing research we are not we have worked with international and known artists like the Catalan musician Jordi Saval on the project called Orpheus 21 to bring refugee musicians in contact with with musicians in Europe so this just shows a little bit of the variety of collaborations and contact points in so many parts of this wide network of people working on the same issues we are of course also very much collaborating with all the cities that Helge mentioned and they bring to the table a wealth of local resources including I mean it's a bit like what Matthew was talking about local artists communities, health and social services support, network, security and together with them we do capacity building for instance I just invite Matthew already here over the table to participate in our next capacity build and it has to do with on how to prepare for life after the residency so that's maybe something that sort of topics are the things that we then collaborate with those in the network who have been working with that lastly I would like to say that it was mentioned already before the networks that we are part of like the European temporary location platform we are part of lobbying networks like ECRA, the European Council for Refugees and Exiles, we're part of IFEX and in this way we are a small participant but we have a broader network that can lobby, that can go out and do these more structural approaches to larger bodies like the UN and the political bodies around the world as well but I think that one of the most important thing that for instance the European Union in its temporary location platform does is it puts the money on the table to bring us together I know that now with the corona it can't be done physically but that is actually one of the most important things and that's why I'm so happy also for this sort of initiative where we are brought together and can talk not just about what to do in the future but maybe also to discuss each topic at hand and bring together the different capacities because if you look around and here listen to all the people who've been here today there is already great capacity there is so much and there are so many we have a lot of resources now that they are already brought together so I'll just like to say thank you and let us keep meeting and working together yes Thank you Elizabeth my God what a day and you've all stayed everybody must be exhausted and at this time we probably would have more music and we'd go to the bar and then we'd have a wonderful dinner but we might all go to a bar in our kitchen and we might all have a wonderful dinner in our kitchen but the spirit I think is still the same somehow I would like to just mention quickly that we will of course be following this up with mailings to everybody to report on what are the next steps and there will be a number of different different reports and publications which are made out of it but I want to give the last word which is I mean I think we he will be thanking people I would like to thank people too and I think our team would like to thank also Frederick Elk who is the mother and the father of St. Pavens and so I will just now pass over to him On behalf of the Museum of Movement and on behalf of the safe havens and freedom talks I'd like to say thank you very much for contributing to these very intense sessions we've had today and the very important discussions that we've had Farida Shahid and Karima Benon thank you so much for moderating these roundtable discussions and thank you everyone who contributed with your knowledge and your interesting and important programs we will now edit the short report with significant comments from today's discussions and we will send it off to the speakers first and make sure that we have everyone's approval and then after that we will widely circulate it as a roadmap for everyone to use and everyone to read and to discuss and of course we will also use it to measure progress and to bring it up again and discuss it in next year's meeting also a fuller report of the whole safe havens meeting this year will be available next year in the beginning of next year with interviews by Michael Schmidt last year we started traveling with safe havens after having been meeting in Malmö since 2013 we were in Cape Town South Africa last year and was quite successful and we thought we were traveling to another place this year but there weren't no one traveled anywhere this year apparently so we hope next year we will be able to meet in real life somewhere but I think we have also learned quite a lot about how using the internet and meeting online can also be very inclusive because also in the post-COVID world many people in our field are not able to meet, are not able to travel like they wish people will not be able to get visas they may not be able to leave their country or enter the country and so on so I think in the future we will try to have a hybrid where we can meet physically but also make sure that people who can not come can meet together with us and contribute through the internet I think that will be very important for next year and having said that also to encourage everyone who is part of this sector of this network to contribute over the year in the spring with ideas for next year say if I have a meeting what you want to bring up and what you want to present because this is a network meeting and it's a work meeting where we need all to feel that we can contribute and we can be part of it and maybe even one of you organizations would like to host to be part of hosting the next year's meeting because that is if we wish to travel that is how we want to travel together and to organize the each year's meeting together somewhere wherever we decide to be next year so so you are very welcome to contribute and come up with ideas and yes wrapping up this year's meeting in the safe haven 2020 global stream I'd like to thank again everyone for your contributions and thank you everyone who followed us because this has been an open session today and a special a very very special thank you to this year's key main moderate curators sorry the key curators Mary and the fleek and Jude Dibbia thank you so much for your work you've been working very very hard for my things and I'd also like to thank everyone who's been behind the scenes Meltem Öztürk Melke Bengtsson Anna Maria Bemejo and Michael Schmidt and a big thank you to collaboration partner Safe News and John Lotte Eriksson and finally of course the funders who helped us organize this year's meeting the Norwegians which Arch Councils Frit Ort Norway and the Museum of Movement I hope to see you online and somewhere in the world next year for Safe Havens 2021 thank you so much thanks everybody


Hello, my name is Susan John. I am a pharmacist, patient advocate, and an ambassador for Patient Safety Movement Foundation in the Chicago area. I became a pharmacist after losing my dad to many gaps of healthcare, one of them being a medication-averse event. I truly believe in Foundation's mission for Plan For Zero and it is possible only if we start talking about it together as a global health issue. I truly believe in empathy and health care and I love being an advocate for patients. Thank you.


Hi, I'm Danny Weisberg, search advocate at Google. And in this video, I'll explain the basics of Search Console and how it can help you succeed on Search and the web in general. Search Console is a free tool from Google that helps website owners, SEO professionals, and developers understand how they're performing on Google Search and what they can do to improve their appearance on Search to bring more relevant traffic to their websites. Search Console is not a requirement for your site to appear on organic search results. But it can definitely help you monitor and optimize how Google crawls, indexes, and service your website to users. If you're not acquainted with the terms crawling, indexing, and serving, you should read through our documentation. It will help you get the most out of this video series. Here are some things you can do in Search Console. Learn how Google crawls, indexes, and discovers your pages. Fix errors Google finds when crawling your pages. Submit updated content to the Google Index. And monitor search performance trends by queries, countries, pages, and more. You might be asking yourself how you should be using Search Console, or what is the most relevant information for you. Here are some ideas. But don't worry if you don't understand all the terms. We'll discuss each of them separately in this video series. If you own a small website and you're responsible for maintaining it, but not as your main job, you should start simple. Check your search traffic in the performance report and try to understand which queries, pages, and countries are driving most of your traffic. If you're responsible for building or maintaining a large website, you should come to Search Console to check all your pages are indexed and have no errors. Check for indexing errors in the coverage report, the mobile usability report, the AMP report, and other enhancement reports, if any are shown to your website. If you're an SEO professional, well, you'll have lots of fun with Search Console. Depending on whether you're more focused on technical SEO, content development, strategy, or something else, you'll find important insights in the tool. Just browse our channel and watch some more videos. Of course, this is just a short list. But you can check the Search Console Help Center for a more detailed explanation on how to use the tool depending on your role, your site, and your personal needs. I hope you enjoyed this video. There are many more to come. In the next video, I'll talk about how to activate Search Console for your site so that you can get access to your Google Search data. Don't forget to subscribe to the Google Webmaster's YouTube channel, where we'll be publishing lots of Search Console videos. [? Wait. ?] Who? Look at him. That's Granddad, Googlebot. So he didn't even ever.


Hi everyone, Joe for jazby's casebreaks.com. Happy Tuesday coming at you with 2020 Panini National Treasures football 2 box random team break number 42 There's everyone right here. Thanks to everybody who bought their spot straight up Congrats to the people who won their spots in those fillers Thanks for taking the risk And all 32 teams are in Ken. What's going on? Let's roll it. Let's randomize it five into three eight times For names and teams one two three four five six seven and eighth and final time Five and three eight times there's eight times Revital down to revital Five and three eight times for the teams.  Let's sort by column B and remember we mark those RT42 so we know they come from the same case when we come back I'm going to pause the video right now when we come back. We're gonna see if there's any trades and then we'll have the break Stick around All right, welcome back everybody. No deals were done So that list remains the same the second half of that National Attractors football case Thanks, everybody for making this happen. I appreciate it. Let's see what we have in the final two boxes and keep your eye out on jaskiescasebreaks.com for more Nt football at the moment. We don't have any to repost right now Unless there's more hiding in the back, but I didn't notice any Let's just keep checking back jaskiescasebreaks.com. All right, we got a blockchain card on the bottom and a redemption on the bottom The blockchain card is Kurt Warner Torrey Holt synced signatures For the Rams that's gonna be for Sean Maddock. I hope so can I really do love this Nt I hope it's fire All right, let's grab this blank card here. Any guesses on that redemption on the bottom for bragging rights. Anybody want to venture a guess? 37 out of 50 Tyler Boyd For Cincinnati for Matthew Sharad Got Gronk Rob Gronkowski Hard to see the number there right at his feet 23 out of 99 Sean and the Buccaneers thoughts you look you're looking You're looking for Justin Jefferson All right, could be Justin Jefferson down there. Here's Carson Wentz 85 out of 99 piece of his jersey for the Eagles PJ with the Fly Eagles Fly Next century material Kenny G Kenny Galladay 45 out of 99 a Saxie relic for Detroit Sean all Sean Jeffrey that is 34 out of 49 two-color patch for PJ and the Eagles Five out of ten Jordan Love Nice low number and a dual relic For Green Bay Robert last spot mojo strikes again 70% of the time 100% of the time Next is Jeff Saturday four out of 49 Jeff Saturday on a Tuesday blue horseshoes Michael and we got Jacob Eason Field pass autograph 50 out of 99 It's another one for the blue horseshoes another one for Michael got a Jordy Nelson for the Packers Robert One out of 25 on that Jordy Nelson auto and what do we got here redemption wise Good luck everyone. No one has ventured to guess maybe a Justin Jefferson rookie treasures card 11 C H no CLY Clyde Edwards E. Lair Rookie treasures autograph going to David and the Kansas City chiefs Kansas City final box here second and final box here in random team 42 Now I see Clyde Edwards E. Lair start off the season hot that'd be good for the hobby base card at 35 There's Jerome Betis the bus PJ the Steelers Lamar Jackson to 99 Purple birds be from Matthew Schreier Two-color dual relic 11 out of 99 Brian Edwards The Raiders fan looking forward to a healthy Brian Edwards first off if he's healthy Should be able to contribute Raiders revitals got my Raiders Century material Devin Hester 78 out of 99 the Bears Christopher and the Bears Quad relic Dak Prescott Ezekieliot Amari Cooper CD Lam The quartet of Cowboys going to Sean No, Kenny says no chiefs play Browns week what after that Clyde Edwards dealer can go off after that Be hashtag good for the hobby Colossal relic DK Metcalf to 25 That is 13 out of 25 For the Hawks of the sea that's for Christopher and there's another Brian Edwards rookie patch and auto 18 out of 25 nice low number two and He does well this season Could be could be a big addition for the Raiders Just didn't really get into gear last year because of injuries Big target nice lover in black patch right there, too Once again revital with my Raiders a few more here. We got Gabriel Davis one two three four color patch An autograph for revital in the Buffalo Bills Buffalo couple more to go here We've got Joe Thomas 11 out of 35 That's for Revital as well Cleveland. This is for you and last but not least Another rookie patch an autograph 67 out of 99 Jay Hart Jordan. Love Robert Flores Green Bay Packers last Bob Mojo strikes again Nice a nice second half of NT football ladies and gentlemen. Thank you very much for filling up all those fillers for buying spots straight up for Putting in the work on a high-end product like this I appreciate to keep your eye out on Jasper's case rates dot com for more and I'll see you next time for the next break Bye-bye


one shaver one thousand here also have over here beside me monkey one thousand okay this is what we're going to be using we're coloring eggs today so we're going to go ahead and get into this she's going to her enter she's filming as well so anyway this is what we're using we're going to get into it see what all it takes okay guys I said monkeys were filming over there too so I'm going to kind of turn this this way in that way on the back here says put one tablet in any cup oh by the way it's of course it's from pause went up to a thousand dollars by liking them on Facebook I don't know no measuring no mess okay you put in one tablet add vinegar to the first line let tablet dissolve add room temperature water to second line then you bend your egg dipper and dip more time more time means deeper color suggested die time is five minutes remove and let dry what you want to show your fans there and here's our we have our eggs here we've got 14 of them all right so I'm going to open this up we want to see what what all we got here and then we'll get the vinegar out whatever else we may need so boom thing which we will bend like this and like that so that way I know we've all all of us have done this you dip your egg down in there here's our tablets we get five different colors and this is a crown if you want to write on the egg you'll that writing will stay on there so we get now it says there's lines on here okay so all I'm saying I know it don't take that much vinegar oh you can barely see that line inside there there is a barely line in there monkeys got one she can show her people I see yeah you barely see it like right down way down in there with my finger I see it but if you turn it a certain way with the light to find and then the that's hard for kids in the second line up there's a number if you look really close there's a number on there so there's the line and then there's the line okay he see the number in there yeah you see look on the outside you can see it's backwards on the outside though but okay so I'm going to go ahead and I'm going to get some water and we'll get we'll get I'll get the vinegar we'll get it poured in here then we're going to start dunking monkey one put the tablets in a monkey's gonna put a tablet in each one of these cups here's our vinegar and then here's our it said room temperature water I just got some lukewarm water you had one job I probably will need the scissors well something happened okay so now I want to try to see these lines here you don't go up to that one so that'll be way too much money and it does not take much you get up to that line teaspoon maybe okay so now we're going what we let these dissolve okay so I'm gonna I don't know if she's gonna keep you rolling but I'm gonna go ahead and shut you guys off until these are all dissolved they only take a couple minutes and then we'll fill it up with water in here somewhere and I'll be back with you so I almost dropped one of these and monkey made a smart alecky comment because it says no mess and she said yeah no mess until she bear comes around look at that over there hmm and this is a die so this thing is shot yep okay we still got a couple that's still going here so fixed it and we got this thing out because because remember when these came in the the square boxes the thin square boxes and you would punch the hose out you can set the eggs and let them dry we can't do that with this one so we got that egg thing there we're going to set them in that we got 14 eggs there's 12 there so that that should be all right all right so I'm gonna go ahead and fill up the ones that are ready you're gonna try to use this one yeah I'm gonna try to use it come to my channel and you'll hear the the story there is a story about that yes there is karma believe in it folks because karma is very very real and it happens don't look gets more water I thought two cups would be enough this one ready oh it wasn't quite shoot I see it in there now oh well this one ready yet no it's not ready yet green ones ready can't tell guess I don't have to be perfect I gotta get some water so by then that one should be ready show my camera I can't see let me get some water okay so where's the crayon thing that you just had okay we're going to write our names on each one I'm gonna write shea bear she's gonna write monkey on this it's just all it is is wax what that does is it protects and the the eggshell and keeps it from soaking in and that's how you get the I'm gonna go s h a b e a thousand I'm gonna do it the long way I'm gonna set this in here in there and it says five minutes so that's gonna take us a while to do all these just this dip doll so she's doing hers there's your thing monk all right so Jesus you have some for three seconds this woman cannot have anything longer than one minute without breaking it three seconds I wrote shea bear one thousand which is longer than monkey one thousand and everything was fine yeah just set it down in and she's got two over here I got two here and then the green one's kind of like community Bruno's alright I'm gonna rate Bruno one because he'll have an egg and I'm gonna go I don't know if she's gonna talk to you guys more on hers but I'm gonna go and I'm gonna write Bruno's and get it ready and then we'll give these five minutes okay so it's been five minutes I'm gonna let monkey get hers out first this is Bruno's it's got his name on it all that her do his and got your name on there yeah I see monkey one thousand see what I mean turn it sideways huh it's not too bad well it's this way I was showing them okay I'll bring it up and it could rise up a little bit better so you'd see better there you go okay now she's got decay how she's got a second one whatever color you want to do Bruno's I'll do his blue so you're taking hers out I'm gonna take this one out okay don't matter for touches this because this is gonna be blue yeah I'll take the green one out that's nothing on it and neither does the yellow one I'll put a green one in there it always looks a perfect you know yeah we'll get Bruno's in right so now what I'm gonna do is I'm gonna cut mine here then when we get them all done I'll kick you back on and we'll show you what they look like so I don't know how much moment she's gonna do but I'm gonna cut right here okay guys so monkey's still rolling I'll show you these one this one I think turned out the best so it was in there for like 20 minutes this one turned out pretty good it was in there for like 20 minutes as you can see this is one that was in there for 20 minutes and it's got a line on it all the way around it we didn't do that that's just where they came out I'm looking to show her people if she wants I like this one the best I think that is so pretty but they we left them in longer and and I think the longer you leave them in the better they look so that's my suggestion we shave everyone towels a little bit as you can see the wax ain't even like it used to be and we got a line of these don't know why because they were in there all the way you know so but Bruno bears we got our eggs and this is mine it got a little orange on it from the other one that was beside it but there you go I mean it was kind of hard because they they touch it but you don't give anything with this to to put them in she wrote Happy Easter on that one yeah that's okay all right guys so there that is hold it up here that'll be this will be my thumbnail it's pretty all right guys I'm gonna say on my and she barely met the man legend gone for now monkeys people by guys and I'll see you guys in next one monk she's saying bye bye


I have a lot of people coming to me asking me, Andrea, what can I do to support Black-owned businesses? One of the best things is collaboration. This makes me think of simply my aunt. My aunt used to have a hair salon and one of her favorite things to do was to support kind of other local beauticians or freelancers. And so she would always showcase their stuff in the front of her store. So if you have a business and you're like, I really would like to partner, but I don't quite know how, collaboration. Partnering with a business that you know is Black-owned, that you know is smaller and could use the extended help, could use being introduced to a bigger audience, such a small but important act. Another way that you can support a Black-owned business is within the narrative. I think a lot of the times when people think of Black-owned businesses, it's some kind of cultural experience that they just can't get a part of. Just take a look and go in and actually try to be better than what you thought you were. Supporting a Black business can also be mentorship. There are a lot of us who are out here in the real world really doing it and really trying our best, but we're having to just learn on our own. If you have a business that is similar to mine or you've been through the business ropes, you know, and you see me, young Black woman, trying my best, reach out. Reach out in a real way. What's your business?  A good mentor already knows this world could go a really long way. I really do think this, that oftentimes people are afraid and they are afraid they're going to mess up. They're afraid they're not going to say the right thing, so they'd rather not say anything at all. If you are learning, sometimes you're not going to say the right thing and that is okay. Tell the person that you're talking to. I don't quite know what to say here. Be open. That's the only way we'll get past these things is by recognizing that we all have so much to learn and you'll be able to truly help this community and this business.


Item number, SCP-350, Object Class, SAFE. Special Containment Procedures. When not under experimentation, SCP-350 should be contained within a locked storage unit. No personnel other than those undergoing experimentation with SCP-350 should be allowed to sign SCP-350, no matter what might be offered in exchange. Those who have signed SCP-350 should be allowed to fulfill the terms of SCP-350 until the terms conflict with Foundation interests, at which point they should be restrained or terminated as necessary. Any staff member above level 3 caught signing SCP-350 for any reason must be immediately terminated. Description. SCP-350 appears to be a single-page contract, followed by 49 blank sheets. The contract outlines a basic exchange of a good or service, in exchange for a small amount of money wired to a numbered account at the bank in Zurich, Switzerland. The wording of SCP-350 is different to every reader prior to signature, and the good or service offered is always something the subject has expressed great desire to obtain. The document is also always in the native language of the reader, and conforms to the laws of the nation in which the subject makes their primary residence. To use video or photography to get an objective image of SCP-350 at this stage have failed, as the text continues to vary from person to person. Upon signing of SCP-350, the variable language property of the contract ceases, and the text of the contract stays in the language of the owner of the signature on the document to all readers. The subject will invariably find the object or proof of service shortly after exiting SCP-350's containment unit, always in a location without direct surveillance. Should the signatory of SCP-350 fulfill the terms of the contract, and wire the money to the bank account, SCP-350 begins to add new amendments and terms starting from the second page, most of which demand a minor service of some form from the signatory. However, the complexity of the terms and demands increases with the number of amendments fulfilled, eventually reaching extremes including but not limited to the murder of staff members, the removal of SCP-350 from Foundation containment, and even data expunged. Should the signatory not fulfill the original or new terms of SCP-350 for any reason for a full week, they will begin to feel unnoticeable urge to complete the current task. This grows into a compulsion on the order of the ticks of those suffering from severe obsessive compulsive disorder. Should the subject be prevented from completing the terms at this point, the subject will begin to lie, steal, kill, and take other extreme actions to attempt to fulfill the demands of the contract. Psychological analysis at this point reveals nothing, as the subject is utterly fixated on completing the task, to the exclusion of all else. If the subject is restrained from completing the task, the subject will resort to constant escape attempts, refusing to eat, drink, or sleep. Subjects will die unless placed on intravenous fluids and forced into a chemically induced coma. At this point, their metabolism and bodily functions will begin to speed up until the subject dies from either a heart attack or the inability of intravenous therapy equipment to keep up with the metabolism. Lesson complete. If you missed the previous orientation, go watch SCP-349, the Philosopher's Stone, and the Graveyard of the Immortals, right now. Or for the complete course, watch this playlist.