Hi, beautiful. Sia wanted to come and say hi. It's been a little bit since you guys first met her and she is such a good little, I love you so much. Like, look at her precious face. I wanna eat her all the time. If Shiver goes missing, it's cause I ate her. Don't worry too much. So I've been seeing a lot of comments lately being like, Brad, you never react to bleach fails anymore. Listen guys, I've been through a lot of videos over the years. I've watched several of the worst bleach fails on the internet. It's hard to find sometimes. I'm gonna be honest with you, but I managed to find a couple of new ones that I think you guys are gonna really enjoy watching. These two videos based on the thumbnails and titles look like an absolute tragic mess. So I am so excited to watch with you guys and see exactly what happens. Let's do it. Bet I will miss you. He's gotta go to work now. Say bye to everybody. Okay, up first we have a girl named Miranda Shea and this is called Bleaching My Hair At Home Gone Wrong. Losing half of my hair. Sad face, sad face. Okay, let's see what happens. Sounds like possibly maybe half of her hair is going to fall off. I'm about to go drastically change my hair. So I'm on the way there right now. Hopefully it doesn't, because my hair's soft. I think it'll still be soft. Okay, so we are getting it done by a professional hairstylist. Okay, mm-hmm. I thought she was doing this herself. I'm a little more concerned now just because what's the hairstylist gonna do? Okay, hope I don't embarrass any hairstylist today. I don't wanna do that. No, thank you. I'm good with that. I'm gonna go really blonde, I believe. We'll see what journey she takes to get there. I am in the salon now. My hair is... What is that on her hair? Really fast. They didn't really expect it. Oh, it looks really light. Still toning. I'm not toning. My hair's still bleaching. It's still being bleached. Oh my God, it's so light. You're like more bleaching. The bottom part, this is the color. They were still on the front. Ooh, wait, why did her hair so blonde? Obviously I'm a little orange, but we still have to tell. Wow, Genji. It's weird like this is Genji underneath this blonde. And it wasn't all over color. I can see. Something happened, clearly. Actually looked better before they toned it, I think in my opinion. This toner that was applied, I think it was a little bit too warm or something or too dark or all of the above.  However, I was not there. I did not do the consultation. I don't know everything. So who knows what actually happened. We did the same process for everything. It's very toned and good down here. It lifted all the same as we did in all over color. This up here is like ginger. Okay, here's the thing. I actually really like this tone on her. I don't know why she has such an issue with it.  So I understand that, but I do think this looks really pretty on her and I'm not mad at it at all. Like besides the fact that they undid the good stuff that they did, you know, and took two steps back instead of two steps forward. They won't touch my hair. They said it's too compromised. This is where I'm at for the next four weeks. J-Lo has that hair. It looks good. We're weeks and that's when we're gonna dye my hair again. So the next time you see me, we'll be in the middle of November. I highly doubt she's gonna wait that long. Everything you've seen part of this is why I'm doing what I'm doing now, but we're bleaching our hair at home. How did it get darker and purple? My home, by at home, I mean my friend's home. I'm gonna kind of speed through everything, but we're about to bleach this whole, I think. I'm using cream liner. So it's not like a powder bleach and I don't think it's as harsh. Cream liner. It's only eight levels of lip. Did she say it's not that hard? I'm about to mix it. Cream liner is usually more harsh than powder lightener and she just said it lifts eight levels. That's a lot of levels. Some cream lighteners go to nine levels, but it is strong, it is bleach. So it's not any better than regular old powder bleach, you know? Good luck. Why is her hair purple all of a sudden? That's what I wanna really know. Like, I wanna know how we got here because nobody's giving me that information. And who is this man doing your hair? We're gonna do foils. We're gonna make sure that we don't start. This is the weirdest looking foils I've ever seen. Okay. No promises on this one. Oh God. And she was worried about the integrity of her hair and now she's letting this random dude do her hair. Something about this doesn't seem right to me. It doesn't sit right with me. What do you think? Does it sit right with you? How are you feeling with that one? Listen, he's going in and honestly, it's not so bad. I'm glad that he's using foils.  Okay, so this is where we're at. Oh my. Everything seems really even. I'm gonna go wash it out in a second and then I'm gonna go ahead and use toner after I get this stuff out. Her hair is so blonde and it is not even. Let me just tell you that much. There is no way this is gonna be even. I can't believe there was no stylist in your area that would do this for you. Your hair was not that compromised. Like somebody should have done it for you. This is a good clothes shower. Oh. It's all one color. I started turning it. I think the toner is gray or something. My hair is turning gray and it's falling out in like gloves. You put so much in on that. You're supposed to know what's gonna be orange. You can see the long spot where you put it. Oh no. What toner did you use? Why is it literally gray? What happened? What is this? Move faster.  Go, go, go. With toner, you're gonna get it on fast. Excellent gray coverage. Okay, I'm pretty sure she's using zero five zero which is literally just blue pigment. She's so. This is going to be so bad. I already know what's gonna happen. She's gonna have to get the gray out of her hair now and bleach it again. And that's when I think the title comes into play, losing half of my hair. Oh my God, do something. Rinse it out or keep going. Like commit to something. Keep doing this anymore. I think he was meeting me. I can't leave it orange. Listen to him. Oh, I didn't know. This would do this. Why are you still going? Still doing it. Because what was I supposed to do? I don't know. Stop. You wanna sleep? This guy is me right now. He's like, just stop. Like why are you doing this to yourself still? Like just seriously stop. It looks more purple now. It's not gonna, it's not gonna violate. What if I have purple? It is.  What if I have purple hair? I'm gonna have purple hair. I'm gonna have purple hair. No, no, no. I have purple hair. I have purple hair. You have purple hair. Purple hair. It's gonna happen. I need to record it. Oh my. No. No, no, no, no, no, no, no, no, no, no. It's not gonna happen.  What do you expect? He's not a hairdresser. And he doesn't have long hair. I'm gonna have to go to someone tomorrow. Like I can't do this. Oh. No. Fallen out so far. It's not gonna happen. No. This part didn't tell me. This part overly tone. You guys wanted more bleach fails on this channel. Well, here you go. Yeah, I came home and my hair was really orange. Why is there more s*** on your hair? I had accidentally picked up a gray coverage. Went to Sally's and I bought two packages of the Wella toner. I got it in T14, just pale ash blonde. And then I got a bottle of 20 developer. What do you think Wella T14 is gonna do for your hair? And 20 volume. It's gonna do nothing. You have to do a bleach wash at this point. Get that toner out and start fresh. Like you need to remove what you messed up before you go and put more toner on it. Like it's not just gonna get covered up. You gotta take one step back and then forward again. I'll show you what my hair looks like currently. Oh. Sure, a lot of different tones. That's the only thing that I feel like has gone wrong. For say like this is ash. The only thing that's gone wrong. Okay, sure. And it's not really a good look for me. I am going to a hair salon and she's going to tone it and bleach it in spots that I miss. I can't wait to see us get fixed, honestly. I'm really excited. I guess that I could admit now that I was overreacting just a little bit yesterday. Sorry, I'm so confused right now. Before I took another shower last night, it was really, really purple. And the thing is, is it's still pretty gray in the back, but the tone in the front is kind of killing it. I feel less boring. I definitely need to text my hairdresser and apologize for almost having mental breakdown. I'm not happy about the entire do my hair. Also, I kind of burnt my scalp a little bit. So that's not good. Honestly, from what I can see here, her hair looks really good. The more she washes it, the more that gray tone will come out and that kind of like cast of nasty toner will come out. I think this house did a great job at fixing it as much as she could. I feel so bad that you really cried and like made a big deal out of it. Like I understand it's an emotional process, but us hairdressers, we really take pride in our work. We want you to feel good about yourselves. I hope you didn't make your hairdresser feel bad because she definitely made it look a lot better and we're not magicians. We can only do so much. So your hair looks good. I think you actually look really pretty with blonde hair. It looks amazing. You do look more fun and wild and much more stylish and I really enjoy it. It'll just get better and better and better and I'm sure it will. But I think you look fantastic. And our next video is by Kelsey and Atlas and this is called Hair Bleaching Fail or Hair Bleaching Fail. That's probably more how you read it. Let's see what happens. And of course, I'm going to be doing something to my hair. What are we doing? It already looks a little dodgy. Three months now, I need to be blonde again. You're pretty blonde. As Demi permanent hair. Like a rose gold moment you have. Permanent permanent. But you can see where my roots are growing. Yes. So I bought color off today. Never used this before. I have any other. To have a pretty decent picture right there. We will see if this works. So I got that to get the color off and then I also got a T14 Wella toner because I did have red in my hair which means it's probably going to pull orange. I do see T14 or T18 Wella time. I'm quitting. I think I said that before. So I guess I should quit now. I'll see you guys later. Okay. I'm just gonna, I'm gonna go. Gotcha. I would not have recommended her to use a color remover.  Like, you know, from a darker color. People haven't bleached their hair is what I'm trying to say. She's bleached her hair. All that's over her bleached hair is a semi permanent color or a semi permanent or whatever she said. You don't need to use color remover to do that. To me, color remover is a little more harsh than doing just like a bleach wash. I would prefer to do that before doing color remover. And then if the bleach wash doesn't work then moving on to color remover but color remover is kind of like my last resort just because it takes so much time. I just feel like it's unnecessary a lot of the time and I feel like it's just easier to expand the hair fiber with some bleach and just let the color come out really quick. It should be a really quick process at the sink. Bing, bang, boom. We like to work smarter, not harder. But we'll see what happens. Maybe this will work for her. See like a hundred steps for these things. So annoying. Just so much work and it smells terrible. And it's 20 volume. It looks like it's honestly just bleached. This seems like a scam or something. I don't know. I mean, at least she's sectioning and she's working from the bottom up. I really appreciate that. So much easier to do your hair from the bottom up rather than the top down because you can lay the hair over itself as you work your way up. Such an easy helpful tip right there. I don't think I have high hopes for this. Let me say one more thing. You're not supposed to put the color remover on your natural hair.  You're supposed to stop where the color stops. You're not supposed to put on your roots or else it'll lift your roots to like a gross orange color. So yeah, you're screwed already. Other than that, it doesn't really seem to be lifting very much but sometimes with color remover you need to wait the full time and then use warm water to rinse it out because that is how the color molecules slip out is with the water. So sometimes it just takes that water to make it all actually look better. I should have got two boxes. Oh no. Boom. Boom. Let's see what happens. This is the face of disappointment. That is exactly what I knew was gonna happen. Her roots are gonna get way too light.  Just the artificial color. Color remover removes artificial color. So I was trying to avoid having to use like bleach even though that's kind of basically what that other stuff is. That one looked like bleach, yeah. I don't wanna see it. I don't even wanna see it. I don't even wanna see what you just did. I don't like it. Okay, no, it, oh god, oh god, oh. Hot roots. Guys, somebody ordered some hot roots because I know it wasn't her. So now. What now? I'm going to mix up some bleach. Yes, I'm going to double process because I'm dumb. Dude, your hair is gonna be so damaged. Just for giggles, I'm gonna blow dry it and see just exactly how bad it looks.  So you definitely wanna blow dry it first. Okay, it looks a little less red. Okay, so I just mixed up some bleach. This is cooked for a while and my head's starting to burn. God, it looks like. So I'm guessing it's probably time to try and wash it out. Her head's burning and she, yeah, I'd say wash it out. Your head should not be burning because you shouldn't have put on your scalp. So what the, what the, I thought we agreed. I thought we were on the same page, girl. Ugh, ugh, ugh.  Oh, it is falling out. Yeah, it is. Yeah, it looks really bad. No, it doesn't. It's no better than the previous round of lightening. So maybe we should stop, you know? Oh, Brad Mondo, I got you something. Yeah, you did. Is it red now? Oh, no. And you can have it back. It's awful. This is hopeless. Is she making it darker now? Oh, no, no, no, no, no, no, no. No, well, it could be good. I mean, it could be good if she uses the right color. I'm feeling a little bit less anxious now. Yeah, that actually looks decent. Because it's literally been on there for like five minutes. It's already better. Yeah, okay. We'll see though. Oh, it still looks awful. The ends are still pink. And I have a feeling that everything that I did was all for nothing, because I feel like it's not gonna be awful anymore. Oh, no, it's probably gonna be awful still, yeah. I guess it can be worse. I don't know if it could be worse, babe. I don't know. I just don't. I think it's pretty bad. Oh. Did these videos make me sad? My hair feels extremely damaged. Okay, at this point, at this very moment, we need to stop using permanent color. We need to stop using any developer that is not done in permanent, okay? We need to stop because your hair is becoming so compromised. And for no reason really, because you need to just do a really nice glaze, guys. The answer to all these hair fails is just a really nice glaze. You need to do a root and end toner moment, a deeper root with a lighter end. So use like a level seven on your root. Seven end to darken them up, okay? Then just like an eight end on your ends and things will look more even and better. That is a very basic formula, but I'm not gonna give you like a whole hairdresser formula to follow. These are just my recommendations to easily do on your own hair. Well, friends, I've never actually like legit screwed my hair up. So it was the first for everything. It's cool if you only look at like right here. Mm-hmm, mm-hmm, mm-hmm. Yeah, it's bad. Mm-hmm, yep. I'm gonna be wearing a hat. I feel bad. I'm gonna be praying that somebody can fix my hair. Highly disappointed in myself. Kelsey, Kelsey, Kelsey, Kelsey, Kelsey, Kelsey. I'm so sorry. You seem like you're really upset over this and I totally understand. And there is somebody out there that can help you, I'm sure. Just please, if you, if you feel really, really, really bad about this, please go visit a hairdresser. I know it can be expensive, but it's worth you feeling good about yourself to splurge a little bit. Or you can try and do it more time. Just use a permanent color or a semi-permanent color and don't use anything above a 10 volume. We don't want any more damage being done to your hair. Super important. Try a darker toner. Make your hair a little darker. It'll all be good. It'll be fine. You can get this figured out.  We can fix this. I wish you the best of luck, seriously. There you go, you guys. There was two epic bleach fails for you. I know you missed them a ton. Well, I brought them back. You're welcome. Don't forget to subscribe below. Give this video a like and maybe hit the bell icon, you know? So you can be notified every time I post a brand new video. Also, make sure you follow me on every other social media network. Please, let's stay connected, bae bae. Let's do it. I love you. Text me at this number and I may just text you back and have a beautiful conversation with you. This will also notify you every time I post a new video and other amazing stuff that you should know about me and my life. Make sure you guys check out xmodohair at xmodohair.com to get beautiful, fabulous, amazing, glowing, gorgeous hair. Because who doesn't want that? At xmodohair.com, link below. Or at xmodohair on Instagram. Today's Instagram shout out goes to Sydney and she says, hi Brad. So I was wondering if you think I could pull off bangs. I've been thinking about it for a while but I'm just not sure. This is what Sydney looks like. She's so cute. Yes, 100% you could pull off bangs. I say do it, why not? It's not like that hard to grow out. Okay, yes. It takes a while. But I think you should try it out. Try a longer bang at first. Maybe like at your cheekbone and then work your way up if you like it.  You can't go longer. Try it out and let me know if you do it. I would love to see what it looks like. That is all for today guys. Thank you so much for watching. Don't forget to live your extra life and I'll see you next time. Bye guys.


Well, I think the first thing I've got to talk about is the all the alumni all the guys that have come before You know the team that have graduated moved on that helped us build to this point You know we talked to those guys and we talked to these guys about You know going out and having to win nine or ten football games to win this league And and those guys bought into what we were selling when we didn't have football We didn't have we have anything you know those guys really You know set the foundation for us and and the guys that are on the team now have just continued to carry The torch and work ultimately toward the goal that we've all had since day one here That's huge, you know, I think you know in games like this every play gets magnified a little bit You know Zach may young freshman making you know batten that pass down on four down in the end zone Huge huge play, you know that certainly could have swung momentum back in their direction You know, but our guys are able to make plays and that's that's you know, that's awesome You know Austin getting the pick and then and being able to you know going a significant drive you know to score a touchdown to open the second half was was You know it was just outstanding and our guys responded all day Yeah, you know, I think I think when we got into that film from last weekend. I think there was some I Think some guys were upset with themselves I know I was upset with myself and how I prepared the team and you know We saw this as an opportunity to kind of take last week and and make it right and you know I'm certainly proud of the guys for doing it and it was definitely it's a different group this week Then you saw last week for sure Yeah, yeah, you know, we're super excited I couldn't be more proud of this football team You know, I think too. I think I you know I got to thank Scott Zima and Jamie Harris and you know all the people that help us do what we do You know Cindy and Heather working the film and doing the laundry and all that stuff You know, we couldn't do what we do if it wasn't for all the people that help us So I'd like to thank them and and all the support back at the University. It's been awesome And I couldn't be more excited for everyone


So I ended up getting rid of the pulp for one of the pots that we had, right? So let me show you what that looks like once you get the pulp out of the way, right? So it looks like a paste. Hopefully you can see that in the light, right? So it looks like what apple spread should look like, right? Now initially what I was going to do is I was going to do each one of the pots separate because this one was the black one, so it had one and a half pounds of sugar in there and the other one had two, but what I'm going to do, I'm going to mix them both together because this isn't deep enough. If I'm going to heat this up, I want this to be larger. That way I can easily access the stuff and then I don't have to do less cleaning and stuff, right? So what I'm going to do, I'm going to get rid of the pulp in the other bowl, in the other pot, okay? So let's do this. So here's the other pot, right? Okay, so we're going to deep pulp this and because I already had a little trial run on the previous pot I got this thing figured out pretty well now, the thing that goes around and gets rid of the pulp because what we did was we just bought it last year especially for the crab apples because in the past I've had another one that we use at the old location, right? So let me show you how this works and it's a pretty good system. I just wish it was... I gave it a nice wash after doing the last pot, but I wish it was bigger so my next purchase of these things is going to be trying to get my hands on a bigger version of this so I can do it simpler without as many rotations. So basically take this and you flip it the other way around, right? And then it's got little grooves that fit in there, okay? So that sits like that. And then you take this guy and this guy has a... Oops, this guy has a little thing here and that fits inside the hole there so I'm going to put this down and do it. Okay, because you do need a little bit of pressure to lock this in. You push it down and it locks in, right? And then it goes around really easily, rotates. Okay, now what I'm going to do is a bowl to take the pulp, whatever is left over, into the bowl so it doesn't plug up the holes, right? And this is what it's going to look like. This is a pulp from the previous bowl, a previous pot that we did, okay? So let's put this guy inside. So all we do, we rotate, I guess this is clockwise to, you know, sift through the stuff to, you know, get into a paste format and then the pulp in the apples starts plugging up the holes here and what you do is you rotate counterclockwise and what that does, that scrapes off the pulp from the holes on the bottom so it frees it up and then what I do is I grab the spoon and I grab the pulp and put it in here. Okay, that's what I did in the last bowl. Last pot, so this is what we're going to do for this one. And we'll do a few, I'm not sure if we're going to do the whole thing together but let's do some of this. Lift this up, you can see the paste coming out the bottom, right? And the pulp stays up top. And then after a few rotations, well, this is the first couple of scoops so it goes through nicely, but then what I do is just go this way and that frees up the pulp, the holes, opens up the holes, gets the pulp and then I do it again, the paste goes through faster. These guys, don't throw this away. What I do with this is, or what I did last year and what I'm going to do this year is put this in a big jar and then fill it up with water and then put it in the fridge and it becomes sort of crab apple drink. The pulp in this rises up and mixes up with the liquid so if you want to, if you're okay drinking crab apple drink with the pulp in there it works fine. If you don't like the pulp, then all you got to do is just grab a sieve like this and put it on the glass and when you're pouring it, this thing captures all the pulp. Okay, and then you can have a clear drink or a smoothie drink, I guess, without the pulp. So let's keep on going on this. And then as this fills up the orange pot, I'm just going to transfer it over to the bigger pot. And then once this is all done, then we can start heating up jars and heating up the paste and sealing them up. So this is touching the paste in the bottom of the pot here. It's touching this deep upper. So what I'm going to do is bring this up, the paste that we have from the other one. I did this twice. I emptied two of these guys, the orange pot into the big guy. This guy's going to actually might have more. It makes sense, right? Because this one is the one that had two pounds of sugar, right? So by volume, it's got more material in there, more ingredients. Paste or pretty large pot of apple paste. And we're going to heat this up very, very slowly so the bottom doesn't stick. And then heat up the jars and start jarring. Fun, a lot of work, but delicious.


Good morning. Today, I'm going to be taking you through my day in the life here on campus and this is what my typical Tuesday looks like. So I usually always start the morning off with some kind of breakfast. Today, I have enough time to enjoy some waffles and some fruit or some other side. So I'm excited to relax a little bit before heading to class. While my breakfast is cooking, I usually like to spend that time to finish getting ready for class and getting all of my materials, books, and computers and everything together in order to start the day. And now I'm just going to eat my breakfast. I am all ready to go and head out to start the day. I am going to try to catch the bus to take me from my apartment to campus. So hopefully I can make it in time. Next two stops are Jishki Drive. So I just got off the bus and I'm headed to class. I have a power hour, so it's going to be like an hour and 15 minute class. So yeah, I'll see you after class. Just got out of my first class, headed to my second class. I'll see you after. So I just finished with my second class of the day and I'm actually done with classes today.   So I just finished up on this amazing shoot that will be aired later. I can't give any details right now. It was awesome.  And now I'm going to fix myself some dinner so I can get started on some homework for the night. I got my dinner all done and now I'm just going to hang out and watch some TV while I eat.  I have just finished making my brownies. I'm very excited for them. They look delicious.  Alrighty, I'm going to start getting ready for bed. I'm going to first get in the shower and then do my nighttime routine. I am freshly showered and now I'm going to brush my teeth and get ready to get in bed. I'm going for tomorrow and then I'm going to call it a night because I have a 7.30 in the morning. Before I go to sleep is watch at least one episode of a show that I'm currently watching. And then after that, I like to go to sleep and get some rest. Well, my dad and coach Montes think it's the best option for me. Do you? I know it's the right move, but honestly, after the season that I had, even with the concussions. And then right before I go to bed, the absolute last thing I always do is to make sure that I have my alarm. Set for the next day. So that way I am ready to start the day tomorrow. Thank you guys. Bye.


Hey everybody, I'm Lance Goyki. Today, we're going to discuss the pull-up. Pull-up's a great one for just kind of like demonstrating body weight strength. It doesn't require any equipment, which is a huge plus other than, you know, something you can hang from. So I guess that is a bit of a limitation, but you don't need to lug a bunch of weights around or anything. You can just kind of knock them out on a tree branch or something. Um, really good exercise for encouraging good shoulder motion, right? The rowing motion is very challenging, or at least it can be very challenging. And doing it very well is generally very therapeutic for a necks and for shoulders and all sorts of stuff. Another plus, usually, like, if somebody has shoulder problems, it's common that it hurts during a press. But it's kind of less common that it hurts during a pull. So I can use my pull-ups as a way to kind of fit into that training, still encourage training, but not really stressing the body in those ways that are maybe a little uncomfortable. Yeah, what else? So we're talking about back muscles mostly when we're thinking about the pull-up, but we also have arms, biceps, even triceps to some extent. Uh, this exercise is the multi-joint. It's the squat of the upper body, right? The squat is a nice big bang for my buck.  I'm going to stress my entire system and really challenge, you know, everything that is involved here. So I challenge my strength, my balance, my coordination, everything. The pull-up is kind of like that, right? It's just like the squat. Um, I'm getting more lat here. I'm also getting some of those, uh, we've talked about these previously, but the spinal scapular muscles, those upper back muscles that help position my shoulder. And that's generally what I'm hoping to get out of this, right? As long as I'm doing it correctly, I'm getting a nice finish at the top where my chest gets to the bar, but I'm not losing my position like this. I'm not over, uh, squeezing my shoulder blades like this. Then I can keep my shoulder in a position that's really secure, but still load those muscles, those lats as biceps, even the triceps. Um, so let's take a look at what it looks like. All right, everyone. Welcome to the shed. We're going to walk through the pull-up. First, I'm about a shoulder width grip, just like this. I'm hanging up. I'm grabbing my bar or my door frame in this case. And then I'm going to introduce the hang first. Okay. So when I do this, I need to make sure my chest isn't sticking out too much. I'm getting a good ab tone here, holding myself up. That'll help me feel more of a stretch in my arms and my armpits and my chest even. Um, and that just helps ensure that my shoulders in a good spot. And then from there, we're initiating with the shoulders down and then the elbows follow for the rest of the movement. So it looks like this. Shoulders down and then elbows follow. Okay. If I don't initiate with the shoulders down, it looks more like this. And usually I did the teeth and everything for you. Usually people kind of struggle on their face a little bit more. Um, so yeah, shoulder width, initiate with the, uh, the shoulders moving first and then, uh, just layer on a couple reps. What I like to do is I, I kind of like pausing because I get a little stretch at the bottom and I like the way that feels on my shoulder and everything. Uh, you don't necessarily have to.  I'm not pausing at the bottom. I'm just down, back up. And I kind of use that quick stretch to help drive me up onto my next rep. Just try to make sure you're gripping the bar evenly. That'll help limit any issues you're having with twisting or turning or asymmetries and whatnot. Um, and if not, we've got some good videos coming up for you that are going to outline a little bit more in detail, not a whole lot of detail, but a little bit more in detail on how to fix some of those issues if you are feeling them. So that's the pull up.


, but I wonder if he understands it or even wants it. Autonomy is freedom from external control or influence, the right of an organisation to govern itself. That would mean, for example, schools being able to commission services from whoever they choose. That would be genuine autonomy. Is that what John Swinney is proposing? The answer is no. If you wanted to design a system that was more bureaucratic and centralised than the one we now have, then you would need to look no further than the cabinet secretary's blueprint. If John Swinney was a localism proponent, he would be saying to the parents at St Joseph's primary in Mulgyi that they are free to make their school autonomous from state control if that is what they want. But he isn't. He would not be setting up an extra layer of governance, the regional improvement collaboratives, reportable and accountable, not to locally elected members but to him. When I suggested that this might be the arrangement to Mr Swinney in the chamber recently, he denied it. But here's the evidence from his own paper. When describing how these giant new bodies would be run, it said that they would be, quote, led by a regional director to be appointed by the Scottish Government and provide a direct line of accountability for the performance of the regional improvement collaboratives to ministers. So there we have it. John Swinney appoints the regional directors and they're answerable to him. Any pretence that this is about empowering anyone other than John Swinney, despite his earlier protestations, is a smokescreen. Your children's education in the hands of Mr Swinney and Woby Tide, anyone who steps out of line. What will these new bodies, up to seven of them, actually do? They'll provide educational improvement support. They'll produce an annual regional plan and associated work programme, and councils will have to meet a new legislative duty to collaborate on certain functions. What's left for local government in all this? It's been stripped of powers. Councils will be left with a few admin functions and HR. What's the point of having education committees any more? Or, as Jeremy Balfour said, education directors. There isn't any. Daniel Johnson, who wanted to intervene, rightly mentioned the loss of local accountability. He's entirely right. John Swinney talks about empowering head teachers, something that Scottish Conservatives have been calling for for years. The generous Mr Swinney is going to allow them to choose their staff, decide on curriculum content, which they can do anyway, and have control over more of their funding, though not all of it. Just in case anyone has any ideas above their station, he warns darkly in that same paper the freedom for head teachers to choose the staffing mix and management structure within their schools could have implications for the national pupil-teacher ratio, which suggests to me that heads can't decide on staffing numbers. That's not true autonomy. Gillian Martin seems to think otherwise. John Swinney wants to create a system where schools will be answerable to two bodies and ultimately to him. He's stripping councils of powers and going down a regionalisation route. We can be certain that this is the route that the SNP wants to go down with council services full stop. We do need more autonomy in schools. We need choice. That is not it. I hope that John Swinney is really prepared to listen to the many voices in this chamber. I call on John Swinney to wind up this debate. Let me begin by extending my words of welcome to Tom Mason on his introduction to Parliament and his first speech in this debate today. I wish him well on his task that he committed himself to of representing constituents in the north-east of Scotland. I also associate myself very much with his kind words about Alex Johnson, who was very much a colleague in this Parliament to display all the attributes of a fine parliamentarian in working with members across all aspects of the political spectrum and is dearly missed within Parliament by all of us. The one thing that has been crystal clear to me since I became the education secretary 12 months ago is that there is a diversity of opinion about what to do in education. That has been on display across the chamber today. It is not meant to be a funny remark, but although I appreciate my natural hilarity in front of the chamber, it is a statement of the reality of the debate that there is not a true holy grail about what is absolutely the right thing to do. That is why I started off my remarks by saying that the Government is interested in working with others to address the issues that are contained within the Governance review. However, if I can gently point out to the Conservatives that there is a little bit of a natural contradiction in some of the arguments that they have marshaled today, marshaled just by Graham Simpson and also by Jeremy Balfour with the arguments of Brian Whittle and Liz Smith. Brian Whittle and Liz Smith argued very strongly about giving ever more power to head teachers, much more power that is envisaged under this, which would naturally have to come from somewhere, which would be local authorities. Graham Simpson and Jeremy Balfour made the argument for the preservation of local authority power and responsibility. I am all for a diversity of opinion, but I simply point out to the Parliament that that is a bit of a challenge for even me to reconcile on the front bench of the Conservative Party. Of course I will, yes. Graham Simpson. It is really just for Mr Swinney's clarity. What we are saying is that the new regional bodies amount to greater centralisation and not autonomy. Head teachers will be answerable to regional bodies, not locally accounted elected members. John Swinney. I want to talk about the regional collaboratives in a second. The accusation has been made that I have been inferred that I do not listen to teachers or to members of the teaching profession. I want to make it clear to Parliament that I spend a significant amount of my time listening to teachers, to head teachers, to many members of the profession. On the very frequent visits I make to schools around the country and to private opportunities for me to speak to teachers. Many of the issues that have been raised with me by teachers are the reasons why the proposals are what they are before Parliament today. The areas of agreement that we have today—despite all the differences of opinion, there is a lot of agreement here—is that there is a commitment from the Government to empower teachers and to put schools at the heart of the reforms and to empower head teachers. Those are all sentiments that have been expressed to me by teachers and made powerfully to me by teachers. Iain Gray. We have had this discussion before when the Education and Skills Committee gathered evidence from teachers. The cabinet secretary dismissed that evidence and said that he had spoken to teachers and agreed with him. Now we have the Government's own formal consultation process, which disagrees with him, but he posits to us the idea that all the teachers that he speaks to on his visits support what he is doing. Can he say that that is not a valid way to govern? People cannot, on the one hand, accuse me of not listening to teachers and then accuse me of listening to teachers at the same time, which is precisely what I am doing in this process. To look at some of the other areas of agreement, let us look at the issues around regional collaboratives. John Lamont made a comment—Iain Gray has made a point that he can see merit in the regional collaboratives to provide educational improvement services, and that is the purpose of those regional collaboratives. John Lamont made the point—I think that I heard her correctly, but if I misquoted her, she can correct me—that she made the case for requiring collaboration between local authorities. That is the point that was made powerfully by George Adam in his own contribution. George Adam made the point that local authorities have not been good at sharing best practice. The Northern Alliance that Mr Scott talked about is a voluntary collaboration, and I welcome it. I pose the question that it is the only effective collaboration in the country. I am in receipt of advice, as is Parliament, from Education Scotland and from the Accounts Commission, both of which highlight weaknesses in educational improvement services offered at local authority level. The regional collaboratives are an attempt by me to try to address those issues to ensure that every school in the country, no matter where they are, has access to regional improvement services. I will give way to John Lamont. There is no collaboration. In fact, I go back far enough to regional councils, where there are very good examples of liberation at a local level, but I work across councils. We have a problem with fragmented local authorities. My point is that the model that you produce is highly bureaucratic. It hurts your brain even to read what is doing there. What we should be doing is to work to the best instincts of people to work together, and there is a lot of that very good practice already there. Since I agree with the sentiments that underline John Lamont's intervention, I want to see liberation at local level in schools, but I want to see collaboration about best practice across a wider canvas. It does not exist in sufficient abundance or sufficient depth today. That is not just my opinion, that is the assessment of Education Scotland and the Accounts Commission into the bargain. Clearly, and there is other agreement today around parental involvement, where our proposals have been warmly welcomed by the national parent forum, and also about career progression pathways. I take from this debate quite a substantial amount of agreement about the details, but I do accept that there are issues to be addressed about regional collaboratives and about the role of Education Scotland, in particular the issues raised in Tavish Scots amendment. That is why I set out in my opening remarks the fact that we are not going to have top-down regional collaboration shifting power towards ministers. That is not what we want. I will give way to Ms Forbes. Can the Deputy First Minister outline how his plans around school governance will build momentum around Gaelic medium education? It is, of course, right to put more money and power into the hands of schools and teachers. That would remain a key responsibility for local authorities as part of the process. We set out in the document the role that we would expect local authorities to take forward an important role to strengthen and to develop those aspects of educational practice. In my comments earlier on, I made the point that we would not be having top-down regional collaboration. Mr Gray forgives me, I have to draw my remarks to close. I also clarified that education policy will be the responsibility of the Scottish Government. That is who owns responsibility for education policy. It is not owned by Education Scotland, it is owned by me as the Cabinet Secretary responsible in that respect. I have no problem with the amendment from Tavish Scots, because those issues are issues that we will satisfy to address. I am sorry that I cannot take an intervention from Mr Gray, but he accused me of wanting to run schools from St Andrew's house and of not trusting teachers. I just want to put it on the record to Parliament today. I have no desire to run schools from St Andrew's house. I have every desire to trust teachers, which is why I am bringing forward proposals to empower teachers and to empower the teaching profession. I want to see an active, all-system approach to improving the capacity and capability of Scottish education for one important purpose, to transform the life chances of every single young person in our country. That is at the heart of the proposals that we have been forward, and that is why the Government will talk to interested parties about how we advance the level of agreement that we have in Parliament today to take forward and implement those reforms. That concludes our debate on education governance. The next item of business is consideration of motion 6346 on the code of conduct for members and motion 6347 on the interests of members. I call on Clare Adamson to speak to and move the motions on behalf of the Standards, Procedures and Public Appointments Committee. The Standards, Procedures and Public Appointments Committee has reviewed the code of conduct for members of the Scottish Parliament and the written statement form that members are required to complete when registering interests. We felt that the code could be more streamlined and user-friendly and we wished to avoid the confusion that sometimes arises between what constitutes an enforceable rule of the code and what is provided as guidance and best practice. I am happy to reassure the chamber that none of the rules within the code has been altered or removed, but the wording of some has been altered where we felt that the code could provide greater clarity. Our report code of conduct for MSPs and written statement revisions sets out the recommended changes and we propose that existing four-volume structure be replaced with a single code of conduct document that is as succinct as possible and a companion guidance document. The new format of the code means that the determination by which the Parliament agreed the format and content of the written statement needs to be updated. We also took the opportunity to make some minor textual changes to the form, which means that it reflects more closely the governing registration of interests. The new written statement form is annexed to the motion and appears in annex B of the committee's report. All MSPs have been consulted in the revised determination as required by the standing orders. Members, as ever, will be able to seek advice from the standards clerks on all matters relating to the code of conduct and the register of interests. Thank you very much. The next item of business is consideration of business motions 6, 4, 2, 3, 6, 4, 2, 4 and 6, 4, 2, 5, which set out a business programme and the timetables for two bills at stage one. I would ask any member who wishes to speak against the motions to say so now. I would call on Joe Fitzpatrick to move the motions on block. Thank you very much. No member has asked to speak against the motions. Therefore, I put the questions to the chamber. The question is that we agree motions 6, 4, 2, 3, 6, 4, 2, 4 and 6, 4, 2, 5. Are we all agreed? Thank you. We are agreed. The next item of business is consideration of seven parliamentary bureau motions. I would ask Joe Fitzpatrick on behalf of the bureau to move motions 6, 4, 2, 6, 6, 4, 2, 7, 6, 4, 2, 8 and approval of SSIs, motions 6, 4, 2, 9 and 6, 4, 3, 0 on designation of lead committees and motions 6, 4, 3, 4 and 6, 4, 3, 5 on committee membership and substitution on committees. I move all together. Thank you very much. There are eight questions in total to be put as a result of today's business. The first question is that amendment 6, 3, 7, 6, 0, 1 in the name of Liz Smith, which seeks to amend motion 6, 3, 7, 6 in the name of John Swinney on education governance next steps be agreed. Are we all agreed? We are not agreed. We will move to division and members may cast their votes now. This question is that amendment 6, 3, 7, 6, 0, 4 in the name of Ian Gray, which seeks to amend the motion in the name of John Swinney be agreed. Are we all agreed? We are not agreed. We will move to division and members may cast their votes now. The result of the vote on the amendment to the name of Ian Gray is yes, 30, no, 93, there were no abstentions, the amendment is therefore not agreed. The next question is that amendment 6, 3, 7, 6, 0, 3 in the name of Ross Greer, which seeks to amend the motion in the name of John Swinney be agreed. Are we all agreed? We are not agreed. We will move to division and members may cast their votes now. The result of the vote on the amendment in the name of Ross Greer is yes, 30, no, 92, there were no abstentions, the amendment is therefore not agreed. The next question is that amendment 6, 3, 7, 6, 0, 2 in the name of Tavish Scott, which seeks to amend the motion in the name of John Swinney be agreed. Are we all agreed? We are agreed. The next question is that motion 6, 3, 7, 6 in the name of John Swinney as amended on education governance next steps be agreed. Are we all agreed? We are agreed. The next question is that motion 6, 3, 4, 6 in the name of Clare Adamson on the code of conduct for members and written statement revision be agreed. Are we all agreed? Yes, point of order, Mr Greer. Thank you, Presiding Officer. When you asked for a verbal vote on the Government's motion as amended, we said no. There was a division. I did not hear it. I did look over it because I thought I heard it and I looked over it again. However, we will rerun that vote if members wish to. I think that it is only fair to make sure that we record an accurate vote. We will put the question once more. The question is that motion 6, 3, 7, 6 in the name of John Swinney as amended on education governance next steps be agreed. Are we all agreed? We are not agreed. Therefore, we will move to division. Members may cast their votes now. Thank you. The result of the vote on motion 6, 3, 7, 6 in the name of John Swinney as amended is yes, 96, no, 27. There were no abstentions. The motion as amended is therefore agreed. I would urge—I do not normally ask members to speak up, but in this case I would ask members to speak up, please. The next question is that motion 6, 3, 4, 6, and this is just for clarity to make sure that we are agreed, the name of Clare Adamson on the code of conduct for members of written statement revision be agreed. Are we all agreed? We are agreed. The next question is that motion 6, 3, 4, 7 in the name of Clare Adamson on the interests of members of the Scottish Parliament Act 2006 be agreed. Are we all agreed? I propose to ask a single question on the seven parliamentary motions. If any member objects, please say so now. No member is objecting. Therefore, the question is that motions 6, 4, 2, 6 to 6, 4, 3, 0, and 6, 4, 3, 4 to 6, 4, 3, 5 all in the name of Joe Fitzpatrick be agreed. Are we all agreed? We are agreed. That concludes decision time. I will now move to members' business in the name of James Kelly. I will just take a few moments for members to change seats.


Obaqe in Lagos, the state now has a commissioner of police on the one. Abiodo Alabejo has promised to uphold the security measures put in place by his predecessor. Alabejo said the trend and patterns of crime in the state will be vigorously monitored and counted under his watch. Our correspondent love Ikuku Oyadokon reports. The last guard inspection by the former Lagos' commissioner of police, Akim Ujumusu. The new commissioner of police, Abiodo Alabejo, looks ready to face any threats to the peace of the state. It has become necessary to bring to the fore my template and policy vision. We are going to vigorously embark on visibility policing and dominate the security space by ensuring the prayers of policemen at all times to deter criminals as a preventive measure and ensure that the rapid response called is encouraged and strengthened to respond promptly and effectively to citizens' concerns. Alabejo hints that there will be consistent monitoring of the patterns of crime in the state and match them with appropriate crime prevention strategies. Issues of gun disturbance or wars will be holistically addressed and those intruders will face the consequences of their actions. I will start an inter-EKC collaboration and synergy with robust and healthy relationships with heath of security agencies in legal states in managing the security zone of the state. Some dedicated lines will be rolled out to members of the public for accessibility and the feedback to members of the public on issues of our common safety and security. Earlier, AIG Udumusu appealed for maximum support to be given to the new handsmen. This time that is coming in now may be a bit more turbulent because we are going to the political crime now. Politics is starting 23 times. We have seen so many thank you boosts of political activities. So that is now, yes, we have more challenges. We have never had political through that period except the conversion that was held so the local world, so not too much. But now that politics is coming up now, I want to serve the support of everybody to him. Legosians wait to see what Alabi has to offer as he settles into office. From Legos, Love Ikuku Uyiduku for Plus TV, Africa.


Hi everybody and welcome to tonight's episode I guess of the Ideas Live. We're going to be talking about what you can learn from a city neighborhood. And I'm here tonight with Dr. Sandia Kedda from SUNY Purchase College where he's an associate professor of economics at the School of Natural and Social Sciences which is a cool sounding place. So thanks so much for being on tonight, Sandia. My pleasure. I'm looking forward to this. So tell us a little bit about one of your favorite people. Yeah, oh sure. Yeah, she's one of my heroes. My other heroes, of course, are Ludwig Van Mises, F.A. Hayek, Israel Kersner. She really fits right in there because when I read her, her first book, which is The Death and Life of Great American City, there was a residence. It was, she was talking about processes, social processes. She was talking about discovery in ways that were at the same time familiar, but also a little bit different because she was reaching a lot of the same conclusions about the failure of central planning this time at the local level. But using insights that were very similar to that of Mises and Hayek, for example, the failure of planners to take into local knowledge. She used the term locality knowledge, but really the same thing and how difficult it is really impossible for them to acquire that knowledge to the extent that they would need in order to plan the kinds of cities that they wanted to. So she's, you know, arrives at a lot of conclusions that were resonating with the kind of social theory that I was interested in. But Jacobs herself, if you want to know something about her, she's really interesting because a lot of people, not only on the libertarian side but also on the more leftist side, are inspired by her because I think she, for a couple of reasons. One I think is because she was an activist. She fought the kind of entrenched interest and power elites in the New York area who wanted to, Robert Moses in particular, but others who wanted to sort of impose a vision without really understanding how the city works. And so she got on the streets, she organized, she knew how to organize, she knew how to talk to people. So that's part of it. She's sort of part of that late 1950s, early 1960s activism and she got in touch with a lot of the local activists, you know, most of whom were on the left and she's very successful. But at the same time she preached what she practiced. In other words, she's writing about what she's observing and doing and the result of that was the life, the death and life of Great American cities, which again cast suspicion on central planning, on heavy-handed intervention. I mean, she was not a libertarian but she's hitting on all these, you know, points that were really important to people in the Austrian tradition of economics and a lot of libertarians. So she appeals to both left and right. She herself was not an academic. The growth of cities, the most dynamic part of cities, tended to be on the outskirts, what we today call the suburbs and the fulver, the places where, strictly speaking, we're outside the control of the crafts, gills and, you know, the burger meisters and everything. So people would settle just outside that district where they could do their own thing. And so, you know, we think of the suburbs today as being kind of the anti-city. And, you know, we'll talk about that later. When they're artificially accelerated, their growth, they can be. But historically, you know, the dynamism of cities have really come about as a result of development on the penumbra of cities, the outskirts. For cities to be incubators of ideas and sort of engines of economic development, there have to be opportunities for people without a lot of money, but with good ideas to live in or near cities. And so, yeah, the high cost of living, high price of real estate is a problem. Now, in most cities, there are districts that are not high price. These are places that may not have good transportation, they may have a bad reputation, they may in fact be dangerous, or they may feel insecure. And that's where typically, people tend to move who don't have much money. You know, the docklands in London, which are now fabulously expensive, were not so much like 20 years ago or 25 years ago here in New York, Williamsburg, right? I remember when I was a graduate student, many, many years ago, looking for a place to live, I checked out Williamsburg and it was a, and still is, a very large Hasidic Jewish community there and not much else. And now, as you know, it's like the center of hipsterdom. So, things like that happen. So, I mean, and New York is kind of a weird case because it really is difficult in the city to find affordable housing that's not, you know, subsidized by the government. Strangely enough, you can find housing that subsidized privately for, you know, development. That's a little bit weird. There are places in the outskirts, Brownsville and Brooklyn and elsewhere and Queens and the Bronx that are still relatively affordable. But, you know, that is, now the thing, the cities are not monolithic. I guess that's the point I'm trying to make, that there's some neighborhoods and districts that are economically vibrant and therefore, you see the real estate prices rising in other places that aren't. And so over time, you see this, this kind of shift from one to another, prices rising and falling and then falling and then rising elsewhere. Emergent order is another term that people like and the technical definition is it's an order that comes about as a result of human action but not as a result of human design.  And for me, when I read Death in Life of Great American Cities, I had, it was just this amazing, she didn't, Jacobs didn't know what spontaneous order was. She didn't use that word. No, and I don't think, well maybe she had heard it, but she didn't, she wasn't using that jargon. But that's what she was describing in the way that her neighborhood works. So, do you have anything that you want to say about spontaneous order that might be useful to the people listening before we go forward and then we're going to jump right into talking about what makes a good city neighborhood work? Yeah, it's an important concept. I think it holds the key to understanding a lot of, you know, about society, about the social order. But I think what some people find confusing about it is that at some level, there's always some conscious planning. It's not spontaneous at some level of some social order. You know, if you take a, if you take a city for example, people always say, well, you know, it's, it's, it is a man-made creation because it, you know, these buildings were designed by an architect and they were constructed according to fairly meticulous plans and, you know, it was very well thought out. And, and so that's, that's certainly true. Moreover, they'll point out that, well, there are highways, there are roads, you know, who will build the roads? There's infrastructure there that is definitely the result of somebody's overarching plan. But that's undeniable. The question is whether you can have a city, a vibrant city without that kind of central planning from, you know, top down. You know, that's one issue. I think more germane would be to ask, you know, given, given we have some central planning, we have a government that governs these things. For what extent is that a help or hindrance? I guess we'll talk about that in more detail later. Let me just say that even where the government, the local government plans an infrastructural thing like subways, for example, that over time is also a spontaneous order. For example, when the first subways in New York were established in 1904, I don't think anyone could have foreseen exactly how it would have not only developed, but how it would have affected the city. I wrote about this in a column not too long ago, how the subways were an attempt to create urban sprawl. That is to say, the lower east side and places like that where they were working people tended to be very overcrowded. And one of the justifications for the subways at the time was to allow people to live outside the city and commute to the city. So they wanted to subsidize suburbanization or at least go out to the outer boroughs, outer boroughs, Brooklyn, Queens, et cetera. And so the subways would go out to where people weren't.  You're deliberately trying to lower the density of the cities. And what happened was then that the city built up around the transport hubs, built up around where the subways stopped, and the city infilled to the point now where, you know, the subway runs in some of the densest places on earth, or this in the United States. So I mean, nobody predicted that would, well, no, somebody might have predicted it, but I don't think the planners were intending for that to happen when it was initially designed. So that's an example of a pattern that is a result of human action, but was not, it's a stable pattern that nobody had intended to create. What can we learn from a city neighborhood? This is the question that I've been so excited to ask. So first, let's talk about cities at their best. When you're walking around a neighborhood, and it's, you know, the kind of neighborhood you want to walk around, it's vibrant, it's safe, there's a lot of stuff going on. People are generally pretty friendly, although people have different definitions of what that means. Like you said, some people don't like it. Not being attacked could be friendly, yes. Right, right. So what can we, what can we learn when we look around a neighborhood like that? Well, you know, the main indicator is are there people around, right? That's the first thing. If there aren't, that's the first thing you notice, right?  You're surrounded by tall buildings and, you know, parking garages and things of that nature. And you walk, where the heck is everybody? You notice that when a city or a neighborhood is not functioning, there just aren't many people. On the other hand, you know, if you leave your hotel and the people walking on the sidewalk, it's something you don't notice. You kind of take for granted.  Obviously, there's vehicular traffic too, but it's mainly the foot traffic that would attract you. Okay, let's see if I can find a restaurant, came nearby, and, you know, where there are people on the street. Typically, there are restaurants that you can find that aren't too far away. So, you know, that's probably the main indicator is, you know, whatever it is you go out of the hotel, whether it's in the morning or afternoon or after dark, there are people there. That gives you a sense of security and comfort that then frees you to explore, to find kinds of alternatives, or find things that you, you know, might not have expected. I know this because I have some not direct personal experience, but I know that this sort of thing goes on, that you petition the zoning board for exceptions and things of that nature. But if you can think of zoning, you know, as it's supposed to be, as it's supposed to be practiced, it's usually, as I said, it sort of excludes people or uses that you don't like. Poor people are attracted to cities. You go to any great city today or throughout history, there'll be a lot of poor people, which is, you know, Ed Glazer, who published a book in 2012 called The Triumph of the City, says that that is actually a sign of success in the city, where you see poor people. Because that means, well, of a certain kind, that there are poor people without much money, immigrants maybe from outside the city, they could be from foreign countries too. You see opportunity in cities and so they, they move there, hoping to do better. Jacobs distinguishes between slumming and unslumming neighborhoods. That is, she says, not all slums are the same. Slums are basically where poor people live. Okay, live in one place because the rents are cheap. But there are neighborhoods that are slums that are vibrant and that are on the way up. And then there are neighborhoods that are slums that are dying. And there are certain indicators you should, she has fairly specific indicators of which you can tell one from the other. But that's an important distinction to make between not all, not all slums are the same. Now, why are some slums persistent? By the way, Harlem in Tate was a slum and it was one of the most creative places on earth for a long time. Maybe not so much anymore, but it's actually on its way back up. So, you know, what happens is, you know, there's a combination of all kinds of government interventions that contribute to this redistribution, which, you know, I'm not saying, I'm not making any broad statement against redistribution or the welfare state and that topic for another day. Yeah, no, I mean, that's not, you know, fool ourselves that this has not had a disincentive effect or an incentive effect on people not being able to to emerge from the slum. All kinds of public policies, public schools, as opposed to private schools, you know, exacerbate the problem. I mean, if you look back in the history of cities, as I say, there have always been poor people, there have always been slums, but the sort of great society, welfare programs, subsidized housing, other kinds of interventions with spectral wages and that kind of thing didn't exist. And, you know, maybe that would have helped in some cases, but, you know, New York rose to be a great city without those things. New York probably is heyday, maybe it's golden age was 1930s, 40s and 50s. And in terms of creativity, economic dynamism, it also reached the zenith of its population at that time. It's approaching that again. But anyway, this is before the great society programs. This is before massive housing projects. So that's something to consider. So what do you think can be done to help a failed city? Detroit might be, we were talking about this, Detroit might be the only example of a whole city that's failed, but also neighborhoods that are having a really hard time. Do you think there's anything that can be done in terms of policy that we can pursue? We can make it easier to start a business there. You can do things at least in the short run that would increase safety, which may involve police, but it could be something else as simple as, you know, adding, you know, allowing businesses to come and so that there are more people on the street. I mean, again, I haven't studied it very closely. I know in general what the problems are. But, you know, in it, so they're, you know, given the situation now, there are limited things one can do. What you don't want, but what you can do is sort of learn from Detroit. Because as you say, there was a time when Detroit was very vibrant, was, you know, one of the great cities in the United States fueled by the automobile industry. And it's a very complicated, as all, you know, urban problems are, it's a very complicated problem because Jacobs and others might point to the fact that it was a sort of a monoculture, a monoculture, a single industry dominating everything. There were a few other things we wanted to talk about. I'm going to try and make the resources available online. One of them is Sandy has this great talk called A City Cannot Be a Work of Art, which is a really intriguing statement, I think. So I'll see if I can make something like that available through the website. And the website, of course, is fee.org slash big ideas. It's on all of our graphics, so hopefully you've seen it by now. Sandy has a column with the Freeman, which is Fees Magazine, and it's called Wabi Sabi, which is, oh, remind me what it means. Yeah, it's a Zen Buddhist term that one interpretation is that you see the beauty in imperfection, in impermanence, and that sort of thing. So I want to recommend it. It's maybe my favorite column, only partly because he writes often about cities and I'm really enthusiastic about them right now. I will be sharing a few columns from that. Like us on Facebook so that you can keep up with us. Like I said, I've been looking forward to this for a long time. I think it's been really great. And I want to thank everybody for joining us as well. Yes, thank you, everybody. My pleasure. Janet, take care. You too. Bye, everyone.


So students in this module, I will be covering the text from the operators to the constants and which operators I will be covering string operators, all right. So let's go into the detail and look at the module coverage. So look at the string operators, look at the precedence of the operators means that which operator will be operated upon before the other operator if there are multiple operators in the expression. So that is the operator precedence and then the constant. So there's a purpose why I have shown this constant in capital letters which I will very shortly explain and then look at a very simple example in which what we have learned that will be used and show you the results. Let's go ahead string operator is represented by a dot which is the concatenation operator as you can see on your screen. This is very interesting example over here. I have declared a variable temperature in Fahrenheit which is an integer variable. And then I have this concatenation operator over here and this concatenation operator over here also. And then over here there is an expression which is evaluated, there is an expression which is evaluated. So what we see over here is that we get a result, this result we get, all right. So we have the concatenation. We have the result which was a mathematical operation which was converted into a string because of the concatenation operator. I believe you understand this, okay. And then we have this combined assignment over here which is like a shorthand for this which I have already explained before also. It works like a shorthand so this is the power of PHP. Now let's look at operator precedence. What is the meaning of operator precedence? So if I have tried to understand if I have 3 plus 5 into 2. So the answer should be 13 or the answer should be 16. What should be the answer? That is the question, okay. Because if this has a higher precedence then I get 10 plus 3, 13. But if this has a higher precedence then I get 5 plus 3, 8 into 2, 16. So which is the correct answer? Now we cannot leave these things to be processed ambiguously. So this is the operator precedence. So you can see over here that increment and decrement has the highest precedence, right. And we can see over here is that not as then the precedence and this over here, these have a higher, this is higher, see, higher as compared to this is lower, right. So you see that the multiplication has a higher precedence therefore this is going to be the correct answer, not this. Now there is something interesting over here is that this is and over here and this is also and over here. And then there is something more interesting that we have or over here and this or over here. So what is the difference? What is the difference? The difference is in the notation double M percent has a higher precedence as compared to N and this has a higher precedence as compared to R, okay. Now this can become very clear using certain examples but that kind of a coverage, that level of coverage is not as per the scope of this course but it is to give you an idea. So what we see over here that we have two logical operators, okay. We have the two logical ends and we have the two logical hours also and how they differ, they differ based upon their precedence and what is the precedence? Which operator is going to be used first? So of course in the context of arithmetic operators we can use the parenthesis to change the order of precedence for the mathematical operators. Over here I don't go into more detail. Let's talk about constants. So unlike the variables the constants value does not changes. It remains the same throughout the program. It does not change and how a constant is differentiated from a variable it is without this dollar sign. And don't use reserved words, for example don't use get, don't use post, don't use eco, okay. And it can only contain scalar values. Usually the constants are denoted using uppercase letters so it's a convention. Of course you know that PHP's case sensitive you can have a constant name in lower case also but it will be different from the constant name in uppercase and this is how you define the constant as it is shown over here. So I think it becomes very clear. So let's look at one example over here. So I have this variable which is the radius. I assign it the value of 4 and the diameter is twice the value of the radius, okay. And then I have the circumference over here, the circumference and this is a PHP constant. M underscore pi, okay. So I have this echoed over here. This is a circle, circle has a radius and where does this come radius, radius comes from here. And it has a diameter it comes from here, okay. And the circumference is evaluated it comes from over here, right. And this is the way in which this example is evaluated and the results are displayed on the screen and this over here students is all dynamic. This is dynamic stuff. This is all dynamic. I can change the radius and everything changes. That's all I have in this module for you.


I am Anna Delido, a research fellow in collective intelligence infrastructure from the Knowledge Media Institute of the Open University. KMI is a leading lab in semantic web technologies, data science and knowledge media research. Collective intelligence is that emerging phenomenon of human-machine interaction with lead to behavior, decision and actions that are more intelligent than what any human or machine could achieve in isolation. At its most ambitious, research into collective intelligence seek to develop the theories and technologies to increase our ability to solve complex problems by combining human and machine contributions. Our research on collective intelligence looks in particular at how collective intelligence can emerge by enabling better collective human-machine dialogue, debate and deliberation. Our collective intelligence technologies may be relevant to a variety of industry. For instance, polling and market research companies can use our collective intelligent technologies to improve customers' engagement and use cutting-edge methods and tools to analyze and predict customer perception towards specific products. Various face-to-face distributed health practice industries can use our collective intelligence technologies to support the development of online community of practices. Community of practices can bridge the physical divide between health professional and can promote sharing of distributed expertise and collective building of evidence-based knowledge. Online learning companies can use our collective intelligence tools to support collective inquiry, collaborative annotation of web resources and the development of discourse-centric learning analytics. Our collective intelligence technologies enable large-scale gathering of evidence of collective human practices, which are otherwise hard or impossible to capture, to harness and to systematically analyze with existing tools. The importance of collective intelligence research is paramount as humanity now finds itself constantly and increasingly faced with a range of highly complex problems, such as karma change, the crisis of democracy, the spreads of disease, international securities, scientific collaboration and so on. If you are interested to know more about our collective intelligence technologies or collaborate with us, please just go to the IDEA Intelligence Deliberation website.


Hello, this is the podcast producers podcast with me Neil Mossy. Thanks for clicking on this. It's a place where podcast producers share their tips and experiences so that anyone can start a podcast and keep it going. I honestly thought when I started this that I would put a lot more of myself in it now with this number of episodes in and I still feel like I need to get to the guest as quickly as possible. For the next few episodes we're going to be talking with Danny Robbins who is a comedy writer, playwrights and journalist but he's also created two hit podcasts. There's the Haunted podcast for Panoply and For some Untold which is the story of Johnny Cash's For some Prison gigs. He made that for Audible and one of the reasons I really wanted to talk to Danny was just to ask him what was it like making podcasts for another company where they're possibly funding for higher production values and even a bigger audience. I'm Danny Robbins and I have spent most of my life writing and also performing but mainly writing comedy. I found myself at a certain point presenting things and presenting some documentaries on BBC 3 and doing stuff for like things like Newsnight and The Culture Show on BBC 2 and bizarrely at one point presenting travel programs as well doing like travel journalism. So I've kind of done a few things over the years but comedy has been the kind of the mainstay and a lot of that has been radio. You know I've made a lot of things for Radio 4 over the years and written sketch shows and sitcoms. I've been sort of radio through and through for many many years really is how I started. I started out writing topical sketches for the radio. That's how I got a foot in the door at the BBC and in the kind of comedy world in general and I've gone on and like co-created Rudy's Rare Records with Lenny Henry and created a show called The Cold Swedish Winter which is on now which is about a man who moves to Sweden and is totally based on my life of marrying a Swedish woman. And so yeah I mean so obviously podcasts and radio are siblings they're not exactly the same thing. They are siblings and very close to each other and I think anybody making radio now has to be looking to the podcast world. You know I love listening to podcasts and before I kind of really got into making them myself I was listening to a lot of them and getting very hooked on some of the ones that draw you in like serial and up and vanished and shows that draw you into a kind of box set style kind of addictive quality. I had an idea that felt like it it grew quite organically out of something else I was writing. I was writing a play which featured a relationship between two people one of whom believed in ghosts and one of whom didn't and I was kind of interested in the effect that had on their relationship and I just took to social media to ask if anybody I knew had seen a ghost and I got this huge response of people who said they'd seen a ghost and I was fascinated by this because it still feels to me like one of the last taboos of talking about have you seen a ghost or not and it changes the way you view people. So I started to collect these stories and then ask the people who were telling them to me whether I could actually go and meet them and interview them and this kind of grew into a podcast and it felt like it wasn't a radio series it didn't feel like something that radio 4 would go for and it didn't feel TV in a way either I guess because I wanted that intimacy of the audio medium and I didn't want these people to be kind of judged by looking at them. I just wanted to hear their story and that grew into this podcast called Haunted which I made last year and it became pretty popular I guess and so that kind of set me off down the podcast world I guess and now I find myself with ideas saying you know is that a radio idea is it a podcast idea? That's Danny Robbins and this is the podcast producers podcast with me Neil Mossy. It's a place where podcast producers share their tips and experiences so that everyone can start a podcast and keep going. There's details of how to subscribe in the description and thanks so much for getting to this point in the podcast and thanks again to Danny the links to him and his podcasts are in the description and if you've got this far into the podcast it's really good to have you here why not give me a thumbs up or a comment or tweet me it'd be lovely to hear from you and there's also details in the description for where you can find the next episode. Can you please help my daddy get 1000 subscribers? Just click on his face. Thanks. Bye.


or the use of humor, again referring back to that pie chart. I just thought that was a very good way of presenting conflicts between a couple of people in terms of time management and all that. And just some of the interactions between the actors and some of the props that you use that were almost cliche, but actually from people I talked to who have been through the whole divorce process breakup or breakup in relationships are so real about the time and things that you go through college, you meet someone, you get married, and there's the children, and all those things. You hit all those notes. And I think that resonates because a lot of conflict and breakups occur because of all these pressures. And we had a dream of what we thought would be, and I thought you presented that well, and that is something that I think an audience can really relate to. Good. That's what we're trying to do. Thank you. Yeah. Exactly. Yeah. Steven and David. So I really appreciate it from the opening scenes from the Finding the Life partner. And I really appreciate it, like the timing of how that art wins from ecstasy and bliss to difficulty and to an end. But in shooting those pieces in between, but just within the timing itself, it was captured like an entire existence of a relationship very quickly and kind of structured the whole rest of the piece based on what goes on from here. I also kind of continue to strike throughout the whole piece the sense of coming back to being a wash of sea and chaos and then coming through that chaos a number of times into instances that are recognizable experiences. The other thing I really appreciated was the balance between kind of the male experience and the female experience. Oh, good. Yes, that was definitely a big part that we were working from the first time to the second time was to add. I mean, we brought another actor, and we're working on that because it's very female-heavy getting the first time. So great, I'm glad that worked for you. Yeah, it seemed to be a personal change from the first piece, but it's that. And it really came across just in terms of the message. Yeah, that opening sequence again with the romance and then the sort of rush of hope as the ensuing pressures come on you and then enthusiasm and then just the crush of reality right at the end. I can't relate to it at all. Yeah, I know. It's like you're alive, right? Right.  Here's something I was in love with and here we are. It's really powerful. It's nice. I mean, one thing that we were able to respond was like, Ted, can we get the work song? Yeah, it's really great. It's great. Yeah, it's great for my food. Yeah, great. But yeah, it was really nice. We have, with Lucinda's direction, just being able to, with people who are well-versed in speaking and moving and talking and sort of interdisciplinary work, that we can allow the movement and a song to really convey a story and allow that to be enough. So that was really satisfying and it was a journey, like figuring out how we're gonna do that. At first I was like, let's do it in like photographs. There's like click, click, click, because it happens so much, we know those photos so well. Even then, I would put the dress on and I would start talking differently. Like the silhouette of the bride, which she takes up a lot of space, she demands a lot of attention, you know, like. Anyway, so I think it's to the credit of the group that we were able to work in it, not just, you know, different ways of how to convey it, made a story. Thank you. I have like two minutes left. Okay. I have a quick question. Yeah. Just by showing hands, who here has been through a divorce or the right about the significant relationship? Outing. I really love it. And I have you two found something during the show that you went, at some point you went, oh, that resonated for you. That brought up some of your own experience. Okay. It's curious. It's a pretty good ratio. Maybe you can work for me on this. Maybe I just like that one. No. Okay. Any advice or? I wonder if the water takes too much. Is it happened too many times? No. I like the continuity of life jackets, actually. And I like the transference of that knowledge to another. Yeah. I really enjoyed that. I thought it was the one moment where that actually took that knowledge and said, you're going to go through this and you're going to need one of these. Really was an interesting, when you accumulated that knowledge and passed that on, it's really all you can go take out of the horses. Don't go through the same thing. Yeah. I like everything that everyone else has said and struck me, but the parts that I wanted more of were the moments where I knew I was okay when it was from every each actor, each character. Cause that's what everyone hopes for, is that little thread of hope. You know, I know I'm going to be okay when I'm... That's interesting. I took some of that out because I thought it was too repetitive. But that's great. That's interesting. I thought I heard more of your thoughts about the life jacket. You want to know more about life jacket? We only have two minutes. That was good. That was my question too. Why the life jackets? Well, yeah. Why? There's more of what you're... Cause there's so much wonderful icons in all of it. Like someone back here said they were cliche, but they were like, perfect. Yeah. It was exactly what they led to the other. You knew what it was about. It wasn't like, oh, I've seen this. But it felt natural. Yeah. The water metaphors. What has it been brought into life for so long? The water metaphors were really, really strong for me. It's a person that I think is... That's just from my life, right? I'd like to kayak. And so I worked here in my life. But... It took like pretty much. I put it in, and I like kayaking, and I took it. But I think that it kind of worked with the kayaking. But also there was this metaphor about safety and safety here, and like you're going in, you know?  Call me up.  Okay, today I'm going to do a bite the bullet thing. Today, I mean, I've got 10 minutes, I'm going to do my bite the bullet thing for the day. We're going to like make that phone call or do whatever it is you've got to do. Because there's a lot of that, right? And I'd say, okay, get you safety gear. And it was just like our little thing. We just did it on the phone. It became this little thing between us. So the life jacket was a part of that, you know? Like a joke between us, the life jacket. And then in rehearsal, we just had the one that Emily Moore, when she was kayaking, and we'd find ourselves putting it on, I'm like just strapping it really tight. Like this is good. This is really good. Right? It's like, just try it. It feels really good. Just strapping it on my life jacket. It does. It's weird. Like let's use the bottle all the time. We're just like burying them. And then it became a thing. I'm like, wow, okay, sometimes you really want that feeling of just being strapped in tight because you're going to go through the rapids. And the only way to the other side is through it. You know? So end of pass it on, yeah, that became a big thing. That too. Okay, well there's gotta be reason for this. Because otherwise, you know, I mean. And also, when do you take it off? You know, when are you okay? So you're having that moment of like, okay, I can take this off now. Or you don't want to take it off and you have to. Like that moment of like that, that he's standing here and the friends are all just saying the things that they say to you. That's all verbatim. That's all stuff people told me for real life things that people said to them. You know? Are we timed? Okay. Peter, I want to hear what you're going to say. I appreciate it. I appreciated that it was focused on the sort of frailty and vulnerability of, you know, divorce partners. And non-ambitiousness. I mean, there was obviously a little bit of that in the pie chart scene and others. But mostly it's just about the weakness of, you know, people going through divorce is such a difficult process that you discover yourself, but also you really get induced to a point and then you have to expand. I really appreciate that. Oh, that was beautiful. Thank you. Produced a point and you have to expand. Yeah, that last moment, but thanks. I have a question moving, what were you confused by? So those are your two choices. So let's start with, what did you like over our interest? How you implemented all these different artistic talents that you all have. Dancing, singing, language, intertwined with dance and singing and the movement was just beautiful the way you used the stage and how you all played off each other so well. So I really, I really liked that a lot. Can I answer the second question? I'm really confused about, like I'm gonna have trouble sleeping tonight. I wanna, I love the simplicity and the beauty of the beginning with just the kind of 50s housewife. And I like how you brought it back at the end. They still don't really understand what that was about. Not to be coy, but I, one of the best things I liked about it was when I was confused. And I almost, I almost thought, I wish they hadn't explained to me so much about the condition. Like once I knew that, it almost located it so much that I kept putting it through that filter. And so, the other thing I really liked about it was the bookends of the beginning and the end because we rarely get to see something shown to us twice and it's totally different at the second time. So I really liked that. But I thought it was nice because the symbolism of the taste of a person is everyone that brings home the flavor of the taste of a person. So I did feel that. And I think about that, I don't think about it. Really? Yeah. I was just going to say that I really like the color explosions that you have, sort of. Like I really liked, I guess it was at the end, but we all seem to have it a lot at the beginning and there were kind of moments scattered throughout it where you just would have like intense bits, a whole bunch of different colors and prints and all that kind of thing going on on stage. And, or just some other security, talking about the experience of color when you're doing this or doing that or there. And that, to me, sort of really hit that kind of sense of what it must be like to have a situation where something simple like a letter or a number causes another little kind of explosion of color or that kind of thing. That same sense of overload but also delight, you know. I like the sense of play a lot, such that even, like I feel like it's easy to take yourself really seriously when you put on a show and have any kind. So it was really fun to just kind of get lost in the silliness of it. I also really liked how you were able to deliver teaching moments in kind of clever ways. I thought the Ted Talk thing was actually very cute and it felt very fresh. It was a good way of delivering exposition, essentially. And the whole idea of like going through a conference in the Marriott and getting drunk and all. That was kind of a fun way of turning this kind of dry scientist trope into something a little bit more entertaining. Although I do agree with you, I think that it could have been less explanation. I think when once people got it, they got it and you could have gone all sorts of different ways with the web app, I mean, to stop and explain what you were showing us. And I think people would follow you there. I really like the way you set up the individual in this. Set up that? The individual singing and how they came about. And they were different. It wasn't a complete art, but the art was kind of pulled together for me by the way you heighten particular senses and perceptions and things, like the colors, or the sound, or the taste, or the aroma, or something like that. How you brought that particular sense to life and then transformed it or blended it with another in the individual, the nips and things. And that was really, I really appreciated that. And for me, in terms of the explanations of my senses, I feel like I really appreciated the times you took to explain what was going on because it made some connections. And that could be useful and shortened. There was a few less words, not completely wiping it out, but maybe contacting a little bit of that. We're talking about when the scientists are speaking. Each individual time, when the scientists are speaking, when you sat down talking to the audience and going through what this was about, each of those particular kinds of moments. Still a little compressed. Less excitement. Yeah, I would say be brutal. But it might, gravity might be a better challenge. We need to switch in a moment to things you were more confused by. You're going towards that emphasis, but we love to hear what you'd like. I got so interested in those characters at the beginning and the end.  You do that in all the Asian history. So I wish that you would go and make a piece just about those three women. And forget about, you know, but use the same exact concept, but don't tell anybody. And I just can't forget hanging up pizza and fish and fear, because it felt like everything that men do, you know, I thought it was a whole piece about women in the 50s and white men, you know, what they had to do to hang up to make them in or play sports in the background, or watching sports in the background. I just thought it was so hilarious. I wanted to see more about that. Thank you. Yes, one of the things I really loved was how you explored this motif of family in synesthesia, because for me, what's really interesting about synesthesia is it's a very concrete way to understand how people's minds work differently. And my memories are bound up, you know, with my brother and me as a child talking through the characters of the alphabet and being like, well, A is a woman, no A is a man, like, and the relationship with that. And one of the other things I really loved was this Nabokov piece talking about the father and son and their relationship to synesthesia. And I just would love to actually have more of that because there's such cool stories with the Nabokov family because, you know, obviously the grandmother also had synesthesia, and there's this interesting way in which the way that people differentiate themselves from their families, from their loved ones, the way that people very closely together do have different perceptions of the world is sort of intersected with synesthesia. And I'm wondering just because that's such a wacky family and there's so many interesting motifs, sort of like the Vladimir running around with the butterfly in net or his son who's also an opera singer later, like it just seems like they would be such fun people to have on stage. And it also might intersect in interesting ways with the other family motifs you have there with the cantaloupe, which was such like a vivid, like visceral in my mouth, like cantaloupe and toothpaste. And also with that idea of the mother-in-law who can't smell the flowers, so that maybe that just might be another place to give more of that same, some of those same things. We have like two minutes, so any other confusions? Well, there's many things that we stay up to, but I think actually being more confused, like what is it, I think the time where I'm most drawn into that the education part of it, which I personally need because I didn't know anything about this until you told me that you were going to do this piece. So that's good, maybe it comes later, but what draws me in is when I start the real stories, the narrative of the humans themselves, the voiceover, the monologue about the mother, that hearing that from inside the characters and you guys are so good at doing character work that I think there's more massage in there. And also, just what's it like to actually, I'll keep experimenting with these on theatrically, how do you take taste and image and keep moving that together? I think I'm very interested in more with all the talent you have on stage, what you can work on out of with that. Visual images that. Visual images, what's it like to like, I don't know, bouncing to each other in like C color or like, I don't know, this idea that you're talking about with Roy Martin and the sound, but what happens if that's choreography? I don't know, you know, but yeah, it's a little different I think in the cast and I haven't created anything like that. Okay, okay, great.


The Flower of Life is a geometric pattern found all around the world across many thousands of years of human history. It depicts concentric circles aligning with each other in a very natural way, which develops into an image which bears within it many fundamental geometric patterns which have been observed in nature and even in the quantum reality underlying our very existence. It's an image that, by its nature, demonstrates the fundamental dynamic interconnected unity among all things within the fabric of reality. Learning more about it is a very good idea. Check out our full length video on this subject if you want to go further.