Hello and welcome. Bonjour mes amis. Thank you for joining us for our program online at Mechanics Institute with Mark Petitjean, author of Back to Japan, The Life and Art of Master Kimono Painter, Kinehiko Moraguchi. I'm Laura Shepherd, Director of Events at the Mechanics Institute. Before we begin, I'd like to give out a special thanks to Alice McCromb Program's Manager at the American Library in Paris, Sophie Aldrich and Shirley Juster of the Textile Arts Council of the San Francisco Fine Arts Museums, and Terrence Galunter of Paris Insiders for promoting our program. Also, we are pleased to welcome back well-known Bay Area poet, playwright and translator, Zach Rogau, who has graciously joined us as an interpreter, and also to translator Cynthia Whitehead, who will be assisting with interpretation as well. If you're new to Mechanics Institute, we were founded in 1854, and we're one of San Francisco's most vital literary and cultural centers in the heart of the city. We feature a general interest library, an international chess club, ongoing author and literary programs, and our Friday night cinema-lit film series, so please visit our website. Also, the library is open five days a week, and we are COVID-safe, so please come down and join us there as well. After our conversation, we will have a Q&A with you, our audience. And if you'd like to purchase a book back to Japan, please go to alexanderbook.com. Now I'd like to introduce our guest. Mark Petitgin offers an intimate portrait of one of Japan's most iconic artists, master kimono painter and living national treasure, Kunihiko Moriguchi. Moriguchi, known for innovating the craft of usem, the 17th century resist dye method, through his visionary arrangement of abstracts, abstraction in patterns, understands that the centuries old kimono is not to be just an object to wear, but also a canvas to create on. As Moriguchi stated, we have to answer the challenge of modernity. What is a kimono? Or what will it become once it ceases to be a thing worn? A Petitgin who formed a close friendship with Moriguchi while making a documentary film, Treasure Vivon, Living Treasure, is uniquely suited to tell the story of this extraordinary artisan and his creative evolution. Moriguchi's works are also found in museums around the world. And just a little more about Mark, he is a writer, filmmaker and photographer. He is also the author of The Harch, Frida Kahlo in Paris. In addition to his film, Living Treasure, he has also produced documentaries, including from Hiroshima to Fukushima on Dr. Shontaro Hido, who is a survivor of the atomic bombings of Hiroshima. And also, Jean Grise, on the research he did about the life of his father, Michel Petitgin, who was an amour of Frida Kahlo. So please welcome Mark Petitgin from Paris. We're so pleased to have you. And I have to say that both this book is just an exquisitely written book and his film is also equally as beautiful. And I do hope that everyone here gets a chance to purchase a book and also to see his film. So Mark, I have to start out with asking you, how did you become so immersed in Japanese culture and also with Kinigiko Moriguchi? It seems like you've had a long relationship with Japanese culture. Please tell us about that. First of all, I want to thank you for inviting me. It's very pleasant to be here with you in San Francisco. Here in Paris it's very cold. And I imagine you have a better weather. So in fact, I started to go to Japan to shoot the film on Dr. Hida. And after the film took a long time, because it was very complex, I had to found archives in the States from the different things, long things to tell. We're not going to do it now. But at the end, I saw that I didn't know, I knew nothing. I discovered nothing about Japan because it was only dealing with atomic bomb problems. And it's very important. But Japan was not really the subject matter of my films and my work. So in fact, I went to Japan again for another film about what is called the Fritters.  And they are called the employé jetable. Disposable. Employee. Yeah, because they work, you know, one hour here, one hour here, there and then they don't learn anything and they just have not enough money to live. And so a friend of mine said, oh, you should go and see the best friend is like my brother. He's a Koniko Moriguchi living in Kyoto. So I said, okay, because this guy called the brother of Moriguchi, in fact, was a French person where when the Koniko was in Paris, he met Balthus, the painter. And Balthus went to a place because he had no place to go, where he stayed for a while. And then this was the house of the guy Tom Pico, who was the right hand, with the head of literature and art for André Malraux was the minister, the minister of the culture. And so, and so then he said, the family of Pico said, okay, Moriguchi, you should stay here was 20, 22 years old, you can stay here and sleep at the house. And then he met Pierre André, who is the friend of the same age of Moriguchi and this person I was connected with my family with Pierre André. And so, when I met Moriguchi, it was a very close relation because I was very close with Pierre André and he was very close with Pierre André so I met him and he said, okay, we're friends already. And so that's how I started. And just when I met him, I said, this guy is great. I really should make once a film about him. And at once, for the first time, then maybe discover the reality of the Japanese culture because the poor workers, the Hiroshima bomb, it's okay, it's interesting. Still, it's not really what I was interested in in Japan during the first time because it was really true film that I discovered the country and the food. Also, were you familiar with Kuni's father, Keiko, who is also who also became a living national treasure? And also, were you familiar at all with the art of usem? No, I never met Kako. He was dead when I met Kuni. But no, to tell you the truth, I was not really familiar with what we call artisanal. What do you call artisanal? People or the craft? Craft, yeah. I don't know why, but it was really not what I, I made several films on art, but it was Renzo Piano, you know, this kind of, since César, the artist, the French artist. I was not dealing really with the craft thing. For me, it was like a minor activity. I know I was wrong. I discovered that making this film and writing the book, but at the time when I met him, it was really his personality that interested me. Yes. It seems like Kuni had a very, very strong personality.  And that everything in the world of the apprentice was so regimented. And also, he really had this passion to be his own artist. And so he was passionate about going to Paris to study at the, like, called des Arts Décoratifs. And can you, can you tell us about, you know, how, how he was able to get to Paris? Yeah. In fact, you know, he was, first of all, he was born just during the war. So it was, the war was very, after war, was a very difficult period for Japanese people. They had no money. It was very heavy. And so he was living in a, in a district of the craft activity was in Kyoto, but then it was the feudal practice, you know, a lot of assistants were working for nothing. They were sleeping on the, the atelier. And, and, you know, it was really, you know, the most, they were, when you were the younger, who arrived at the last time was very badly treated, compared to the one was at the head. And he was like this, and he had act 10 or 20 sometimes assistants. And so Kuni was really shocked that this, these people were not well treated treated like in the other families of craft painters or whatever. So he had the idea that his father should change the way he was doing, but the father was really strict and didn't want to, was not even interested in changing whatever. So Kuni decided to, to learn another language, to be able to go somewhere and, and, and get, how am I going to say it, to discover himself and become an artist in, in another country because he thought in Japan it was not possible because of his father, the tradition. Open up or develop. Open up. Yes. Yes, it exists for himself, you know, more than in the, in the regiment attitude of the, of the family. And so he went to the Institut Français, and he tried to learn French and he found a great teacher who really liked him and helped him to get a grant to go study art in France at the Ecole des Arts Décoratifs. And then that's what he did. And it's really changed his life in a wonderful way. Also because he was, he has such a strong desire to discover another, another culture and other language, other people that he really found it. Also Mark, you know, when it is a very interesting story about how he first met Balthus, working on that as a, almost like a consultant in that exhibition.  Can you tell how they met? And, and what, what, what transpired after that first meeting? Yeah, it was the way Kuni tells the story. It's very funny, you know, because, so he was in the Petit Palais in Paris. It's a nice place. And it was an exhibition that André Manorot wanted to, to have. So he asked Balthus to go choose pieces of art in Japan, traditional pieces. So Balthus organized this. And then the people who came from, from museum, Japanese museums, who came in the same boat that Kuni to install the exhibition. He couldn't speak French. He had a very bad feeling with the French workers. He couldn't communicate really. And so Kuni in French perfectly helped them. And then suddenly he saw a guy, you know, with a white pants talking to the, to the workers and he was telling them, no, you should put that here. And then Kuni saw that and he arrived and he was very young. He was 20, 20, 20, I think. And he said, no, sir, it's not possible. You cannot do that in Japan. You cannot, you have to put it at one meter and 20 centimeters, otherwise it doesn't mean a thing. Or I think Balthus wanted to put a lot of things on the wall. And he was not happy with this, Kuni. So he explained.  I have to meet in a restaurant in Saint-Germain-des-Prés. I have to talk to him. And then he became friends until the death of Balthus. Really, they liked each other a lot. And then there is a following of that story. Also, it seems that Balthus, really, he embraced Kuni and also was able to introduce him to the other artists, Max Ernst, and all these various artists that were in Paris at that time, Chagall and the Diocometti brothers. Can you talk about the other artists that he came in contact with just in all of these social situations, the parties, the salons, and also through his studies? You know, the key was this Gaétan-Picou family, because they were connected to all the artists and intellectuals in France at the moment, and maybe in the world also. So when he was really put in contact with all these people, it was easy to meet whoever was there. He went to a lot of dinner parties, a lot of exhibition openings, a lot of things. But also he was quite shy, he was not jumping to people saying, oh, no, no, he was really observing, he was from what he told me. So there is this person, Carmen Baron, who had a salon where people like to come and visit and meet and talk with these artists that they probably met them there. So, but what is very strange, in fact, is that he had like two lives. One was the Ecole des Arts des Coartifs, where he was with people of his age. And then all the friends that I met after, they said, oh, he's very serious, he works a lot. He doesn't go out, nothing, but in fact, he was having a double life, spending a lot of time with all these people and having a great life, really, because he went to different places. And he was open and he was happy. In the film, you already see it, his face is so open, so nice, really. You can imagine that he shone everybody. You know, he came to Paris at a very, you know, very seminal time in terms of art. Even from the beautiful book cover, you can see that when you describe about the main influence of optical art. And you can also see that influence in all the different patterns of his work. Can you talk about the art influences, including optical art in his construction of the kimono? Well, I think this is really what was taught at the Ecole des Arts des Coartifs at the time. It was from the Bauhaus to the optical thing, you know, it was really the vocabulary of the designers, more and also the graphic designers that were really into that work. So I think it was into that. And in fact, it was very clever. Also, I think he had like intuition that if he goes in this direction, it's going to be far from the Japanese cultural tradition. And that's what he wanted. So, for me, it's more that. But after when he comes back to Japan, we talk about this later. We'll understand more about this. Yes, but what's so amazing is that, you know, he was in Paris for three years, but he wanted to stay. But Bauhaus really influenced his decision to return to Japan. This is such a turning point in his life. Can you talk about what Bauhaus had said to him in terms of what he must do for his artistic expression? I was really shocked. No, me also, I was really worried, in fact, because So in fact, at the end of the three years, he had the exam of the end of the study, and he got a very good, it was very well considered by the teachers and everything. So he could really do whatever he wanted. He could go into any graphic design department, office in Paris, even if he could have gone to Switzerland where these people were very good at this time. And he had offers to do that. But to stay, in order to stay longer in France, he had to get like somebody who could, what is it called, to be responsible for him. He had to find somebody who would be responsible in France for the fact that he would stay. Oh, you have a patron? Yes, and he got to get some money and everything. And so everybody said, if you know Balthus, go see him because he's going to help you. He's got money, he's got everything, go see him. So he went to see Balthus, and Balthus said, no. I know your father, I met him, and I think you make a great mistake to stay here because you will be a very bad artist if you stay in France.  So Balthus also was always, you know, into the classical research on paintings and art. And it was really, he was very close to the Japanese way of thinking about just in a way. I see that Balthus said, I'm going to just quote here, he said, Balthus said that Kuni must not stay in Paris. He was afraid he would get lost in contemporary art and become an eternal student. He had to go home. So that is exactly what he does. He goes back in 1966. Yeah, but before he goes back, Balthus was very clever because he said, look, now Balthus, he became the director of the Villa Medicis in Rome, which is the great place where students can be taking charge to stay a year and study in a beautiful place.  But staying with Balthus, Balthus continued to influence him, but gently in a very slow way. Also, Balthus just married a Japanese woman was almost the same age as Kuni. So it was also easier than for Kuni to share some time and also he understood what Balthus meant when he told him to go back. That's why he did it. He did it and the title of the book because it's a real story. I mean, it's incredible. I was really shocked at the beginning when he told me that I said, no, it's not possible.  And so he had to go back also to get married with somebody he never met. So it was really very violent because Kuni, I think he had girlfriends here, it was a good time and suddenly getting married with somebody he never met. It was very strange. But he did it. So in this in the next chapter of his life, can you tell us about joining how he joined his father's workshop and how he reacted to being in this traditional lifestyle. And also that he was considered to be a successor of his father and the tension of that new role. Well, when he arrived first of all, you know, he had in you why his father was so good, you know, it's qualities you cannot learn when you're the age of Kuni, you know, learn how to work, you do that when you start at 1012. It's okay. And then when you grown up, you can really go very far and you work so Kuni thought he was not you will never be able to do that properly because of that. And then also, as he didn't want didn't want to do the same thing to repeat the same thing as his father was trying to find his way, but the father was been great because he said, Look, you do what you want. I let you do what you want. I give you two people that can help you one for the colors and other for the whatever, you know, and so, but he was he was really ashamed of what he was doing at the beginning so he was trying to hide himself. So people don't see what he was doing. And then after, you know, it was, it was very good that, you know, all these lines. You know, he was practicing that in Paris. One of his friend told me that he put the pencil on the edge of a piece of wood, and he used to go like that in the morning. On the wall, it was trying to, to trace lines parallel lines, you know, it's very difficult when you've got one meter of a thing like this. And so it was very, very good. The practice of drawing a regular geometrical line figures shapes. So you work on that on his side. And then, because the father said, Listen, I'm not, I will not teach you, you have to learn by watching. This is really the transmissions like that. So that's what he did. And then, I don't know if you want to, if you want me to continue, or if you want to go to another question. Yeah, well, I was very moved by what, what Kako said to Cooney in terms of the importance of innovation. He really gave Cooney some freedom. So I think I'll just read this. Yes, it's very nice. Because Cooney has this impression of his father that, that, that he is this traditionalist. So his father hesitated before replying, Have you ever seen the work of my master? I was utterly sincere in my support for him while I worked for him. But then, when I set up my own, I broke away completely from his style, and you must do the same. It's your right. And your duty even. So this is, you know, it's, it's a complete change. A perspective about his father that his father really was an innovator, and he didn't recognize that until his father expressed that to him and giving him his freedom to really be an innovator. And that use them has to evolve. Yes, but then it's really what I learned, which is very important for me, making all this research with Cooney. Is that in fact, tradition, it's not only tradition, tradition has to be as to move. And so if you don't bring something to the tradition at your time, tradition dies. And so tradition is not something dead. That's what I used to think before. But in fact, it's, it's at each period, somebody has to reactivate the tradition with bringing new inventions and positions. That's what he did. But he did it in a way that is incredible because, you know, the father was doing, you know, very abstract or so things with with the branch, the tree branches or whatever. Beautiful traditional subject. But Cooney said, I have to, to be very different. And so as he was in that line geometrical problematic. He decided to bring it into the Kimono was very daring. And he succeeded. That's incredible. You know, he did. The thing was, with the geometrical thing shapes is his idea was that the Kimono was not just a close. It was became a sculpture. When it was war by some by woman. And the woman was moving with his shapes on her. She became a living sculpture that's why he tried to bring. That's nice. Yes, there's a wonderful quote that says, you know, that, that, well, what is the most important part of the Kimono and he said the back, he said what the front is illuminated by the woman's face expression. But it is the back of the Kimono. The most important is that something that that is his opinion or is this something in the tradition of Kimono construction and creation. I think it's really his opinion and in fact he said that at one point that that is something he shared with his father, the love for women. There were really both trying to bring the women with a with a pleasure to the pleasure of wearing and be a beautiful and happy of it. And so, so they were, they were working on the same labor for that. In fact, they just changed the shapes, but you know, also what say the Cooney is that he influences father, and when he began to notice that his father was using some of his inventions. He thought, okay, my father agreed on my work and now he likes what I'm doing, and it's great. And after Cooney also got influenced from his father and used some something when we were talking, sometimes he used to point that it's very nice. This is really so in the in terms of transmission, it's beautiful because really it's an exchange, you know. Yeah, there's there's so much in this book about the significance of the Kimono and also the symbolism of the Kimono and and also Kako also considered him to be just a craftsman. And so there's a wonderful conversation between craft and art. It's a tradition and modern expression. And is there something else you want to share about that in terms of Cooney's work and what you discovered. Well, Cooney decided to be an artist. He wanted that but you know, it's also a different way of thinking from about the cultures, you know, because it's being an artist. It's an individual, lacticic attitude compared to the art in Japanese culture, where art belongs to everybody, it's not. Somebody makes art has to be very discreet and work in a context that is a little difficult. But also always in relation with people but an artist in Europe or here in the States, it's a new way to promote to completely new ideas, values or whatever. Well, the father was not like that and the father didn't consider himself as an artist so that's also and also that's why I think the father was very interested because he had discussions about the work of Kako. The way Cooney learned it in France, it's like you study art, you know, we can make critique in this way, structures like this, like that. The father was not at all in that world, he was really doing something, inspiration, intimate inspiration, but he couldn't talk about it. So that's he brought that to his father. I also want to discuss your involvement with the family. First of all, when Cooney and Kako got married, they were very young and so they were both joining the family's traditional household at a very young age and if you could talk about his relationship with his wife and also the role of his wife. The first thing I want to say that in order to take to go into the studio of his father to work, Cooney has to accept to leave there because he could not leave somewhere and go with the money work. It's not like this, you're engaged, you're committed to it. I don't know if people understood that you were saying you have to live there if you're part of the studio, everyone lives together in the same building. Yes, yes, yes, you have to do that. So, but he just got married with Kako and Kako, you know, she was young, she was completely, she was brought up in Tokyo with her father who was a dentist or whatever, and she was really into modern life. And so we're going to Kyoto and live in this building with the father and all the workers and things and the Belmere, in Belmere, the godmother, it was quite heavy. And so, in fact Cooney asked her to make a sacrifice and she accepted it. And so she has to wait a long, long time, because I mean the father also was attracted by her somehow, and you know, so it was very complex in everyday life. But she was a great beauty. Yes. Yes, she's incredible, I really love her. And she was, and she really helped him to, first of all, to be in this studio and also she was very generous, you know, helping the mother, the father, and so she got children, but you know what she said, which is very sad, what Cooney said, she's very sad, he said, you know, my mother, I know she always gave bath to my children. I never, she was not letting me do that. It's terrible.  They follow the tradition, the grand mother. I don't know if it's the tradition or what, but she was cut from the, you know, capacity of doing maternal things. And so she was very sad of this and Cooney also, but Cooney, you know, he's like a soldier when you're in that situation, you just do it or you quit. Well, you have the experience of also living with the family and filming the family for, I think it was three months. And so it seemed like Keiko really took care of you and she also has a wonderful sense of humor. So you had to experience, you know, this home life and just tell us about your experience filming with the family. Well, you know, this kind of place, it's not the place where you can make film because it's really, there's a room for each sense. You, there is a, you cannot put a tripod because you're going to break the floor.   And so, in fact, at the beginning I said to Cooney, do you think are you sure that I can come and spend time with you in this house with everybody. And he said, yes, yes, yes, yes, but yes, but your wife, Keiko is, you know, maybe he's going to be boring for her. No, no, no, I will tell her and she will accept and so she accepted. But after a while, after a month and a half, she was bored and she was not what she said to be bored. It was not against me, particularly. It's just the idea that she could not connect with me in a, in a language that we could share that she was not happy that she couldn't speak French or couldn't speak Japanese. That's what she said, but I understood more than she said she was, it was a bit overwhelming to have me around the corner and sometimes she jokes in the film you see that but I think it was a bit difficult. But for me also, no, because I had to be very, very silent, very, but also the good thing was that sometimes I had to shoot to film very, very small things when he was facing lines. And I had to go very close but I had to take a long lens, a long lens when you have to be very fixed because otherwise if you move then move a lot to the images completely. So as I couldn't, I didn't have a tripod at the beginning so could not even use it. But I was having the camera on my shoulder and then finally I learned how to stop breathing for a long time because when you don't breathe, you don't move. And then, and I noticed that he was doing the same when he was tracing lines and the same, sometimes we were sharing the same what I call the build a bubble of creation somehow. And we were in the same thing and we were breathing at the end of this, this time it was very nice, you know. Very med, almost like a meditation. Yes, yes, yes. Yeah, Mark, there's, you know, it's the one of the culminating parts of the book is when you describe this exhibition at the Museum of Modern Art in Shiga, which is featuring both Kako and Kunihiko. It's so powerful. This is after Kako has passed away. Yes. And they bring together the two living treasures, the artwork, the kimonos of both father and son. And can you tell us about the significance of the exhibition and, and the impact it had. First of all, it was a celebration. Kunih wanted to celebrate his father. That's why the, I think maybe the exhibition was organized before Kako died, but a span before but then he had to put it on and after his death.  And so they were facing each other like, I don't know, six meters or seven meters between them. But each kimono of Kunih was facing a kimono of his father. And this is very, very nice. And so, when you, when you was like there, you see that in the film, he said, oh, it's incredible.  So I think he really feels it. It's also a little too modest, much too modest. It's really the feeling he wanted to express that his father was really the great one and he was the small son who picked up some of his, the father knowledge. But after, what did you mean about, what did you mean about the consequence? He said, maybe there is a consequence on the, no, and also he said, he said a very nice thing at this exhibition.  And then he said, it's like one of it, one of them, it doesn't work.  Yes, they are, they are connected. So, you know, I just wanted to get some description from you about what, what is unique about Cooney's art, what did he achieve? He did some beautiful quotes about his, his working with nature first and then with bringing that into color and form. There's a beautiful quotes in the book, and also just a beautiful descriptions about the art of the kimono. But can you just share any other, other observations about Cooney's achievement in terms of his artistic achievement? Yeah, because for him, when he was drawing like this, these shapes, you know, he didn't see that really, he didn't have this in mind when he was doing this. He had that, for example, he has references of very things from nature, you know, like even trees or the sand in a beach or whatever. The inspiration comes from this, and after it becomes a rhythm, reasons of colors and things, but he always thinks, you know, for example, there is one kimono which has been inspired by the train, the rapid, the fast train, Iraqi, I think, and it's the first very fast train, high-speed train. And so this was the inspiration, the idea that the speed would bring the idea of speed in the structure of the patterns and the colors. So, you know, he's not really into geometric, like a cold thing, it's really the world gets into these shapes. Yes, he talks about everything, his work being a distillation, the distillation of rain or the distillation of winds. He's taking that essence and then finding the color, the form and the color to express it. His work is so dramatic. It is so distinct and so dramatic. I do hope that we get to share, you know, some of the images with our audience, which means everyone has to buy the book. And also, can you tell us about the film and how it was shown, where it was shown, and also if there's a way for people to see your film? Well, the film, in fact, I was there when Earthquake happened in 2011. And so we were together with him when it happened. And then we said, because we really saw that the nuclear plant would explode, so we were very scared, everybody was scared, even in Kyoto. And so we planned to go to the south together. But after a while they said, no, I cannot leave the people here, I've got to stay with them, I'm a Japanese and I need to stay with my people. So we stayed one more week and then we left. That's my daughter want to see. But no, and so we. What was the question. I think we got it. Listen, I think we should open up to some of the questions that are in the audience. Pam, do you want to read out a question. Okay, we have a well Zach actually posted a question. Would you say there is a sense in which Kuni Moriguchi's designs have come full circle in that the French art that influenced Kuni was also influenced by the Japanese men Japanese art. Oh, in French, please. Do you say that Kuni's art in a sense is a circle in the sense that the Japanese has influenced the French art that influenced Kuni's art in its turn. That's for sure. That's a very good, very good remark. I think that's really that. In fact, and I think that Balthus, he was maybe also in this idea, in a sort of intuition about Kuni, which is possible. He's saying that he thinks that it's true that there was a kind of coming full circle in the influence of Japanese art on European art and European art, modern art and influencing Japanese art and this was true also in the art of Balthus and part of what Balthus said to Kuni, I think you were saying. Yes, it has to do with it. Yes, absolutely. Okay, there's another question. Maria asks, what kind of resist did he use? Was it molten wax? And if there's a problem, Zach, or Cynthia? She asks, what kind of elements of resistance did he use? Was it wax? We know. How? How do you say it? Yes, mix. I just don't know. I don't know really the fine parts of the techniques. I don't know, because it's a long time. Maybe I knew that once, but I forgot. Sorry. Well, Susan Selwyn's question is, did he also design Obi to wear with the kimono? No, he was not in charge of that. He had somebody to do it and he doesn't do that. It's another activity. Yes, you know, what is shown in your movie is the exquisite, but also labor intensive process of the resist die, the use end, and all the different steps of creating the kimono from the drawing to the dying to the washing, washing the ink and cutting at the construction. So does anyone buy the kimonos of Kuni? And also how much they cost? How much do they cost? So now it's pretty rare that people buy them for themselves because it's very expensive. But it's women, for example, who work in big companies or become important, you know, like boss, they want to show their power. And now they, sometimes they do that, they buy them. But in fact, you don't buy them. Most of the time, you ask for it, so it's going to be more expensive. But it's also the idea that you trust the artist, you know, the artist will see what is good for you. So it's nice also. But I don't know the price, but it could be very expensive. Of course, when it is gold and things, but it's, I don't know, 10,000 euros smaller. Anna, I would like to know. I'm sorry. No, and so the other thing to help to support the the artistic craftsman is museums or foundations, they buy kimonos. I would like to know the exact title of the film. Trésor vivant. Trésor vivant. Living treasure. And also more. Yes, go ahead. No, no, go ahead. Do we have any other questions? Well, Susan Selwyn has posted a comment. Traditionally, the resist used for us then was made from rice paste, she says, yes. So, yes. Mark, and we'd like to also know about your next artistic journey. What is your next project that you're working on currently. It's a very complicated thing, but I can tell, you know, I have two projects. One is about Fedacalo, but it's a film. And it's about because somebody apparently discovered some unknown documents from her where she apparently if it's the true material. And it's my father withdrawing representing representing my father. So, among that, but I don't know enough now to, to tell you more. And also I'm writing a book about, about Haiti, because when I was student art, I went to Haiti, and I studied a group of peasant artists called Saint Soleil. And I want to, because I have a lot of documentation that I never use a lot of pictures that I want to put together. Keep that. Great. Well, we will look forward to seeing your other works and what, and what about are you working on another book as well. Yes, also a book on Haiti. In fact, I do, I do the, this, yes. The project about the artist's peasant is a book. Great. Do we have any other questions? I do not see any other questions in the, or comments in the, in the chat. Okay, well, then I would like to thank Mark Petitjean for joining us for his program. This book, Back to Japan, is published by Other Press. It is exquisitely written. It is an incredible story. It's a, it's a beautiful expose about art and various artists points of view about art, whether it's the tradition, traditional expression or the modern expression. The tension between the two and how one evolves the other. So, so pleased to, to have this program with you, Mark. And we, we look forward to speaking with you again. I want to thank Zach Rogal for being available for interpreting as well as Cynthia Whitehead. Thank you very much. So we'll, we'll say a merci beaucoup and à bientôt.


Hi bitches, my name is fertilizer. This video has been in the making for like over a month now But before I explain the purpose of this new video, I just want to shamelessly plug my new March You guys love the first launch and good old day from crowd made decided it was time to make more designs He said Frederick get off your lazy ass stopped procrastinating like the senior you are you don't have senior I just shut up said those exact words. I'm not kidding and he said make some better designs for your fans And I tried in fact one of you guys sent this sketchbook in so I could actually you know work on it So like that's me, you know Dropping a lot, but I know some people couldn't afford the shipping and tax and the prices of the shirts in general Which is understandable, so I decided to make a pin for you guys There are more coming, but this is one that I wanted to do for now It's so cute and it says everything is less than three in the cart and for those of you who still don't know what that means It's a heart. Okay. I'm promoting love on this channel parents. I swear to you. I'm a good influence By the way, they didn't make an infinite amount of pins, so they do sell out at some point They don't know when they're gonna make another batch to send out So if you want them get on while they last but we also have a Bidget hoodie now it does come in multiple colors and it has a little heart in the inside And I think it's really cute and it's embroidered and this is really soft If you want this stuff Go check it out right here Up here or down there. Okay. Okay back to the video Frederick I've always been intrigued by bullet journaling ever since I was little.   I did look off of like Instagram and YouTube I'll put the links in the description below if you want to check them out Not a lot of it is original but keep in mind It's a process to get your own style and my style is Sunflowers clearly So here's my experience of trying to bullet journal for one whole month I First started by aligning my design of pencil and then my dumb ass realized pencil does not show up on a fake leather Notebook Frederick you're going to NYU. What are you thinking? So then I decided to use a pen and say which turned out to be washable So I'm very glad for that but you'll see eventually that the pen was the bane of my existence as a gay Chinese American 17 years strong going to NYU.  Please paint the darkest colors first. You'll regret it for your life Oh my god, this video is literally me telling NYU you should have not have accepted me because I don't know the basics of painting Anyways, the pain to use were really that pigmented So I decided to let the leaves dry before doing another layer after next I painted the brown center of the flower which oh my god Do you see how sheer that pain is the brown required like four layers total and yes I'm using the same brown for my shoe painting video. I'm a hoarder. I'm cheap. I'm Asian What did you expect from me next up?  Yeah, it's washable Which is very helpful in the beginning because I did mess up a lot and I'm very perfectionist I wanted it to be perfect for an outline You remember the pen I mentioned earlier and do some easy math here, okay? If something is washable, you're going to mix yellow paint with a blue black ink pen It just created this disgusting vomit green color I hated it and the only reason didn't notice that it was blending in earlier was because I use the dark colors So of course it's not going to show because you're blending it with a dark color. It wasn't visible to my eyes.   Nope I'll just say it right now. It was a terrible idea. I'm sorry because this shit took seven hours Painting this took two separate days and three periods of physically hitting a pillow because I was so stressed and on the verge of ripping the journal in half and I Actually decided to count the amount of layers I used and it totaled to um 18 layers could have been three months if I just raised them Once that was done I decided to not record this part because I thought it would take five minutes max But it is a different pen to do the writing part It was a calligraphy pen not only is a blue black But it was not washable this time and I think I messed up like one letter at the very end and my perfectionist said Okay erase it try to make it perfect for the outline So I tried to erase it with a web paper towel because it worked earlier.  I don't give me a break. It was midnight. Okay? I mean brain doesn't think clearly. It's not realistic. I'm sorry I'll line a pencil then pen and put some finishing touches to the flowers and we were done, right? Now keep in mind I did spray this with like three coats of a sealant by the way don't paint on the spine of the journal it It chips off my tip would be to bend it a couple of times to see where the line is and just don't paint on that line Don't worry this park is less bright, but I basically made a cover journal and to gain inspiration I looked up March bullet journal But I added daffodils to it because those are the flowers for March and then painted with watercolor Which I really regret because the paint crinkled and it bled and just use brush pens And yes I did just mess up by writing Monday when March versus technically Friday now that the preparation for the journal was done I decided to start organizing my life So you're about to see some vlogs of me every single day just showing you my steps That I did and you can see like each time you flip I did change style every time because I'm trying to figure out which one I like best And that's part of the process of making a journal like you're not supposed to know instantly What your style is my handwriting was you know amateur at best before going into it now It's a little bit better because I practice anyways. Let the vlogs begin All right, so today is March 2nd and Yesterday I did fill out my bullet journal at school. I didn't get a chance to film that well obviously But if we take a look about what's in here first I'm gonna get my pen out from my trusty yellow pencil case and first I need to cross out March first because we are done with that. So I think I want to cross it out like this Let me go to the second page and I tried different ways of doing calligraphy, and I think I've settled on one This is just a rough draft. It'll look better on this side But these are all of the things I had to do and I need to cross this out I did edit my video at the end of the day. I wrote the same thing twice. So that's a good start So I'm going to first write out the new day. So today is Saturday Hold on. Let me figure out calligraphy Not my best try but I'm on a bed give me a break and I think I'm just gonna rewrite all of these down because I Don't have different things to do Yeah, I think this is a lot to do for today overall. I like bullet journaling so far. It wasn't hard writing this stuff down in class I mean it took around two minutes of my day, but I know it seems pretty basic right now I'm gonna try to add more interesting things to it as I think of them But for now, I'm gonna organize my house and I will work on my bullet journal the next day two hours later Oh my god, I have been working on my office room all day, but I can finally check This off my list this Check it off. Also, one of you guys decided to send me some of the stationery Which I think is so cute and there's some stickers that I've collected a long time ago But I want to see if I can you know add some interestingness to this journal Interesting this really Frederick really and when you please don't watch this and for my viewers. Why do you watch me? Well for now, I think I'm going to do That one so beautiful so it's been a long day today I thought it'd be a good time to just recap on what I did for the weekend. Let's open her up So Saturday, I could only do one of these by the way, you're gonna have to deal with this. Oh my god I'm about to get comments asking me what's wrong. Okay looking back at this video I have it playing right over there if you were wondering so like I'm going along with it.  Hi, my name is Frederick chin I'm a real human being who goes through some tough times. I go through some negative phases in my life I've had them before in the past. This is real life for you.  I'm gonna make a new column for this site cuz once again, this is the rough draft I want to make a column talking about how I'm feeling so I can look back and reflect on it Just because I value being in touch with your emotions as a person back to my actual thing though So I did everything but two things that's pretty good These ones don't have a deadline this one has a deadline that I've already missed but this one doesn't so I'm gonna write Monday right here And then we're gonna get ready for the next day now this time I don't need to look it up because I've already practiced the word of Monday many times still mad about it But I'll get over it not my best But keep in mind doing this one handed. All right Let's wait for tomorrow.  I don't know why I wrote it like that me It's a rough draft by March 4th I already got into the routine of crossing things out and writing extra notes for myself during the week But this and my you student here right here is supposed to be smart but has another stupid moment Did I just spell to zero Not my best moment, but once again rough draft at this point I didn't really want to film every single day because I thought it would get tedious and boring But here's a clip of me trying a new calligraphy style for a little bit However, I stopped doing it by April your boy loves going through identity crises crises Even with something as insignificant as his own handwriting This is called the self-reflection cloud where I basically write down my emotions every day and for March I decided to only use orange and green because I use that on the cover page And also we all know that there are those colors that no one uses in their set of pens brushes anything But my parents taught me better and you got to get your money's worth So I'm forcing myself to use my two least favorite colors So I forgot to do anything for Thursday it is currently 513 and There's nothing here. I don't want therapy talk. Okay, not in this household. I'm fine I'm gonna try to write everything I have to do because I didn't do any of this yesterday And I want to see if I can decorate this more because it's looking plain. I need to make my dream journal come true Don't you dare judge me. We all have our moments. Anyways for day eight. I went to a new page and used a ruler Yes, I'm extra. What did you expect from a gay person? But I wanted to even make one page without messing up somehow on it Monday was easy because I actually did everything on my list for Once and then I wrote Tuesday and you'll notice I struggle hard with s's and y's when it comes to this style But you're gonna see that this idiot Frederick messes up again because it's the twelfth not the eleventh you ignorant Sloth and then decided to wrap myself from like Monday anyways on to the next day As you can see I was very angry towards the number 11 So I scratched it out and also I forgot to do a self-reflection for the 11th because I was so Traumatized by my mistake. So I just did it today Notice how I change locations every day just because I'm doing this last minute also. Yes. I know I have Christmas pajamas I'm sorry. They're way too comfortable I know it's April don't come at me. But today was just an ordinary day same routine I'm gonna be honest with you. I completely forgot to write on my journal for Thursday You'll notice I started losing motivation by the end of the month just because I also stopped writing the date next to each day Because I just can't do numbers and calligraphy. I don't know what to think in what to be thin. I'm blue And uh, hi, uh, it's been a while, huh? So like I said, I stopped at day 20 and I didn't look at my journal for a bit just because you know Issues but I'm better now. Please don't therapy talk me. I already feel it coming in the comments But my friend bought me these dual-sided pens. I have a brush and a fine point tip So over April I wanted to try one of Amanda's bullet journals because I fell in love with how she does them I first outlined in pencil then pen and then I added the tourists and Aries consolations to make the cover Because those fall in the month of April then in order to save space and make a faster journal I added a mood tracker and made a space theme because we did stars on the cover sheet I wrote down eight moods and then made sure I can mix and match them because your boy goes through many Emotions throughout the day then instead of writing out the next day at the end of every night I wanted to plan ahead for one So this is one whole week ready and I just have to add my little nose to it And I wanted to spice it up by adding the quote shine bright like a diamond And I should have outlined in pencil first. I don't know why I was so confident because Look at how bad it is. I can't write big I always write small and it just it ruined it and I'm really mad because I just did rihanna dirty But yeah, that was me trying to bullet for a whole month straight But going forward I'm gonna try to be more motivated to do this because it's like if you can take care of this You can also learn how to take care of other things, especially yourself But it was really fun It's not just a complete waste of time because you get to learn how to improve your handwriting and Do calligraphy and draw every day So I'm gonna keep doing this if you guys want me to like I don't want to do a recap in a month or so Let me know but that is all I have for today once again Buy it and if you enjoyed give us a like so I can afford college Leave a comment down below about what you want me to do next and subscribe for more videos every saturday slash sunday Or wednesday slash thursdays and not procrastinating. I want you to hit that notification bell And as always I love you guys and everything is less than three and once again Thank you so much from the bottom of my heart for supporting me and helping me get through bad times and Oh and um watch that video


Well, this is part of Persian New Year. Persian New Year usually takes 13 days. And the day 13, we go out and celebrate the mother nature and be with family and friends and enjoy the Persian food and Persian dancing and usually different kebabs. And also, there is a Persian soup called Asher Reshda. That's what people eat on these days. And enjoy each other. Before Persian New Year, we grow some barley or wheat on plates. And on the 13th day, we go to the nature and give it to the nature. As a symbol of us being part of the nature. It's a fantastic event here today. There's so many people, so many families having picnics, a lot of soccer games going on. There's some music and dancing, which is really great to see, and some amazing food around. We've got an information booth, photo booth, and some free popcorn. We're just here to spread some information about the changes to migration policy for those who are arriving in Australia by boat. The vibe's overwhelmingly been really positive. People are really excited to see the department not just saying, don't come by boat, but actually telling them the ways in which they can come to Australia. We've had several questions from people who do have friends and family overseas who are thinking of coming to Australia. And they just wanted to know about, how can they come to Australia with a student visa or a skilled visa? And it's fantastic to be able to give that information to them. Coming to Australia from the legal channels and show people that they get in here safely and they live in here safely. By coming by boat in illegal ways, as we have seen for the last few years, there is a lot of danger involving that. A lot of money to pay too. And it doesn't really get people anywhere. The simple message is, tell your family and friends from overseas to come to Australia the right way and don't risk being sorry.


My name is Greg Klein. I am the vice chairman in the Department of Orthopedic Surgery at Hackensack University Medical Center. I am a joint replacement surgeon. I specialize in hip and knee replacement. As a physician and orthopedic surgeon, it is really important to me to take individualized care of my patients. Every patient is different. Every patient has different needs and expectations. Some people want to get rid of their pain. Some people want to go back to their activities of skiing and tennis and jogging and hiking. It is important to listen to see what everybody's goals are. The first time I meet any patient, I like to start from the beginning.  In terms of joint replacement, it usually starts with the less invasive, going to the more invasive or being surgery. No one wants to have surgery, but sometimes surgery is the best option. I usually start with discussing what our options are. We can try some physical therapy, some anti-inflammatory medicines, and it all depends on each individual patient. When it's time to talk about surgery, we go into in detail about what to expect and what the potential problems are during surgery and what can happen after surgery and what the realistic expectations are during the recovery period. I love coming to work. I love being an orthopedic surgeon. One of the most rewarding parts of my day is when you see a patient who was really in a lot of pain or difficulty functioning before surgery, and I see them post-operatively, and they say, I wish I did this years ago.


So let's continue with our graph edit program and now let's see how you can access the information inside your node So last time we had this simple structure with three simple nodes that you can create and Yeah If you haven't seen the previous episode you can click on the top right corner of your screen on the card And you can go and watch it before we jump in to the code itself Let's cover a couple of things if you remember from the previous episode on the graph edit nodes On the code here itself. I set the code to the slot so we get the dots there and with the color and everything and you will be if you are not a fan of the Gd script or the code editor you can actually get rid of this part and Do everything from the inspector. So you have to select the graph node and here you will see a section Which it's called slot inside a slot. You will see slot number zero And then you can have it enabled and you will see it also inside your editor So we had it on green, but it can basically be any value that you want. The same applies as before Next thing is That if you notice and if you're around this code when you connected two nodes together Before there was no way to Disconnect them and To do that what you can do is in the graph edit node, which is this board When you enable right disconnect Again, this will not happen alone. You will also need to Select here the disconnect request signal to the code and The same as we did before with the connect node can be done for the disconnect now so graph edit Disconnect node from From slot To and to slot Same values as before but with this guy. So now with this Enable and the code. Let's try it out Let's create two nodes Let's connect them together and with the right I can disconnect it. Yeah, it's working Okay, so now if you have like different paths You can disconnect one and connect it to another one Okay, let's start coding this application to be a very uncomfortable calculator. Okay, let's replace this text input Change type Let's do a spin box Spin box, which is a numerical input Let's change the name of this number Yeah, okay, oh Let's change this as well spin box So it's more proper. Hey and here. Let's allow lesser Which will allow us to go less than zero and Greater since we don't have a max value. Well, yeah, we have 100. So yeah, let's allow both Let's save this node and we should have it here now though when we Get the nodes. Yeah, we can go up. We can go down Okay, kind of different numbers. Okay, we also need a button to run the same way we run the program here I'm gonna create a different button Which will be for when I Want to calculate that if you see that you're aligning things all over the place you can actually start using the control nodes for Container box container horizontal box container like we did in previous episodes. So let's do that Here Let's get the other button To the magic Okay, let's resize this a little bit and Clicking here it prevents selecting the children. So yeah now I'm getting the node here. Okay now Ludo magic has since I duplicated this node. It has the same signal Let's change that. Let's Change the name as well to run program and Let's connect the press to the main to the main code Okay, the way I'm gonna show you is just a very simple approach to how this can be done But of course how you calculate everything depends a lot on your needs So what you actually have on the graph edit node is the information of all the nodes connected to each other So let's see that since we're gonna be referencing the graph edit node a lot We could either make this script inside the graph edit itself But since I want to keep it all very simple in one script, let's do it here But let's make a name for it gonna be capital G. It's gonna be the graph also graph edit Okay, so we have now the graph edit in capital G and what you can get is the Get connection List Let's print this out so you can see how it looks like press play and When I have two nodes connected. Well, let's try that before Right now to the magic returns the empty string, but when we have to connect it We see that it's connected You see a dictionary inside of this array which is from control from port zero to this other control To port zero as well Okay if we add another one you will see that it will be also displayed there and It will display this connection as a dictionary and this connection as another dictionary So now we have all the information we want and we can start going through these nodes To get the values from those connections Let's save the connection lists as connection list And let's get this Okay, now let's create a variable where we're gonna save the result. We just gonna be called result And now let's loop through all the connections Okay, first of all let's do a loop in range Start like from zero To the connection list size This will make sure that we go through all of them and Instead of getting the value there directly. I want to get a number now get the value of the current node which is When we get the list we're gonna see the first node that we connected in the program and We can access to it by doing g get node This is remember. It's a child of the graph edit node and we have the name stored in the Connection list which is if we go to the connection list We go to the y which is the current index and We get the from We should get the value from now that we have the value we can add it to the result So result. Let's add the value that we got from that node and Let's print it at the end of this result Okay, now I needed I needed to get the node actually the Spin box so get now Spin box Now the value that should do it Let's see. Yeah, we get the value Okay, we connect them One plus two to the magic. We only get one That's because we want to add the connection from this and to this so we need both values Which we're gonna call value one and value two Well, you underscore two, which is gonna be the same But instead of getting the connection list the from let's get the two Okay, so now we get the two values and Since it's the end of the list. We only have one. We need to check if the current index Plus one because we're starting at zero is equal to the connection list size So if it's the end of the array We want to add Also the value two that we just stored So now when we try it out Value, let's try two plus one to the magic equals three Okay, if we do five plus two and Let's add another one which is Five again do the magic 12. Okay So let's add another node and let's see Minus one so instead of connecting it here. Let's connect it there. That's to the magic we get six So this was a very very very rudimentary way of getting the information As we have it displayed here Remember it's by pairs So every time you add a different value It will add a dictionary with those values and you can start handling the data From this as a regular script You can do that in different ways depending on what you actually need from your notes If your notes are very simple chances are that the scripts is gonna the scripts are gonna look Similar to what we have here Which is just getting the values adding them together and Dating that result, but I think that with this example you have enough Understanding of how these graph nodes and graph edit work to start doing something with them in your projects Just play around with them. Tell me if you do anything and have any questions regarding this As always I want to thank everyone that was writing comments asking questions I want to thank again to my patreon's and remember that if you are a patreon you can request any topic that you like And I will do my best to explain it and assist you in any possible way I can thank you and until the next one


YouTube Algorithm 2020. Get more views on YouTube. Okay guys, we want to get more views, right? How do we do it? It's changed. The algorithm's changed. Everything's changed. In this video, I'm going to show you how you can get more views, more subscribers, more folks watching your stuff, and we're starting right now. Now, in this algorithm update, I'm going to share with you the things that you've got to do now to get views, but if you do them, it's not that hard and you can get a lot more views, a lot more subscribers. I do want to welcome you to my channel. If you haven't been here before, make sure you subscribe. Hit the bell notifications. There's a bell next to that subscribe button. Down there. See it? See it? Get it? Get it? That button. Turn on all notifications. When you do that, you become part of the Fisher family. The VIP group. That's a group. The VIP group that gets notified every single time I do a video. Put your comments below. Let me know what you want to see videos on. I've been selling online since 2009. I've sold millions of dollars of both digital products on this channel. I share with you all those tips, tricks and secrets so you can get the same results. So let's check it out now. What can we do to get more views on YouTube? Well, the first thing you can do is to get your videos suggested. Suggested? Yeah. Suggested. That's what I'm talking about. And how do you do that? What are suggested videos? What the heck? Let's check that out right now. This is YouTube and we'll see what suggested videos are. Now, the biggest thing I hear from new YouTubers is that, you know, I don't have a lot of subscribers so I can't get any views. It's impossible for me to get views because I don't have any subscribers. This is videos that was suggested to me. And if you look through here, some of these are videos that I'm subscribed to, channels that is, and others are not. Like, I do not subscribe to the Washington Post, but for some reason, because of what I've watched online, they think that I should be watching that particular video. Now, here's the funny thing. If I were to click, let me scroll through here a little bit more. Invisible people. This one here, got a million views. Looks like it's homeless people. I do not subscribe to them. I do not subscribe to Thrillist. I do subscribe to a couple of these others. So let me go ahead and click on this video here. And this looks like Santa Monica. Okay. Now, when I clicked on this video, let me move this out of the way. When I clicked on this video, they gave me some up next or more suggested videos. It's funny because one of them is another mix of this particular video. Let's see what else we got in here. Invisible people. See what they did here. This particular one was by invisible people, and they said, well, gee, if he's going to watch that, maybe he'll watch another one with invisible people. So it's not like, and let me stop this. This is invisible people here again. It's not like if you don't have a lot of subscribers, yours can't get suggested because that was suggested to me. I don't subscribe to it whatsoever. And now that I clicked on it, look at this. Invisible people. Let's see if he gives me more here. Invisible people. Invisible people. Now it's saying, hey, he's interested in invisible people. Look at all the videos it's suggesting to me now. It's amazing, guys. So this algorithm that YouTube has, you know, you can get in the suggested area, and it's possible to have 10 times as many views if you can get into that particular suggested area. Now, most YouTubers don't get this. They don't understand it. So it's going to be easier for you to compete with it because you do get it now. You do understand it. No reason these suggested videos can't be you. Now, the way the algorithm works is that when you upload a video, it looks at the first date that you uploaded the video, and then they look at how the viewers respond to your video, and then they decide if they want to suggest it. So if you upload a video and some people like it and comment on it, and they watch more on your channel, YouTube's going to say, well, that's a good suggested video because we got good results. We got what we wanted. We got somebody to stay on our platform. And if you can get them to binge watch on your channel, that video is really going to get suggested. Now, I'll tell you, this is so important. Once you've done your videos, and you've got a few videos in there, you want to go back and look at the analytics and see which videos are getting the most views. Because if all your videos on SEO are getting a lot of views, I would suggest you doing more videos on SEO and different versions of SEO or SEM because that's what your audience is asking for. And if you give them what they're asking for, your channel will grow. Additionally, you want to have your channel branded as you. Okay, let's check out my channel right here. This is my channel right here. And I've got a scheduled live here, which is a really important thing to you guys, and I've got some of the most watched videos. This one here's got 56,000 views, 9,000 views. So, I've also got it set up with my branding in here. It's a business type branding. I'll tell you, I wear T-shirts most days, but you kind of dress for the part, right? And it tells what I'm about. It says, helping people start running, grow online businesses. It's exactly what I'm about. It's got my website here, and I say new videos every Monday, Wednesday, and Friday. Now, that's changed. I'm actually doing a Monday through Friday now. But, they get that information there. They know what to expect. Online business training. This here goes to my website. This goes to a couple of my other web pages I have. Okay? A free e-commerce course they can get right here. So, there's a lot of stuff they can do, and I've got this channel set up where it's branded around me. Now, the next thing you want to do, and I see so many people missing this here, is once they've set up their channel, and they've got their videos, and they're analyzing everything, they don't capitalize on the one big thing you can do, and that is playlist. Every video on your channel needs to be in a playlist. And, the more playlist you have on your channel, the better off your SEO is going to be. So, if you've only got three playlists, I would suggest you adding some playlists, okay?  It can be in multiple playlists. So, if you've got a video, and it's in an e-commerce playlist, you could also put it under SEO if you talked about SEO in there. It could also be about credit card processing if you talked about credit card processing. So, don't think in singular terms of, I have a video, it's going to be in this playlist. It can be in multiple playlists. If you do that, you're going to have multiple URLs. URLs are what Google uses to find information on the internet. So, if I do a video and I put it on my channel, and I don't put it in a playlist, I have one URL. If I take that same video and I put it in four playlists, I'm going to have the URL of that video and the other four URLs of this playlist, now I've got five URLs for one video. This can drastically increase the chances of somebody seeing your videos. If you've been working on your channel and not getting results, come back to this video and watch it again. There's a lot of parts in here you may miss. If you miss those parts, they could cost you traffic. It could cost you money. So, building a YouTube channel is not easy. I have so many people say, well, gee, I tried to do a YouTube channel, they don't work. It didn't work for you. And the reason it didn't work for you is because you did something wrong. No offense, no offense, you did something wrong because there's no way it can work for other people and it not work for you. The difference is they are doing something different. Maybe they uploaded more videos. Maybe they were more consistent. Building a YouTube channel is not what it used to be. It used to be, you could come on here, do a few funny videos. You'd have thousands or millions of people subscribe to you. It's not like that anymore. Your competition is too stiff. That doesn't mean you can't do it. You just have to do all the things you need to do and be a little bit different, okay? Figure out your own way of doing things. And I'll tell you, the biggest part that people have fear about is getting started. They're like, geez, and I don't even know what to start on. I don't know what to do. It doesn't matter how you start. What's really important is that you do start. Because once you start, you're going to start going in a particular direction and then you may change. You may go into another direction. But the point is if you keep doing it, you're going to develop your own style. The truth is you'll never develop any style if you don't do it. If you do it, your own personality will eventually come out. If you do it enough and if you do it over and over and over and if you follow these best practices that are going to bring you traffic, you will do fine. Trust me on this. Put in the comments below. Are you trying to grow a YouTube channel? And what obstacles have you come against? What do you need help with? I'll be happy to help you with that. But you got to ask. You got to participate. And I think that's one thing I've noticed over the years. The people that participate, whether they're knowledgeable or not, just they ask questions. They comment. They do stuff. Or the ones that end up being really successful because they're in the mix. Okay? Make sure you're in the mix. If you really want to get in the mix, click on this video right here too. It'll help you make a lot of money online. So get in the mix, guys. Put your comments down there. Put your likes. Put your dislikes. Whatever. Do one of those two things down there, right? And don't forget to grab my course. It's a $97 course. I'm giving it away absolutely free right now. Why wouldn't you take advantage of that? That would be pretty smart to do that. I really appreciate you listening to this video. If you haven't subscribed, please do so. Turn on bell notifications. The bell broke? There we go. Turn on bell notifications. Turn on all notifications. So that you know when I do a new video. So that you don't miss any of this. So that you're part of that VIP Fisher family group that gets notified. Thank you so much for listening. And I'll see you in the next video.


Whatever you are, it doesn't matter what you do. Wasteland is welcoming. It's like a renaissance fair mixed with like, post-apocalyptic world. In normal society people look at you strange if you're different. Out here people look at you strange if you're not different. It's appealing to imagine a world where society has sort of broken down. Those like social codes that we have about right and wrong. A lot of those are really harmful to queer people. Being trans, trying to blend in modern day society, I go somewhere and I know what the looks are. I know what people are doing. Even if you're not against it, you still look at somebody in Giggle or whatever. Those things even hurt us because we're way more astute. We see way more than the average person because we're looking for it because we feel the pain from it. People half the time won't even talk to me. If I say hi to somebody in real life, a lot of times they'll just look away or they'll just not talk to you or they'll pretend they didn't hear you kind of thing. Whereas everybody in the wasteland is friendly. You can just stop by any camp and just say hi and people will generally say hi to you. A lot of the pain that I see in the world today is people being ashamed of something within them and I don't think that's the way to a good world. I think you gotta embrace whatever your dark side is if you're into kinky sex, if you like to cross-dress. We've been taught a lot of ways of being and a lot of shame around the ways that we deviate from the norm. Here, my whole concept for Wraith was to be the desert ghost. I try to be quiet. I try not to make a lot of noise and I try and blend in with the area around me. Much like I try to do in society, except for here, it's easier to do. Try to look like you belong on a set of Mad Max movie or somewhere in the post-apocalypse. Just try to be, you know, somewhat in theme and you're gonna find yourself in a good spot. I am H.P. Lovecraft and I am the figurehead of the Pangea Queer Cabaret. So Pangea first came to the Wraith last year and we wanted something evocative of like an everything of a togetherness because it was gonna be a pansexual and pan-gender space. Here, the reaction for the little points of diversity is very open and welcoming. Everybody finds it really liberating. Like I see so many dudes that are walking around in like dresses and it's the very first time like experimenting with any kind of feminine expression and they're like, they find it's so freeing and it's so amazing. Nobody out here is gonna treat you poorly. Like if anything, they'll all stand up for you everywhere. So having Pangea, having the LGBTQ things, having drag shows, having things because we have that audience here for them to feel, you know, open and welcome. It's very eye-opening. A lot more festivals need to do things like that. There's every walk of life, every type of person here.  You're gonna be in a safe, general place where people will razz on you but not for the reasons that you get razzed on in society. To me coming to Wasteland is also just like building the society that I want to see and building a model of the world that I would like to inhabit. You can do that a lot more freely at places like Wasteland.