Item number, SCP-067, Object Class, SAFE. Special Containment Procedures. When not in use or the subject of study, SCP-067 is to be stored in its felt-lined wooden box. The nib is to be corked, and all art and writings are to be submitted to SCP Research Command for analysis and further experimentation. SCP-067 is a fountain pen, made by a German supply company called Pelican, at some point between World War I and II. It is pale green in color, with a single red line going straight down along the side. The shell is oak, and the nib is extremely sharp, capable of piercing human skin if pressed even lightly. Though it apparently lacks a reservoir, the nib never appears to run out of fresh ink. In addition, the pen writes an iron gall ink, which is suitable for artists, but would normally corrode typical fountain pens quickly. Research has surmised that any subject holding SCP-067 loses all autonomy of the hand and arm that grasps it. Full sensation is intact, but the arm below the elbow is controlled by unknown forces, theoretically centralized within SCP-067. One effect is that the controlled hand will start to use the pen to write a detailed biography of the individual holding the pen. This biography will include such information as the person's name, age, date of birth, criminal record, fears, etc. Other times, the pen has been known to write such things as an occurrence that happened in the person's lifetime. For example, when Test Subject 1204M held SCP-067, he began to write a detailed record of a motor vehicle accident he had been in the year before. Later, the subject admitted that many details penned in the account were not readily available to him at present time. I.e., the subject had forgotten many elements present in the written work, including his previous car's license plate number, the other vehicle's color, and so on. The subject stated that his memory of the event was so fresh in his mind during the transcription that he could taste the blood in his mouth. Subjects holding SCP-067 have also been known to create intricate works of art, despite the subject lacking any formal art training or previous tendencies toward drawing. For example, Test Subject 1102F, a young woman with no previous artistic experience, was able to draw a winged creature resembling SCP-067 described by researchers present as data-expunged. When the subjects are asked to explain what happens when they hold SCP-067, the typical response is that the subject freely relinquishes control of their appendage to SCP-067 so that it may complete its work unimpeded. Despite being instructed to not draw or write, subjects describe feelings of empathy, admiration, and cooperation with SCP-067 that coerces them toward a will not their own. Quoted response one, I don't really know how to explain it, it just kind of happened. When I picked up the pen, it seemed as if my hand wasn't my own anymore. I knew I could move it if I wanted to, but I chose not to because I loved the picture I was drawing. It was like my hand had life.  I looked at the drawing and saw how beautiful it was. I guess the pen decided it was done and was finished with me. Tests and Experiments A test was done to see how the pen affected living creatures other than humans. Experiment 001 The Test Subject A male rhesus macaque aged two years four months who had previously learned how to use pens and markers was placed in a standard psychological surveillance room. Neutral wall coloration one-way observation mirrors. Width SCP-067 A work table and a pad of paper. Subject picked up SCP-067 in his left foot, then took it in his right hand, then tasted it. Subject then put the pen down on the paper and smelled it. After 30 seconds, Subject picked up SCP-067 again and began tapping it repeatedly on the table. Subject also began tapping SCP-067 on his own body. Subject tapped SCP-067 with increasing force until ink was being splattered on his fur. Subject then threw SCP-067 onto the floor. Subsequent mechanical analysis revealed no damage. At this point, Subject tore a page from the pad of paper and began rubbing it on the ink in his fur. This continued for three minutes, after which Subject clutched the page in his teeth and leaped from the work table onto the ledge of the observation mirror with such force that the table was knocked over. Subject began smearing the ink from the paper onto the observation mirror while making repeated vocalizations. Subsequent analysis revealed that 50% of vocalizations were consistent with the typical distress vocalizations of the rhesus macaque and 50% were unfamiliar. After six minutes of smearing ink on the observation mirror, Subject began tearing at the page with his teeth and claws, but dropped it before destroying more than 20% of the paper. Subject then collapsed on the floor, breathing rapidly, and repeating the unfamiliar atypical vocalizations. Subject's handler reports that, once removed from psychological surveillance room, Subject's mood improved rapidly. Subject was closely observed for two months following the experiment, but did not repeat the atypical vocalizations. The sheaf of paper was filed away. In data expunged. Item number SCP-085 Object Class Safe Special Containment Procedures Revised SCP-085 is to be contained in a single chalk white bond drawing pad in a secure containment facility. Supervised contact with SCP-085 is unrestricted to all personnel with level 2 access. All personnel coming into contact with SCP-085 are subject to searches and random psych analysis upon entering or leaving the containment area. Absolutely no paper or canvas media are allowed to exit SCP-085's containment room. Any paper trash must be disposed of by incineration after careful inspection. Paper and art supplies are to be brought in only by authorized personnel. In case of fire, flames are smothered using a rapid atmospheric replacement and CO2 dumping system. Personnel are advised to quickly secure an oxygen mask and tank from the wall at the first sign of smoke or fire to prevent asphyxiation as this procedure cannot be halted until all fires are suppressed. Description SCP-085 is the result of an experiment conducted between SCP-067 and SCP-914. Using SCP-067, test subject 1101F drew a single female figure about 15 centimeters or 6 inches in height and 3.8 centimeters or 1.5 inches wide. In summer dress with long hair pulled back into a ponytail with the name Cassandra written underneath. Doctor expunged proposed using SCP-914 on various settings on images created by SCP-067. Using the fine setting, the Cassandra sketch was transmuted into her present form. A sentient black and white animated young woman drawn in clean strokes. Further attempts to duplicate this result have been unsuccessful. SCP-085 prefers to be called Cassie. She is completely sentient and as aware of her 2D form and her limitations in a three-dimensional world. Although her voice is inaudible, she has learned to communicate with SCP Foundation personnel through sign language and writing. SCP-085 may be communicated with by writing text on the paper she exists on. Personnel report that she is amicable and motivated, albeit lonely. SCP-085 can interact with any drawn object on the same page as if it were real. For example, she is able to wear drawn clothing, drive sketched cars, and drink painted beverages. Except for animals and people, any drawn object becomes animated when in contact with SCP-085, but immediately ceases and holds position once out of contact. Artwork initially depicted as in motion, such as ocean waves and swaying trees, animate to an equilibrium state and stay at rest until acted upon by SCP-085. SCP-085 has also demonstrated the ability to transfer from one sheet or image to another, as long as the two are flush. In the event SCP-085 enters a picture that does not support drawn objects, such as a repeating pattern, the picture is converted to a background image. SCP-085 perceives the picture as an endless plane of the image drawn upon it. At the present time, SCP-085 can only exist upon paper or canvas surfaces. SCP-085 cannot transfer onto photos, cardboard, glass, or parchment. When entering other pieces of art, SCP-085 takes on the artistic style of her new environment, whether it be a comic book, an oil painting, watercolour, or charcoal sketching. Note, in comic form, her voice is visible as thought and voice bubbles around her head in typical comic fashion, and as she moves between panels the perspective and her relative size are altered appropriately. Document 085-1 Introduction to several prints authored by MC Escher Researcher Cassandra, this is known as ascending and descending. What do you think? At this point, SCP-085 walks a few times around the staircase. SCP-085, it's pretty I guess, would make a neat exercise track. Researcher, you see nothing inconsistent with the staircase. SCP-085? No, as far as I can tell it just loops around down and up all the time. I don't more staircases do that. It's pretty neat. After this session, SCP-085 requested several impossible objects in her own environment. These requests are pending 05 review. Document 085-2 Incident 085-A Prior to SCP-085 was unaware of its status as a two-dimensional object in a three-dimensional world. Prior security protocols required that SCP-085 be kept unaware of its true nature in order to prevent psychological distress. Discrepancies with the perceived real world were presented as dreams or nightmares and an effort was made to present SCP-085 with a scenario in which it was the last surviving human in a post-apocalyptic world, searching for survivors. The deception was quickly broken, following an incident where an SCP Foundation researcher accidentally brought a hard copy of SCP-085's Special Containment Procedures Report into the containment facility and allowed it to contact the artifact's current location. SCP-085 transferred onto the document before the researcher could remove it and was immediately made aware of its true nature. Because of the containment breach, several researchers advocated immediate destruction of the artifact. The decision was appealed to the 05 Council, which advocated for SCP-085's continued existence. Since the revelation of her true nature, observers have noted that SCP-085 has begun to show signs of clinical depression. Psychotherapy has been proposed, but the nature of the artifact's state of existence may make it difficult. Some success has been had by providing SCP-085 tangible means to distract herself from her condition. In addition to the aforementioned optical illusions, SCP-085 expressed particular interest in a set of technical drawings for a 1964 Ford Mustang convertible, transferring the parts one by one to a more naturalistic artwork than assembling the vehicle by hand over the period of a year, gasoline being provided through a Norman Rockwell print of a gas station attendant. Requests for further diversions of this nature are pending 05-level review and approval. Item Number SCP-095 Object Class Safe Special Containment Procedures SCP-095 is to be placed in a standard polyethylene sleeve when not under scheduled research and stored in a standard locked filing cabinet to prevent damage or wear. High-resolution digital scans are available for any level 1 and above personnel who wish to view SCP-095. Description SCP-095 appears to be a set of three moderately aged black and white comic books, printed in 1932. The front and rear covers are missing, and several pages have been rendered illegible due to water damage. It was found by Agent White in a small antique shop in Denver, Colorado, and purchased for a small fee without incident. The owner of the shop had apparently not read the item past the publisher's date on the first page. Forensic inspections of SCP-095 have revealed it to be genuine, though completely unremarkable save for its content. It is printed on cheap pulp paper and inked with dyes common to other publications of its era. The publisher's stamp indicates it was produced by Future Funnies, a company operating out of the town of Purple Lake, Ohio. All research and inquiries thus far have shown both the company and the town to be completely non-existent. The comic itself is a pulp science fiction story, entitled The Atomic Adventures of Ronnie Reagan, featuring a lead character bearing an unmistakable resemblance to former United States President Ronald Reagan. Each story opens with a large panel reading, in the far-fetched future world of the 1980s, only Ronnie Reagan can save the day. It appears to follow an episodic format, with one self-contained story per publication. The three stories are briefly described below. Ronnie vs. Space Admiral Carter. This story pits planetary Governor Ronnie Reagan and his sidekick, Space Major Herbert, against the titular Space Admiral Carter, as they both vie for the position of Space Marshal. The events loosely follow the events of the 1980 presidential election. Space Assassin. This story follows a character named Spaceman Hinckley as he prepares to assassinate Space Marshal Reagan. He manages to catch Reagan by surprise and wound him with his Devastator Ray, before being subdued by Reagan's soldiers. The events obviously refer to the 1981 assassination attempt by John Hinckley Jr. Jungle Planet. This story follows Reagan's attempts to create an army of robots on the jungle-covered planet of Nika in order to protect it from the evil sand bandits. Although Reagan is told that he will lose his command if he interferes with events on planet Nika, he sends his lieutenant, Space Colonel West, to secretly build a force under the cover of the jungle. When their plan is discovered, Space Colonel West publicly takes the blame and saves his superior. The storyline appears to be a simplified retelling of the Iran-Contra controversies of 1986. Possibly most interesting is the final page of each book, which advertises other stories published by Future Funnies. Investigation is underway to locate any surviving copies at once. The advertised stories are listed below. Space Major Herbert assumes command. Starman Willie vs. The Space Succubus. Globe Walker in Sneak Attack. Barry Beetlejuice on Planet Afgar. Diamond Donnie in Putting on the Ritz. Sky Marm Cera of the Ice World. Flying Franken vs. Rocket Rush. Star Command Proton in a Losing Battle. The New Menace. Death to Mankind. Personal Log of Dr. R- Date October 6th, 2004. I don't think I need to emphasize how important it is to recover any and all of the advertised stories immediately. The Final 2 in particular. Item Number SCP-151 Object Class Euclid Special Containment Procedures. SCP-151 should be kept in a locked storage compartment covered by an opaque cloth. The keys to the compartment should be kept in the custody of the Site Commander when SCP-151 is not being researched. When research is being conducted, SCP-151 may be kept in a locked laboratory, provided it is always covered when not being used. Description. SCP-151 is a 1 meter by 1.3 meter or 3 foot by 4 foot oil painting, apparently from the perspective of someone underwater. A subject who views the painting exhibits no initial effects. However, over a period of 24 hours, the subject's breathing becomes increasingly labored, culminating in the death of the subject. Autopsies reveal that subjects' lungs have filled with seawater. Attempts to halt the drowning process by medical intervention have proven successful in prolonging the life of the subject, but have not stopped nor reversed the condition. The painting is not signed, but several names are written on the back. Addendum. SCP-151 was founded in Antique Shop in... after the Foundation began investigating a series of unexplained drowning deaths. As said location is landlocked, the Foundation dispatched a team of plainclothes agents after being informed of the nature of the water in the victim's lungs and that the victims had all been discovered on dry land. The agents discovered that the names written on the back belong to a group of artistically inclined students, all of whom disappeared during a study abroad program in... investigation into their fate is ongoing and may provide clues as to the nature and origin of SCP-151. Item number. SCP-175. Object Class. SAFE. Special Containment Procedures. SCP-175 is to be kept in a metal safe when not undergoing testing. The safe is to be secured in a storage room at site with other low maintenance SCPs. The room will be guarded by two security guards at all times in accordance with security protocol data expunged. Description. When not active, SCP-175 resembles a yellowed piece of parchment, slightly larger than a standard piece of paper. The edges are torn and it appears weathered in brittle. However, SCP-175 is actually quite supple and is indestructible despite its worn appearance, having resisted all attempts to remove pieces for testing. The more interesting properties of SCP-175 are revealed when moved in relative proximity to a buried object. The proximity range seems to vary under unknown parameters. SCP-175 has become active in distances from as short as 30 meters to as far as several kilometers. However, on average, the distance ranges between 100 and 200 meters. When SCP-175 becomes active, its appearance changes to become either a map, a set of directions to the buried object, or some hybrid thereof. Though the approximate size and shape of SCP-175 remains constant, its appearance may change to resemble various other paper and parchment varieties, and the writing or drawing, implement, and style vary as well, seemingly based on the mindset of the individual or individuals who buried the object. If the buried object is dug up, or the map is removed from the proximity of the object, SCP-175 reverts back to its normal state. Document number 175-08 Partial list of barriers, buried objects, and appearances of SCP-175. All experiments took place at Data Expunged, unless otherwise stated. Dr. Warrick buried a wooden box. SCP-175 became a piece of graph paper with a pencil-drawn map of the surrounding area, complete with a legend in the bottom left. The location of the treasure was clearly marked. Dr. Warrick remarked that the handwriting on SCP-175 looked identical to his own. The 5-year-old female child of said doctor was instructed to bury a wooden box with a couple of her toys in it. SCP-175 became a crayon-drawn map of the surrounding area, on a white piece of paper, clearly modeled on the style of a normal child of that age. The 10-year-old male child of aged 1 was instructed to bury a box containing some of his comic books. SCP-175 became a list of instructions on lined yellow paper, based on several landmarks in the area. Trees, rocks, etc. The instructions included where to start and how many paces to take to the next landmark, the direction to turn, and eventually where to dig. The instructions were complete with misspellings appropriate for the knowledge of a child of that age. A well-respected professional landscape artist was instructed to bury an empty wooden box. SCP-175 became a canvas with an accurately painted overhead view of the surrounding area with an X to mark the spot where the box was buried. A professional puzzle maker and crossword puzzle maker was instructed to bury a wooden box. SCP-175 became a piece of graph paper with several inked crossword and various other word puzzles, along with a metapuzzle. Solving the smaller puzzles was necessary to find the letters to solve the metapuzzle, which was a list of instructions for where to find the buried object. Agent A, who remembered a box with various objects that he had buried in his backyard at the age of eight, traveled with a research team to data-expunged. SCP-175 became a pencil-drawn map of the surrounding area, along with labels that did not match his current handwriting, but did match his handwriting from papers his parents had kept that he had done at that age. Most remarkably, the map included several trees that had been cut down in the years since the box was buried. A D-class personnel who had been a professional architect before his conviction as a serial killer was instructed to bury a wooden box. Data-expunged. During transport of SCP-175, along with numerous other safe SCPs to data-expunged, one of the guards in the truck reported a high-pitched wine coming from the crate containing SCP-175. As per protocol, the truck was stopped and evacuated and the nearest task force, Mobile Task Force Omega-7, Pandora's Box, was sent to investigate after being briefed on the contents of the crate. According to the debrief, they found a sheet of metal which was emitting the wine, and the sound increased in pitch and volume as they neared a specific location. Digging in this area uncovered SCP-175, at which point, the metal sheet reverted to the inactive state of SCP-175. Addendum 175-13 on a D-class personnel who had been a professional architect prior to his conviction as a serial killer was instructed to bury a wooden box. The intended purpose of this experiment was to see what SCP-175 would look like when buried by an architect. When Dr. White looked at SCP-175, once the box was buried, he immediately screamed, dropped to his knees, clutching his head with both hands, dropping SCP-175 to the ground, luckily face down. Agent White, who was standing by the side of said doctor during this experiment, reported a flickering mass of color and a sense of extreme nausea at a glimpse of SCP-175 before it drifted to the ground. He quickly dug up the box in order to reset SCP-175. Dr. White went into a coma after this incident. An intense psychological screening of the D-class subject revealed a well hidden schizophrenia and sociopathy. Since this experiment, strict protocol has been put in place to protect the mental health of researchers. Lesson complete. To continue with your orientation training, subscribe to SCP Orientation right now and make sure you don't miss any of our upcoming videos.


My talk is gonna probably go a little short, so I'll give people five minutes to wander in, so I'll just do like a really long introduction, and then I'll go into the talk. So my name is Joseph Dixon, and that is my Twitter handle. I've been using that Twitter handle since before Twitter, and AOL days. So that was before people used their real names on Twitter, so I thought I was being really clever. So yeah, graduated high school in the 90s, and that Joe for Skaw handle still lives with me today. My website is joseph-dixon.com. The dash is important, because there's another Joseph Dixon in Canada who had his website hacked, and the guy tried to sell his website to me, which was actually kind of amusing. So he was a politician in Canada. He didn't pay for his web hosting. It got cyber-squatted. I guess that's technically not hacked. He got cyber-squatted, and I got a lot of traffic from Canada for a few days, people thinking I was him. And then a couple weeks ago he contacted me on my Gmail account, trying to sell me the account. Not the Canadian politician, but the guy that stole it, which was nice. I told him no, and he hasn't emailed me back, which was awesome, actually. I'm a web developer at Pitzer College. That's a Small Liberal Arts College in Claremont, California, with about 1,100 students. So we use WordPress for the entire front end of our website. And I'm also a member of the Illinois Empire Meetup Group. What? What? I'm a big fan of WordPress. So let me see. What other random trivia about me? Can I stretch this introduction out for a few more minutes? I thought you were talking to... No, I don't. Oh, I do have an answer for your question earlier. It was automatic that did some Gutenberg Jenga blocks. And I think I saw somebody had them at a WordCamp late last year. Yeah, they were Jenga blocks with like the different automatic properties on them. So now that it's on video, I hope I'm not wrong. And then... All right, so let's go ahead and get started. Okay, so this is what I was working on. The Kubrick theme, if you're not familiar with it, was designed in 2004 and became a default theme for WordPress in 2006. It has not received any updates since 2010. And that's why I decided it would be a fantastic item to develop a Gutenberg, to prepare for Gutenberg, right? Because I would set it up, I would get all these air messages, right? I would run it through a debugger and find out that it's running a ton of different deprecated functions. This would be a... So it would appear as though my website has not been updated in nine years. And so I actually fixed those features pretty quickly. Surprisingly, the only error that I saw, like right up front, was the sidebar here, completely disappeared. After they stopped updating the theme, they changed how sidebars getting queued in WordPress websites. So that was really the only fix I had to do. And naturally there's some other things that you could improve with Kubrick, but this is more of like an experiment in updating it to be Gutenberg compatible. So for context, this is Michael Hillman. I hope I just pronounced his name correctly. And it was the default theme from 1.2 to 2.9. So I'll give you some context as how long it was a default theme. Now we have default themes that basically last one whole year and then they get replaced by another theme, with the exception being for 2017 when they didn't release one for 2018. So this was a default theme for four years and was eventually succeeded by the 2010 theme, which introduced a lot of those new template tags and functions that WordPress had been developing over the previous four years while it was a default theme. And I forgot to mention that is the original, that is the developer of the Kubrick theme.  It's just a coincidence. I had no idea that we were both bald. So you might be not asking yourselves, what did the Internet look like in 2006 and why is Kubrick super important to WordPress? And so I figured well, why not just go to the Waybag Machine on archive.org and literally take screenshots of some social media websites, which quite honestly in 2006 was the competition for WordPress. This is back when it was a blogging software first and people were starting to use it for business. So that's your Facebook login page from 2006. Yeah, no, I mean the color palette is still the same. I don't know what MySpace looks like today, but if you guys are interested, apparently they had a really good article on Fast and the Furious Drifting right around June of 2006. So you guys could check that out for your Fast and the Furious Tokyo Drift Twitter. This is funny. Now I have a feeling that this is probably a CSS error in the Twitter platform. When I was using Twitter at this time, this is before we had smartphones. The iPhone didn't come out until the following year. So people were using Twitter on the website, but I was actually using it on my phone. You know, you'd sign up for an account, you would tweet a message to, I think it's 40404 is the phone number, and you would send out tweets. And back then it was just me tweeting to the three other people I know in real life at that time when we were just doing it as group text messages. And YouTube in 2006 was, this is way before Google bought them out. This is back when they were the video blogging service. So if you take a, it's a little blurry here, but if you were to take a closer look at the screen grab, you could see that a lot of these things were just people video blogging. I did forget to mention, I think at the beginning of the video that these slides are available at my website. They're in the footer. So if you guys wanted to follow along on your laptop, you can. So the Kubrick theme by contrast was easy to use, had a clean design, was very simple and extremely modern. Back around this time I worked at a newspaper, right? And I was a web developer back then as well. The idea was always get everything above the fold. Well, I could tell you right now my editor would freak out if they saw how big that header banner was in 2006. Because that was the idea. People had computer monitors that were 1024 by 768. So, you know, you'd probably see the first third of this page. But if you're using it for browsing and reading, then it's, it was very clean and easy to read. It's impossible to read now at 13 pixel font size. But back then it looked a lot larger. So getting to the meat of this presentation, the idea was to analyze what Kubrick looked like. I updated it a bit. You can see a little mistake there on my search box. This is actually a theme that I had forked. And I started to get it to work. And you'll notice I'm running it on a local host that's using WTP, WP debug. That will show up alerts and messages if there's something wrong with the code. So it's pretty clean. The search box is the only thing broken that I noticed. And this is the inside page. So, so Kubrick was really simple. It had a front page and it had interior pages. And, you know, naturally you're going to say to yourself, well, why would I want to update such an old website for Gutenberg? And that is a legitimate question.  So ask yourself, would it even be beneficial to yourself or your client to use it in the first place? One of the items that I'll notice is like, well, blocks are super easy to deploy, right? So if you needed to create a button with some text on it, you could do that in like a matter of a couple seconds. Whereas if you did it in the classic editor, you'd have to go do some class tag, hackery, maybe even a short code. And then again, ask yourself, well, should I just be redesigning the website? And I mean, you know, if we're going to be using Gutenberg, maybe we should just like reanalyze whether or not this website has any other problems that need to be addressed. So it's a good time to think, OK, well, maybe I'll redesign it during the use Gutenberg in the redesign process. Additionally, this is what I found in personal practice. If you switch somebody from classic editor Gutenberg, you also have to adopt their training, right? I work at a college. Some of my co-workers and colleagues have been using it for three or four years. And as soon as you change that dashboard, they're going to be like, this looks nothing like what I was using yesterday.  And I still find myself referencing documents on how to do something. Or I'll discover some hidden feature in Gutenberg that I didn't know about. Gutenberg has a way of hiding things under contextual menus that are literally hidden.  And that is just really frustrating. But it is clean. So once you get used to it, it's good to use. So chances are you've at least installed Gutenberg for a few minutes. So this will look familiar to you. This is the default styles that if your theme does not support Gutenberg, you'll end up with this large serif font header followed by a paragraph of text, a quote block. All these things are the default blocks you would find in the editor. But what if, what if it looked like the theme itself? And this is actually key. I found that when I started editing my themes for the back end to look more like the front end, it actually saved the clients being my coworkers and colleagues a little bit of time. If they floated an image to the left or to the right, then it would look something like this on the front end. So sometimes people get concerned about the line break of a word showing up right next to an image in a particular spot and they'll edit the text to get it to land there.  So if you can customize the back end of the website to look like the front end, you can save some time for the people developing the software. Jason, yesterday morning, was presenting on Elementor and block editors in general and block, block page builders, page builders. And what he was saying was effectively what I hear from everyone else who doesn't want to develop is like, I just want to know what the website is going to look like before I hit publish. And this is kind of a gray area in between that can allow you to do a little bit of that without having to install a page builder. So during the rest of this talk, I'll be showing you how you can go in and override some of your design changes to do something like this. The first part is learning how to enqueue block styles. The top one is the one that we'll be covering today because this is a classic theme that was designed before before the before Gutenberg. But there are two other functions. You can have the style show up on the front end of the website and on the back end or even just on the front end of the website. Those will be used for different reasons. So let's say you're building a theme today from scratch, you'd probably want to use the second option in queue block assets. Because then that way you're only setting up your design styles once and it goes in both places. The last one, let's say you're designing a website today and you know that you're going to be using classic editor for a while. Then you could just throw them over to the front end and not worry about what it looks like on the block editor. It's kind of a backwards way of thanking because if you installed Gutenberg it wouldn't work on the on the back end. But there's reasons for that. So we're going to be talking about just styling the editor for the rest of this talk and that is in queue block editor assets. So I'll have that. The slides are on my website if you guys want to inspect it later. This is what an entire code block would look like in functions.php if you wanted to enqueue the block editor styles. So starting at the top we build the function. We enqueue the stylesheet. I'm giving it a name of Gutenberg editor CSS. That way if I look at the source code later on I'll know that this is pulling in the Gutenberg editor CSS. I should not be seeing this on the front end of the website but I should be seeing it if I do an inspection on the editor. If I'm seeing it in both places then I probably enqueued it with the wrong with the wrong assets. They're on the right. And then of course the path where the CSS file is located. So because there is I lost count of how many core blocks there on Gutenberg and they're adding a few new ones every couple months. I'm only going to be covering four. No one's got time to go over every single video embed block from the 12 different video services that they have included. So the first one is clockwise from top top around would be the title block, the paragraph block, the quote block on the right and the list block on the left. All of these have unique styles for Kubrick. So they also tend to be the most used when you're developing a informational website. So that's really low resolution guys. I'm so sorry. The what is happening here is I inspect the editor while I'm working on it to try to see what CSS classes I'm going to need to override in order to get the title to look the way I want it to. So on the left you have the class tags that I ended up overriding for my theme that allow me to change the font and the size and all the other information. So in this case you'll see some similarities as I flip through the rest of the slide presentation, the reference to the word editor, the reference to what it does and then underscore underscore something else. And it's it's it's a repeated method so that developers know what they're editing. I don't know if it mentions it in the handbook just yet but but I've been noticing a pattern so I might as well work with it. I'm sorry I forgot to mention so what I'm doing here is setting the font family to liberation sands which is kind of like Ariel and Helvetica and then fall back is a sans serif font and adjusting the line height. The reason I'm doing that is I want to get rid of some of that additional padding on the titles because the default Gutenberg styles are this really big title and Kubrick was was tiny. So also overriding the editor with something I've noticed in the other direction is that the blocks are very narrow in Gutenberg and the front end of themes tend to be very wide. In this case it's actually the opposite so I needed to change the max width to 480 pixels so I could squeeze it a little bit but you can go in the other direction. WP block is more of a general class tag that applies to all the blocks and so you know I set the font family and the sans serif and the line height and all this stuff that I would like to see flow further on into the process. Some of it doesn't really work and I'll go on to that in a later slide. It's because there's a lot of inline CSS in Gutenberg right now and I'm hoping that it gets addressed later on but by simply inspecting and and grabbing the paragraph block and that's all I'm really doing is saying okay if it's a paragraph and it's in the editor styles wrapper then set the font size to 13 pixels and the line height to 1.4. Really simple right? I don't want it to be 18 pixels and and super spaced out. That's not what my theme is looking for. Unfortunately I'd use important tags because the way that the JavaScript works in Gutenberg when you focus on a block when you start editing the block JavaScript and class tags start showing up it's very responsive to your whether or not you're inputting with that particular block or not and that affects some of your styles. So in practice what I found myself happening while I was editing this particular block is I'd be like oh great it looks great it's 13 pixels the line height is perfect looks just like the front end then I would click on it to edit the text and the line height would increase and then I would unclick it and it would squeeze back down. Sometimes it wouldn't even squeeze back down. So the last thing you want is bouncing text in your editor. So important tags. Fortunately oh unfortunately the list block is really busy. Same method. The list block you actually have two default blocks a large no sorry ordered list and unordered list. So there's a lot of code to go with that. Same idea. Identifying which class tags are in the editor and then overriding them. So you see a lot of repeated references. The line height for 1.3 for whatever reason this this theme wanted to make the list a little bit smaller line height. They didn't repeat the exact same line height in the design but I still had to run an important tag through it because of some CSS issues. The next one is the font size and the padding above and below the list elements to try to squeeze them up a little bit and the padding left of the the standard block. In this theme if you're doing an unordered list it will pad it over to the right make it look more it's not in the same alignment as the paragraph block but the ordered lists were. Six months is watching this video and laughing right now. Okay sounds great. So the remainder of this code is just styling the the back end of the editor to look like the front end. So a lot of what I was working on at this point was referencing the original style sheet and code from the original developer and trying to apply it to the back end and and and doing a lot of a lot of code because none of his code will show up in the block editor. I liked this one because it only had four lines. And it still had its own weirdness. The quote block has two options in Gutenberg. You have the large quote and I'm guessing the is not large. So if you take a closer look at that top line right there there is a pseudo class in that class tag. What that is trying to do is saying okay if this is not the large block then apply these styles. Well one of the problems I ran into that isn't sort of direct related to this project is if you're adding additional quote blocks to the core blocks because you could extend core blocks in Gutenberg which makes it really great if you have a block that does 90% of what you want to do and you want to adjust it. So you create a third version right? No big deal. Well then these styles would apply to that one too unless of course it was labeled is style large in the class tag. So that that had its own little issues. I know that's a bit of an aside but if you ever get into it it made things a little tricky. No doubt there's a lot of trial and error in overwriting the Gutenberg styles and a lot of inline CSS that required me to go in and use the important tag. I found it kind of frustrating because I kind of pride myself in not using the important tag. I've been doing CSS long enough that I know if I have to use it it's not because of me. So testing the CSS overrides on the left you have my my block themes so you'll see some commonalities there with the underscores the post title it gives you an idea of where the CSS is going there's references to wrappers for the paragraph block but you know this tells you that the code that I'm writing is just going to be for the post editor itself and this is the style from the original theme itself and actually the end of the style sheet which is a surprising 731 lines of CSS this guy was really lean with his work and a reference to a quote at the end of 2001 Space Odyssey where Hal 9000 is singing Daisy Daisy as he's getting shut down which is why the theme was nicknamed Kubrick if you look for it in in a theme archive it'll just say default theme but people in the community refer to it as Kubrick theme and it's because of that little line of code yeah yeah yeah so this is a before and after of of the editor where the fonts were the default styles and then what I was able to work on in a couple hours of CSS work to make the the front end and the back end look more alike and more importantly this is what I was going for making it so that if somebody is editing on the back end they know what it will look like before they hit publish or schedule because if we're working on a website especially what I do with and in higher education is I want to post a press release and I'll kind of want to know what it will look like before I schedule it for three weeks out and this is kind of like that sure you could use the preview button but this will save you literally seconds every single time you would have maybe hit that preview button and that doesn't sound like that big of a deal but if you've seen how low that these how slow that some page page builders will edit with I mean come on they have a loading sequence you know this this will save you a little bit of time and this is all stuff that you could do in core without installing additional plugins it just means that you're going to have to edit some CSS create your own CSS and drop it into your child theme or or your original theme so oh I upload you guys missed the animation on this because I uploaded it to Google Slides and it's no longer animated I know I'm sorry I mean I'm sure you guys have all seen 2001 a space Odyssey so I'll just tell you it's just him asking how to open the pod bay doors in a loop for like two seconds which is kind of what it's like you're working with Gutenberg right you're like all I want to do is get to this button to go right here just right there just right there why is it not that way so yeah yeah no kidding so quite frankly possible nested next steps you guys might be interested in is you know go in in queue the block the block editor start with WP dash block and see what kind of styles that you can adjust for you yourself for your clients website that will just adjust the width or whatever and start playing with it you can visit the Gutenberg handbook it the documentation is really getting good it's written in such a way where you kind of have to start on the first page and flip through it like an actual novel which is a little strange because I like to go through stuff like stack overflow style and just find the solution like at the bottom of the screen that everyone upvoted yeah no the handbook is not written that way so so it's best to just read it left to right up to down and heck why not watch 2001 a space Odyssey while coding or your other favorite movie and then just throw a little quote at the bottom of it just to see if anyone references it you know a couple years later part of the reason I wanted to give this talk is as an example I hear this a lot from from meetups and friends who also use WordPress is that they're scared of Gutenberg and and yeah it's it will have a time commitment to learn how to edit and work with it but the payoff is down the road once once you get a few things under your belt it's actually really responsive and quick to use I started using Gutenberg in ways that I didn't think I would I I I've used Evernote as a notebook I've used other different type of apps now I could just use my WordPress dashboard and you know I there's like little tricks in Gutenberg like you can like hit return and it creates a new block right but did any of you guys know that you could just hit slash and start typing and you could search for the blocks yeah yeah I really should have put that in the slideshow because that's probably the one largest thing that you guys are gonna get like want to check out later so create a block hit the slash right next to your shift key and start typing and and so if you're looking for image block it'll just pop up right there so what you could do is just start tabbing through and then they made so many accessibility improvements to Gutenberg that the workflow of typing and writing in Gutenberg is so streamlined that I don't even bother using Libre Office or Microsoft Word I just start editing and working in the in the editor I mean I'm writing for myself right so I'm not gonna have to share it with a another editor so that that's all on the presentation and I did finish a little early about 15 20 minutes early I'm hoping you guys have some questions yeah question time let's go to let's go into questions oh I was getting a little bit lost earlier are those all in function PHP like like to to to work on the way is that all in functions dot PHP like those blocks these here oh this is my my blocks css file yeah yeah so what you it probably didn't pick up your question he was asking if this code here was in PHP it's actually in CSS man it would have been so much nicer if I put CSS at the beginning of this slide thank you for referencing that yeah no I probably no this is the only part that was PHP in the presentation and and you're right I didn't have a PHP tag at the beginning in the end of this to provide a hint so it looks very similar so this is the only PHP you would have to do is add something like this to your functions tag to reference a style sheet I came in a minute sure is this now in the repository and I can go install Kubrick right now today because you've remade it no no I I do I actually okay thank you for that I have the code on GitHub if you want to download it I ask that you do not use it on a production website that you do it in a safe space that's not going to eat any content because all I did was edit those three or four blocks and everything else on that is not Gutenberg ready but yeah if you want to see the code in the blocks I'm going to be adding the code to my post on my website but also the you could you could follow it on on GitHub if you wanted to check it out I might actually go back there make a few small edits over time the problem with Gutenberg isn't Gutenberg's fault it's just not responsive and people don't look at 13 pixel fonts on on their their desktop 4k screens so if you if you if you guys thought that this is very hard to read it's hard to read for a reason it's because we don't we don't consume websites the same way today and I still know a few mathematicians who actually use the old-school thing okay okay well you might want to you might want to fork the the project you're free to do so over there on github and then fix all the errors that I haven't addressed there is I don't remember the developers name but his talk is on WordPress TV and his talk was from I want to say 2014 where he literally went through did the same thing I did so it would work with WordPress but before Gutenberg and he audited audited the code and so for instance he turned this background image into an actual CSS background and rounded the edges and it works on phones I didn't do that but you know what I might I might fork his project to and save myself some time and then you know I can call this Kubrick 3.0 or something or 5.0 and make no money off of it 2010 I could do that but it's still nine years old oh I got you to 2010 yeah yeah but that wasn't that wasn't filmed by Stanley Kubrick okay question I guess would you say my question would be what would you say you really pulled out of this project while you were working on it okay that's a really good question because this was the first thing that I had done in Gutenberg and it's kind of like you most of you are designers you and you might inherit a website from somebody that has not been redesigned in five years and they hand you a theme and and they say to you I really love this website can you make it work and this is kind of that process right you don't have to throw out the old code you can go in you could refactor it you can audit it and you can customize it for for Gutenberg so that it's modern again that was really really what I was trying to get through it also taught me that I don't have to go in and add additional blocks from plugins I could just go into my theme and add adjustments and then that website will literally just have the theme and and core WordPress and that just means I have to hit update less frequently which saves me time on maintaining a website any other questions in the back not just for the site for any site back it does not adopt the style in the front and I think that someone said that that capability is supposed to come into Gutenberg at some point. Well it's been four months Gutenberg was released in December and it's still not here and and yes it is in a way and on the function slide that's kind of what's going on here is that let's if you plan out your CSS correctly well if you plan out your CSS saying correct would be inaccurate because any way you use it is your way of using it if you plan it out you could say okay well I know these blocks are going to be on my website I'm going to literally write a style sheet that applies to every single Gutenberg block and so you can in queue your blocks on the back end and the front end and then anything else that isn't related to your blocks you could place in another style sheet or you could place them in the same style sheet if they don't conflict with each other because at the end of the day your back end is still going to be the back end and you don't want all those extra styles interfering with your admin bar doing some other weirdness so so you could do them in both places and I think that what you said about the the front end of the back end looking the same I think that what they're referring to is the third one where no second one where you're doing it on the front end of the back end any other questions okay we are super early so I guess that's it you want me to put on the wig all right the MacGyver wig I got to touch the MacGyver wig so David was hacking Gutenberg for what was it no what was the name of your talk earlier today yes MacGyver plays with box yeah but I really did feel like I was MacGyvering I really did feel like I was MacGyvering Gutenberg in the sense that as you could see when I was going through some of the slides some of the CSS I had to apply in some places didn't work in others so I had to literally go through and fiddle like crazy I spent more time working on that CSS than I did at the slide presentation for for this so I think that shows everybody so awesome yeah yeah yeah I think what it feels like with Gutenberg as Gutenberg has a bunch of features that you want to implement yes it's waiting for certain wet technologies to catch up to make them feasible to implement yeah I mean Gutenberg has a lot of features that are not implemented and and a lot of blocks that I think that are missing from core blocks when I made that joke about having a video embed if you go through and look at every single core block there is at last count it's about 40 about half of those are video embeds for different platforms I would really really like them to spend the time on having a list thing where you could put a little checkbox and you could check things off and like make a checklist rather than rather than a stop yeah so I mean there's a reason right there anyone listening today you can create a block and and make billions of internet dollars just for having a checkbox on it so people could check stuff off fun times like a checklist block I mean come I like like no seriously how many times have you gone in and and went into your email and no not email but Google Google what's the Google list keep go keep has a block that you could check off right we could be able to do that in WordPress yeah so awesome thanks everyone


So I don't really think that this is a surprise to anyone. We all knew that this was coming But now it's official a super PAC a dark money group We don't know where this funding is coming from is now spending on ads in Iowa to take down Bernie Sanders now look It became very clear to me that once poll after poll showed that he is the favorite in Iowa and also New Hampshire There would be some type of coordinated effort to defeat Bernie Sanders This is what you know a Democratic Party mega donor Steve Ratner said openly on MSNBC This is what Democratic operatives are anonymously telling Outlets like the Washington Post and the Daily Beast, but now it's official They are trying to take down Bernie Sanders acknowledge that no other candidate has to deal with this Bernie Sanders is at a unique disadvantage in the sense that no other Democrat is facing an internal attack from a Democratic affiliated dark money group, right Bernie Sanders is alone here But he is uniquely advantaged in that he has a movement that no other candidate has So they spent on this ad to take down Bernie Sanders, but I'm going to tell you the result Afterwards it didn't play how they hoped it would the most important thing is we have to be Trump We've seen the damage that Trump and the Republican Congress have done. I doubt if Bernie Sanders can beat Trump I like Bernie. I think he has great ideas, but Michigan Pennsylvania, Iowa. They're just not gonna vote for a socialist I do have some concerns about Bernie Sanders health considering the fact that he did have a heart attack I think it's very important that the Democrats nominate somebody that can beat Trump I don't feel as though Bernie Sanders would do well and solid Trump. I just don't think Bernie can beat Trump Dmfi pack is responsible for the content of this advertising. Yeah, so that was absolutely pathetic and For those of you who feel inclined to seek out and dislike that video I already tried take it from me and Predictably they disabled comments and likes and dislikes probably knowing that this ad wouldn't go over too Well and that they'd probably get disliked into oblivion, but I mean this ad shows how desperate they are They don't even have a real argument against Bernie Sanders. They're trying to say that he's not as electable as Other Democrats.  We have numbers on our side. In fact, a new poll just came out showing Bernie Sanders is competitive in Texas of all states he has the best shot at turning Texas blue and on top of that He pulls consistently well in the rust belt states where Hillary Clinton lost So they can't possibly cite a single statistic because they have nothing if they actually argued in good faith based on data Well, it shows that Bernie Sanders is in a very good position to defeat Donald Trump So they have to lie and come up with this type of feelings-based argument where paid actors and actresses say You know, it just it doesn't seem like Bernie Sanders can win. Oh Okay. Well, thanks for that We're gonna go ahead and not go with the advice of the people who were likely pushing for Hillary Clinton who ultimately Lost to Donald Trump. Now if you're wondering how this played out for this dark money group The answer is not too well because this backfired in a Monumental way that even surprised me and this article from the New York Times explains it really well Super PAC attack Sanders in an ad Sanders raises 1.3 million in a day as Bernie Sanders shows Strength in the early voting states his opponents face a challenge attacking him can help fuel his campaign So to really explain Bernie Sanders was aware of the fact that this ad was going to be ran, he put out a fundraising email and 70,000 donations came in Within a day one day So if this group was trying to hurt Bernie Sanders, what they just did was further galvanize his support base They made him more powerful So to say that this backfired would be an understatement but for more details on this we go to Sydney Ember and She explains this in a bit more detail in this article She's usually biased against Bernie Sanders, but I do think that she does a fairly good job at explaining the situation objectively Quote a Democratic super PAC wanted to undermine Senator Bernie Sanders presidential candidacy just days before the Iowa caucuses It may have handed him a gift instead Mr. Sanders campaign said on Wednesday that it had raised more than 1.3 million since it began fundraising the day before Off a negative ad produced by the super PAC that targets mr. Sanders by name The ad backed by the political action arm of the group Democratic majority for Israel argues that mr. Sanders of Vermont would be unable to beat President Trump in the November general election Citing his heart attack nearly five months ago and his left-wing ideology as evidence that he would be too risky a choice for Iowa caucus goers focused on winning back the White House the ad was scheduled to begin airing in Iowa on Wednesday But the Sanders campaign sent an email to supporters on Tuesday Warning that mr. Sanders was being targeted by negative ads and alluding to an outside spending group without citing Democratic majority for Israel The Sanders campaign like many of its rivals often points the signs of adversity to juice donations and mr. Sanders supporters responded on Tuesday With a flood of contributions the financial windfall underscored a central challenge facing his opponents Attacking him can help fuel his campaign Democratic majority for Israel is focused on raising support for Israel within the party and the group and its allies worry that mr. Sanders questioning of the Democratic Party's Long-standing support for Israel could damage the United States historically strong relationship with the country But Mark Melman the group's president said it was equally worried about mr. Sanders chances against mr. Trump if he were to become the nominee Actually, let me try to decode for you what they're actually saying They're not worried that Donald Trump will beat Bernie Sanders. They're worried that Bernie Sanders will beat Donald Trump That's what they're worried about. They know he is a threat. They know he can win and they know that you know their days of Secretly bankrolling campaigns with dark money flooding elections Are going to be over if Bernie Sanders becomes the president of the United States So they are doing everything in their power to gaslight to lie to smear Bernie Sanders and guess what as you do this He's absorbing the blows and becoming more and more powerful because whenever I see a petty pundit attack Bernie Sanders I donate five bucks to him whenever I see a smear piece about Bernie bros We make more calls for Bernie Sanders whenever we see the Democratic Party establishment speak out and try to stop him At the behest of their donors more volunteers knock on doors for him We get that much more energized because guess what we know what we're up against We knew that having someone like Bernie Sanders get in the White House would not be an easy task In fact, this will be the hardest thing we ever accomplish if we're successful here So it's not like this is anything new we anticipated it and we expected it In fact, the only surprise to us is that these types of ad buys didn't come sooner But they waited because they knew that if they chose to really go negative against Bernie Sanders That this would galvanize the base. So once they saw that he had a real chance that's when they decided to try and risk it and Predictably didn't work out too well for them So my message to them is go ahead and keep it up because this is Going to help Bernie Sanders and make him stronger because whenever you fight to defeat him We fight harder to elect him So we are absolutely not rattled by this and we expect even more ads from this group as well as others Because we know that money the interests aren't just going to roll over and allow Bernie Sanders to march to the nomination easily We know they're going to put up a fight and we know that they're going to do everything in their power To cling on to the status quo, but guess what? We're fighting back. We are prying their fingers away from power because we don't have a choice if we want to save the planet if we want to Save the country save democracy in America. Literally. We don't have a choice We have to fight even harder and whenever they try to punch us We're going to counter punch and I guarantee you that we're gonna land those blows against them So I will leave you with a message from Bernie Sanders who basically tells all of these money groups that You know if they're nervous They should be nervous because we're coming for them It is no secret that our campaign is taking on the political establishment and the big money interests Who are now running negative ads against us in Iowa? Billionaire class is getting nervous and they should On the our administration there will be real campaign finance reform So that billionaires will not be able to buy elections as they're trying to do right now On the our administration the wealthy and the powerful will begin paying their fair share of taxes The drug companies will no longer rip off the American people The fossil fuel industry will not continue destroying our planet and health care will become a human right Not a means for insurance companies to make billions The big money interests can run all the negative ads they want But it's not gonna work The people in Iowa and across America are sick and tired of status quo politics And they want a government that will work for all of us not just wealthy campaign contributors Our opponents may have endless amounts of money, but we have the people and our grassroots movement will prevail


You'll find that it's easier to live holy when you believe you're forgiven than it is to live holy believing that you're condemned. Once you know you're free, once you know your record is wiped clean, once you know that you've come under the power of his forgiveness, that changes everything. I become secure, confident in what he's done on the cross. I become secure in the promises that he's made.


It's always peaceful to be out here in this cemetery. You know, it's almost like you're on leave a little bit, because you're by yourself, you're doing your own thing, and I prefer it to back-to-back rehearsals that are stressful and it ends up being kind of calming, actually. This week is what we call the duty bugler at Arlington Cemetery. That's our most important aspect of our mission, the standard and full honors funerals. The concerts and concert band tour and things like that are also important, but I think if there's a pecking order, Arlington Cemetery is definitely at the top. Just because we support so many funerals really here. This will actually be my 401st tabs. There's a lot of weight that goes with playing this short little piece. You know, it's 24 notes, but it's a very important 24 notes. The Navy Band was my fifth military band audition. I really enjoyed playing all the time, so I just went for it. This is where I am today. The music usually comes out a week or two before the actual concert, and you have that time to prepare on your own. It takes a lot of individual practice. We have to know our parts before coming into rehearsal. Concert week would be rehearsals Monday, Tuesday, Wednesday, Thursday, and then a concert Friday or Saturday. It depends, but it would be a week of rehearsals and then a performance after that. Today was our final rehearsal before our concert tomorrow night. This is considered a dress rehearsal for us. As I prepare for the concert tomorrow, I'm just thinking about performing the best that I can. What you see in our performances as the Navy Band, we try and represent the best musical product that the Navy can offer. You get so in-depth with details and certain things with your equipment, with trying different practice routines and all that, that sometimes you actually lose the emotion in the music. You always have to remind yourself that that is what's first in the music, is the emotion. So I always try and remember that when I'm performing. I just want to play the best I can and give them what I've got.


My name is Amy Ortega Anderson, your host for Pinoy Power, Hawaii. Today, we're going to bring you another empowerment with my wonderful guest for producing our acoustic hardtrop concert. Before we do that, I just want to remind everyone to tune in every Tuesday at 12 noon for continued empowerment. We have a mission. We aim to enrich, enlighten, educate, entertain, and we hope to empower. Today, I have two wonderful producers for the acoustic hardtrop concert coming up on August 25, 2019. And first to my left, a longtime producer who's been bringing the wonderful artists from our Art in Pansa, Filipinas, Lea Lewanag. And then next, we have Nimfa Ilagan. I call her the general because she is indeed the general. Welcome to Pinoy Power, Hawaii. Thank you, Amy. This is awesome. Thank you. It is a pleasure. It is a pleasure, also. We appreciate you taking time out from your very busy schedule. We do have a mission to fulfill with our latest production, and if you could kindly just refer to our acoustic hardtrop concert. Let's tell our listening audience a little bit more about the concert coming up. Thank you, Eteramie. First of all, thank you so much for this opportunity. It's an honor and it's a pleasure to work with you and for this opportunity to be able to promote our show on August 25, 2019. It's the acoustic hardtrops on August 25th at Farrington High School Auditorium. It will start at 6.30 p.m. and then the show will start at 7 p.m., Nimfa, the artist. Yes, and the artists are Jericho Rosales, Ian Santas, Sam Melby, and of course, we are Neggy. Yes. They always have to be a comedy, right? Yes. Yes. Like in Africa. Yes. You know, they're not just fine actors, great actors, actresses. They're also great singers. And for those fan of Jericho Rosales and Sam Melby, they know a lot about hit songs. Yes. And then Neggy has been a very successful comedy singer. Yes. Yes. So, Ian Santas knows a lot about the series, Halik. Halik. Yes. Yes. So, this is a chance for our Kababayan to come and see what's really hot in the Philippines, right? Yes, at the Emmy. We don't have to go to the Philippines to see the artists. Exactly. Yeah. You can just buy their tickets here. Yes. We are bringing them here. Correct. Okay. So, we're trying to bring entertainment in Hawaii because everybody, mostly Filipinos here in Oahu or Hawaii, I learned that mostly two jobs, right? Yes. So, this is a perfect time to have some fun and relax and just enjoy the night. Correct. Yes. We're known to be hard workers. Not just one job, but two or three jobs. Yes. We want to just bring the entertainment here for our Kababayan here. Sometimes, even if you go to the Philippines, they won't be able to watch it. Yes. So, we're trying to bring their idols here in Hawaii and hopefully they get a chance to meet them and take a picture with them and then able to watch the show. Wonderful. So, back into promoting our concert, I'd like to, you know, Lilea, for you, we've been working with each other for almost ten years now. Yeah. Yeah. Thank you so much for your support and at the end, you've been a big support to me, promoting the shows. She's always behind the scenes. Thank you so much. It's a pleasure. It's a pleasure. So, now, you know, this is what we're doing at Pinoy Power in Hawaii and this is an honor. Thank you so much. So, the entertainment here, it's not an easy task. It is an easy thing. There's a lot of work behind it. There are a lot of people who support us, generous people and kind support. I'd like to thank everyone for that and for trusting us on this one. And also, a part of it is not just an entertainment. It is a business, but also a part of it. We would like to give back to the community, to the chosen charity. I'd like to emphasize that and let everyone know that this is just not an entertainment. We want to give back also. Every time I promote a concert, it's always tied into my foundation, grateful art foundation. And within that, I want to reiterate that we help six school districts. That's awesome. Yes. And there are many students that depend on us to help them with their tuition through our scholarship. So, we've helped many people. The other charity that we help is St. Joseph School Orphanage. Wow. There are 17 to 19 residents, ages from 5 to 17 that resize in that orphanage. And all of them depends on our help. Yes. What we have done before past concerts, so these acoustic hard drums, you also want to take part of the proceeds and able to help if it's your organization. I'll be 100% supporting that or other charity. So, I want to just say like the support, the donation that the people giving us, there's a purpose for that. Yes. You know, of course, it's a bonus for us to relax and then able to meet our idols and able to watch. Yes. And also, there's a bigger picture. There's a bigger picture. And then, together, one night, one event, everybody supporting each other, having fun. So, we're just supporting, you know, like combined power for all of us. And then, the goal here is that they will have a happy concert, relaxed, and worth it. Yes. You know, it's a hard work money. Yes. But we want to make sure it's worth it every time they come for us. Yes, unfortunately, we'll go to the... There's a big lesson for us to learn, too, which is unity and their resilience. You know, to never, never give up. You're familiar with that? Yes, yes. Of course, yeah. We're always our motto. Like, when you start something, you just never give up. And this is one thing that I really admire doing. I know it's my first time. I used to... Great job. Yeah, I used to just sponsor. I used to just sponsor, which the first one is the ages. And then the second one is Maha. Yes. And then when I was there at the Emmy during those concerts, I said, oh, I am missing. I am missing a lot. Like, to connect all these Filipinos that are... I said, it was really heartwarming to see all the our Kabobayans together. And I said, oh, I thought I'm doing a lot already in our area. But then when I saw this happening and a lot of folks, not too many is doing this. And with your hard work, it's not easy. Now, I'm one of you guys, producer, thank you for inviting me and being in the group. Thank you. So yeah, I said like, oh, it's a time that Filipinos really have at least connection and know it's other. So this is a perfect time. And you really get to know people the way we conduct ourselves. So it's an experience of a lifetime where we learn. And hopefully it will take us through trials, through relations and adversities, right? Yeah. It is a struggle. It's not easy. We have to work hard on it just to make our ends very nice and fulfilling. So it is for the community, for the part of your portion or a part of the ticket that you spend your money on it, it will go to a good cost. It's a good cost. And also, we talk about trying to connect to communities, to people. So also, local businesses that connect to these concerts, it is our way of also promoting their business. So we are introducing and promoting their business and first hand experience, of course. So it is truly a community connection in the entertainment industry. And that's why we approach some of the local businesses if they would like to connect. And then we can promote their business. Yeah. So I didn't know if I started with the ages and then maha. Yes. You know? I'm glad to do that. You know, she's busy doing her full-time job. Yes.  Yes. I mean, I'm still full-time. Yeah. What do you do? We will invite you back for another interview. But what do you do as a full-time? You're one of the higher-ranking Filipinas. Okay. Yeah, not really. But I was here, migrated to Hawaii 1997 at the Army. And then after almost two years after that, I tried to impart what's best for me. So I joined the military actually in the Army. So being in the Army for more than 20 years. Wow. So I would say like, yeah, more than to be exact, I'll be 21 years in September. Well, thank you for your service. So it's still full-time and yeah. Army. I'm proud and glad of doing it. Yeah. But I'm not really a general, but I'm proudly serving. I call her the general because she gets things done. Yeah. In addition to that, you also own and operate a very successful, you know, one of those things that we always want to have every day. Tea drinks. Yeah, tea preso. Yeah, tea preso. And a little bit, what I do also on the side is the tea preso bar, which is in Waipao. So it's also an opportunity to say thank you at the Army for all those customers. But if you've never been there, please try to visit us and we have all these milk teas, smoothies and puffs, and hot and cold drinks. So we do serve those at the Army. Thank you. I'll bring your drinks. I'll just get a sampling, right? Yeah. I came from work, so I said I should bring the drinks, but it's not going to be good until I get here. But I get out from the house early this morning. But then I'll come back and bring some drinks. Wow. We want to take care of our wonderful think tech crew. Yeah, we'll come back. It's possible for us to have our weekly empowerment. Okay. So let's get back to our conversation.  No, no. So let's explain that. Okay. There are several options and that's why we have many different price categories. Okay. So of course bringing the artist is not free. You know, we have to take care of the talent fee. Especially in the front. Especially in the front. Yes. Especially Jericho and some Melvys. Yes. If they followed my production at the ME and Alamuyen compared to Maha, you know, Maha was a little pricey. But here, we did our best to make it affordable for everyone. So we priced up the general admission $40. So open seating. The middle section, for those who are familiar with Farrington High School, it is a great venue. My price difference is $40 for the upper section of the auditorium. It's $55 for the middle section. And then VIP 2 is only $95. For VIP 1 is $125. Those are the front rows and seats on right after our sponsors. Yes. So it is still on open seatings. However, among VIP 1 and VIP 2 and again, VIP 1 is $125 and VIP 2 is $95. You get a chance to take a picture with the artist right after the show at Farrington High School. Meet and greet. Meet and greet and photo option. Correct. That's why the price is like that. And like I said, you might take it. This time. My goal, why we price it up like that based on our expenses and hopefully, we can gain a lot. Enough to share with our charities. Yes, charities. And of course, there are people who are doing well. Not just the artists, but we have people that work behind the scenes. Behind the works that we paint. And really working so hard and would like to share to them and they deserve it. And then the amount of money that you spend on the hotel and the venue. Yeah. We're going to talk more. I have a problem. I have like, those are the ticket prices and maybe for others it may sound like it's a little pricey and I understand and that's why we give you an option to maybe take the middle section and end the $40. After agreeing to be a producer and a promoter, I understand where all the money is budgeted for. So I understand the pricing. Believe me. Yes. We have a better understanding. Yeah. We're going to continue our conversation. This acoustic heartthrob where we have a chance to showcase the talents of the Filipinos here in Hawaii. And not just Manny Pacquiao, you know. Yes. There are entertainers that are so big and wonderful and we will continue our conversation. We'll be right back here on Pinoy Power Hawaii. Aloha. My name is Duration. You are watching Think Tech Hawaii. I will be hosting a show here every other Wednesday at 1 p.m. And we will be talking to a lot of experts and guests around sustainability, social justice, the future here in Hawaii, progressive politics and a whole lot more. So please tune in and thank you for watching Think Tech Hawaii. Aloha, y'all. My name is Mitch Ewan. I'm from the Hawaii Natural Energy Institute. And I'm the host of Hawaii, the State of Clean Energy. We're on every Wednesday at 4 o'clock. And we hope that we have interesting guests who talk to us about various energy things that are happening in Hawaii all the way from PV to windmills to hydrogen, most of my heart, electric buses and electric vehicles. So please dial in every Wednesday at 4 o'clock on Hawaii, the State of Clean Energy. Aloha. Welcome back to the second portion of our Pinoy Power Hawaii. My name is Emmy Ortega Anderson, your host. And we come to your home live every Tuesday at 12 noon. Again, we have a mission. We aim to enrich, enlighten, educate, entertain, and we hope to empower. Today we're doing just that with my two wonderful guests full of empowerment because they own, they own their title in their own field. Leia to my left has been a long-time concert promoter, producer in Hawaii. I've been working with her for about 10 years now. And of course, Imphaila Gan is a high-ranking military in the Army and owns a T-presso bar in Waipahu. So ladies, it is ladies empowerment. Thank you. Thank you to Emmy. We need to mention that we are missing Miss Lehua. Yes. We're missing at Lehua. Take care. You're welcome. And relax. And then see Mel. Mel, yeah. Mel Richard. Hello, Mel Richard. From Maui. From Maui. And I'm sure they're excited to watch this. It shows that you don't have to be all together in one island to be able to work together. Yes. And Richard has shown us his support continuing to be in touch with what we do. Yes. Which makes him a valuable partner. Yeah. He was a, my platinum sponsor so, Maui.  You know, I give it to them this time. You're right at the Emmy. You don't have to be in one island to connect and be able to work together because I did shows on the other island before. You know, ages got 20, 15, and then, Maha. So, really, you've done a lot. Yeah. If you really stayed focused and tried to connect and able to coordinate things, it turned out successful. Things will happen. Yeah. Things will happen. Yeah. We have our sponsors if we could have our poster back again. There are sponsors and other the products that we need to mention is without their help and support, this would not be possible. Okay. So, I know that the seven Malacic sisters, seven Malacic sisters, thank you so much for your generous support to us. Thank you so much. I haven't met them in person, but I heard great things about them, their business, and I'm very excited to visit their place here in my Chinatown. Chinatown, yes. I'll bring my mom. Mom is a meat lover. And vegetables. Vegetables, of course. They have all that. We have everything. So, the Malacic sisters, right? Yes. And we have Dr. San Diego. Yes. She's my daughter. She's my dentist, actually. Wow. She gives me my ivory smiles. Very supportive.  She's always supporting. She's always available. The mother and daughter dentist. Yes. Along with Erick San Diego. Erick San Diego, Dr. Erick San Diego. What's your name? Christine. Christine, thank you so much. I'm very overwhelmed, actually, at the EMI. They've been supporting me. Almost all the events. I'm very humbled. I don't know how to thank them, but they know deep inside my heart. I'm very thankful that we have another doctor on board. And doctor, of course, Shelo, Guillermo. Yes. And Dr. Ege. Yes. Thank you so much, doctor. She's a great doctor. She's taking care of my mom. She's taking care of me. And then her support, she doesn't let us go. She's in the Philippines right now, but she'll be back soon. And her son, Erika, she's one of our front-end singers. Okay. So, if you have some of those, you can also go to Dr. Guillermo. And that is in White Power Glory. In White Power Glory. Yes, near the Max. Max. Yes, of course, we have our loving glory. Yeah, hair curations, hair curations, hair curations by glory. Thank you so much, for your support. And then, her salon, she's only in the YPO. Her salon is so beautiful. I took up in the front to finally meet her. Good to meet her, finally. Yeah, so she wants to you know, she wants to color her hair, she wants to buy it. There's a glory to you. Who should be dressing the stars that night? Oh, sorry, I'm still talking. Okay. So hopefully, we can get hair. Okay. So, thank you so much, and of course, we have a lot of sponsors that support us, from food catering to RIT catering. The Seattle Bricks Oven and then the other people that forgive me if I'm not going to mention them. And then, the people that support us in our new Submariner book. We have a lot of thank you to Sara Osaka, Mrs. Hawaii Filipina. Name the sponsors for the rooms because we had to resort to finding sponsors for their rooms. Yes. So, our sponsors are Gemery Ramos, Sara Osaka again, and then Teresa Simon and Gina McTaniel. Thank you for your support. There are a lot of sponsors. The 30-minute time, we can mention the sponsors. There are a lot of sponsors, Amy. Yes. They're offering their services. Wonderful. From makeups, beauticians, laces. Shovering. Yes. They will give laces. Yes. Speaking of laces, sunrise laces and flowers are always willing to donate their services. We mentioned our Russell Topinio. We'll make sure that we get that out. Yes. Thank you for sponsoring that night. Then the CJC Live. CJC Live. Cynthia and John Rustin. Yes. They supported us. They also supported us. Thank you for always, always helping me. Yes. From Javita and all my productions, Tita and me always helping me to promote and done a lot for me and for the production and for the show and to promote also the sponsors. Yes.  Oh, yes, my mom. Thank you for supporting us and giving us so many things. Yes, I'm actually pulling my strength from her and my inspiration. Everything I do is dedicated to her and she knows that the purpose is always there, thank you and for my family always believing that I can do it. And say no for partner help. It's a pleasure doing this with you By just promoting almost every day the drug code to us, to us, to Pasangga, you know, it's part of it and of course our enemies are also there and always supporting us.  So thank you so much. That's the meaning of Unity, Stanley United. Open communication. So we're very excited that these artists are here with you. We have vendors. T-presso in Waipaho is number one. You just come by your tickets there and we also offer free drinks if you buy it. Your tickets to T-presso, she'll give you two drinks for VIP, right? For VIP, yes. Two drinks. After the middle section in general. Yeah, one drink, yeah. And then the anime promotion. Yes, I also have a Pinoy Power Polo shirt that they'll get if they buy the $125 VIP. So it doesn't get any better than that. Correct, yeah. We'll continue to do that. The tickets are also available at IslandTix. www.islandtixtix.com. You can buy it there. There's a bit of a service fee because there's tax. Yes. But it's affordable then and it's convenient. Correct, yeah. There's some DC, the Pagmeet and for those who want it too. Because sometimes they get points or miles using their credit card. So you can use it and then you get miles or points using your credit card. From your airlines or back. So we have 25 days left. Actually, yeah. It's not too late for everybody. So we encourage you and inviting you to come and sponsor and support. Yes, but I just wanted to remind. VIP is really, really selling so fast.  That is the most popular. Yeah. I receive a lot of texts that reserve tickets. We have a deadline. It's first come, first serve. You know, until tickets. The general admission at EMI said, why don't they buy the balcony in the Philippines? The balcony is expensive. Oh yeah, because it's in the Philippines. Which is true. That's expensive. Correct. But then, you know, they want to get up close to the artisan and ticket. Yes. They get to meet up the artisan and take a picture after the concert. So, you know, at the EMI available, the tickets. What number are they EMI? 2850803 is my number. And then my number is 2568089. 386266 is my phone number. Or you just can go to the store. Yes. So, if you have any questions, you can just call us. Hi, producers. We'll answer your question to the best answer that we could. You know. Thank you so much for this opportunity. Correct. It's been a pleasure having you, Lea, Liwanag, and Niva Ilagan to help promote our culture, our entertainment. Thank you. Our enjoyment. Yeah, thank you. We are so grateful and thankful. Lehua, we wish you well. And Richard, keep doing what you're doing. And Maui, to help us. Again, we invite you. August 25 is the date Sunday. We open the doors at 5.30 p.m.  The main act at 7 o'clock p.m. at Farrington High School Auditorium. So, you can also order your tickets at lexics.com. Or you can go to Facebook. It's in there, like, acoustic hardtrops. You just click the link there to buy your tickets. Yes. Okay. Thank you once again for being with us for another half-an-hour show of entertainment. We encourage you to tune in next Tuesday for another empowerment. Again, we express our mahalo, mabuhay, maraming salamat bu. Thank you so much. Mabuhay. Mabuhay. Thank you again. It's a pleasure.


One of my clients asked me a question that I think some of you can relate to. So she was saying how she was taught to create content as part of a launch, meaning like, you write articles or you make videos so that people might buy your thing coming up, right? So for example, if you're launching an online course, you know that, okay, I'm going to launch an online course in four weeks from now, so I better start writing articles about that topic or making videos about it so that people will trust me about the topic and they'll buy my course four weeks from now, something like that. So she asked me what I thought about this and I said, no, I don't do this at all. I mean, if you notice, the things that I sell are not connected to my recent content. I mean, they might be connected just because it's part of my interests, but they're not a planned strategy to like build up your desire and educate you about why you need something before I sell the thing. When I'm ready to sell you something, I sell it to you. I basically say, hey, here is my next course. Here's why you might want to take it. If you're interested, go for it, you know, but my content itself is not tied to an upcoming product. So basically, my client said, well, is this, is what I've been taught, you know, content being tied to a product, content being tied to a launch. Is that simply good strategy or is that manipulation? And my opinion is that so much of marketing strategy so-called is manipulation and it's not needed. So here's the thing. I care a lot about two things. When I create content, and I hope you'll care about this for yourself too, when I create content, I care about two things. I care about my conscience and my heart. Am I coming to this with pure intent to express myself, to explore my thoughts and to possibly help you? I can't guarantee that I'll help you, right? So there's a side benefit of potentially helping you, right? So is it pure intent? That's what the first thing I care about. The second thing I care about is how is this affecting my relationship with you? So let me say that again. When I create content, I care about how is it affecting my inner life, my conscience and my heart? And secondly, how is it affecting my relationship to my audience? So if I'm creating content as a sneaky way to build up your desire to buy my next thing, one, it's not good for my inner life because I can feel it. I can feel that, ooh, I'm just, I'm manipulating people without them knowing it, right? And number two, it's not good for the relationship with you because once I sell the thing, you're like, oh, I guess for the past month, he's been really creating content as a build up to me buying his thing or whatever, okay? So now you might say, you might say, well, George, so you should never create content tied to your product? No, I'm not saying that. I'm saying that if you do, you should be transparent that it's about an upcoming launch. So if I were to use that kind of content strategy, I would tell you, hey, I'm going to be launching this program coming up. It's going to be, hopefully, by that point, I can tell you how much it costs, what the program's about, and in preparation for that program, I'm going to be teaching some introductory free content for some of you who are interested in maybe joining the program, but for those of you who aren't interested, don't feel obligated. I hope you won't feel obligated to join the program, but that you'll benefit from the content anyway. I'll just be teaching you some things that I think are important. You can do that. I don't think it's ideal because it's still tied to the launch. You can do that, but it's more transparent if you do this. If you let them know that it's part of a launch, that this content is part of a launch, that's fine. Introductory webinar, introductory content, that's fine. But truly, I hope you will create content as an act of generosity towards others, and most importantly, as an act of exploration of your thoughts and a practice of self-expression. Because every time you create content, you become slightly a better communicator. At least you practice the muscle of creating. So really, content, when you create it, the person that benefits the most is you. Really, the person that benefits the most is the creator. Like right now, if I'm making the content, the person that benefits the most is me. Some of you might benefit, but some of you might not. I don't know. I surrender to that. I surrender to whether or not people actually benefit, and I definitely surrender to whether you ever spend a dollar with me. I hope you'll benefit anyway. That's really how we create content that strengthens us over time. It strengthens our consciousness, it strengthens our skills, and it strengthens our relationship to our audience. And so, whatever we end up selling, they'll trust us enough to consider it, and if they actually want what we're selling, they'll buy it. So, that's all. I hope this is helpful, and I'm George Cowell, Authentic Business Coach. For those of you who don't know me, I love talking about how do we build business truly from the heart, not just as a way of saying it's from the heart, but truly from the heart, because it strengthens our psyche, it strengthens our relationship with others. So, I wish you a wonderful day forward. I wish you content creation from the heart. All right. Be well.


Russians brought 800 missiles to Crimea to attack Ukraine. The occupiers have deployed over 800 missiles in the occupied Crimean Peninsula. This stockpile is intended for a campaign of energy terror this winter according to the head of the Unified Coordination Press Center for the Southern Ukraine Defense Forces Natalia Humeiniuk. Referring to data from the main intelligence directorate in the Southern Operational Command, it was revealed that the occupiers have established a significant military resource center in the occupied Crimean Peninsula. Specifically, caliber missiles are concentrated there, as well as ONIX missiles, which are also launched from the Crimean Peninsula. The enemy is clearly accumulating their missile potential, said Humeiniuk. According to her, air-based missiles are positioned in locations where they can be loaded onto aircraft. In October of last year, the Russian army initiated widespread attacks on Ukraine's energy infrastructure. Millions of consumers across the country were left without electricity. The Russians actively targeted cities with missiles and drones, causing significant damage to energy facilities. Although the situation has stabilized, preparations for massive Russian attacks on Ukraine's energy infrastructure continue this year. It is now necessary to significantly strengthen Ukraine's air defense, as it will cost less than repairing damaged power plants in case of Russian shelling, according to the Minister of Foreign Affairs Dmitry Kuleba. Air defense remains a priority in military aid from Ukraine's allies.


In this video, you will learn about structural isomers of the alkanes, what structural isomers are and be able to do examples of isomers. Here are the formulae of the first four alkanes, methane, ethane, propane and butane. And here are the structural formulae of the first three. Pause the video and draw out the structural formula for butane. I expect most of you have drawn a straight chain molecule like this. However, there is another way of arranging the atoms. It has the same molecular formula, but a different structural formula. These two forms of the molecule C4H10 are called structural isomers. The longest chain in this molecule is three carbon atoms long. So we say it is a form of propane with a methyl group sticking to the second or middle carbon atom. So its name becomes two methyl propane. Do not be confused, it is still an isomer of butane because of the four carbon atoms. To make it easier to draw these structural formulae, we often omit the hydrogen atoms and just show the bonds connecting the carbon atoms, bending the chain so you can see where the carbon atoms are. Before we try to find more isomers, here is the story of lead-free petrol. Petrol for cars is mostly octane C8H18. In the 1920s, when petrol started to be used for cars, the petrol-air mix in the cylinders used to explode too quickly before the spark, causing the engine to knock or jolt. If an isomer of octane was used, the petrol burned more smoothly. Look carefully, there are eight carbon atoms, so it is a structural isomer of octane. But what is its formal name? Pause and count the atoms in the longest chain. Whichever way you count, the longest chain is five carbon atoms long, so the name will be pentane. And off the third atom in the chain, there is an ethyl group and also a methyl group, so its name will be, pause and think, three three methyl ethyl pentane. But this compound is not normally found in crude oil and is very expensive. In 1923, scientists discovered a compound of lead with almost the same structure and did the job perfectly, lead tetraethyl or tetraethyl lead. You might remember that lead is in group four of the periodic table along with carbon. The lead addition helped the petrol to burn smoothly, but the lead atoms combined with oxygen forming lead oxide. This comes out of the exhaust pipe as a fine dust and is very toxic. It has taken us until this 21st century to get rid of all the lead in petrol globally. But for 80 years, lead from car exhausts has been carried around the world and is even found in the ice in Antarctica. So let's finish with a simpler example. Can you find the other four isomers of hexane C6H14 and give them their formal names? I'll give you a hint. There are two based on pentane and two based on butane. Pause whilst you try to draw them out. Here are the hexane isomers with five carbon chain, so they are named pentane, two methyl pentane, two because the methyl group is on the second carbon atom in the pentane chain, on the atoms, six carbons, 14 hydrogens, it's still hexane. And here's the other isomer based on pentane, three methyl pentane. And there are two more structural isomers based on butane with only four carbon atoms in the longest chain, two three dimethyl butane and two two dimethyl butane. So from this video you should know that structural isomers have the same molecular formula but different structural arrangement and that naming is based on the length of the longest carbon chain and on where the groups come off this chain.


And German Chancellor Alassaz said on Wednesday there was no sense in a military solution to the Ukraine conflict, and he hoped instead that a solution could be found in talks between Russia and Ukraine. He was speaking at a joint news conference with Canadian Prime Minister Justin Trudeau. Sculls said Germany needed to diversify raw materials used by industry and that his country was working with Canada on this. Germany will certainly not send warplanes to Ukraine, Charles pointed out. This was after the United States rejected an offer by Poland to transfer its Russian-made MIG-29 jets to a U.S. base in Germany. Trudeau promised an additional $50 million worth of equipment to be sent to Ukraine soon. Canada and Germany stand together against Putin's invasion. He represents a threat to democracy, to security, and to peace in Europe and around the world. This morning I spoke with President Zelensky and highlighted once again the strength and determination of the Ukrainian people and told him that Canada will soon be sending highly specialized equipment to them and invited him to address parliament in Canada and he accepted. Today I can announce an additional $50 million worth of equipment that we will be sending towards Ukraine to help out.


So young, only 10 years old, please give him life, give him a chance to live on. And God had answered his prayer. And very soon after that, when he recovered, I became a Christian. And then I started to become more spiritual, even as at a young age, praying and meditating. And that went on for many years. I started to lead a Christian group in high school. And that was quite successful. We had lots of people come, non-Christians and Christians come to that group just to listen to me talk. Okay, so what led you into this field? And I know that a lot of it is through healing, self-healing and your trauma as far as what you went through as a child. So go through the formative years and have up to now.