Boundary is not absolutely necessary. Like if I set a boundary, it's not my job to over hours and weeks explain to you why I set it. Like this is the boundary. I expect you to respect it. I will try to make you understand it. But if you don't understand it, it's still my boundary. There's still no discussion around this. What's up everybody and welcome to the show today. We drop great content each and every week and we wanna make sure that you guys get notified and in order to do that you're gonna have to smash that subscribe button and hit that notification bell. And if you've gotten a lot of value out of this make sure you give us a like and share our videos with your friends. We'll talk about this in our second sign but I just wanna give two examples that people will subtly try to manipulate you that you might not realize is happening. So if we take that example, one would be love bombing, would be showering Michael with love and telling him how much fun you have when you drink with him and how he's such a fun loving, gregarious guy when he has a couple beers and you miss that about him. You just really miss how much fun it was with Michael in the pub. Another one might be gaslighting and actually telling Michael, well you didn't say you were giving up drinking. What do you mean? That's not what you said. You told me we're going for beers tonight. And now all of a sudden they're asserting a new reality so that you start to second guess well did I say that? Was that really something that I shared? Am I sure? So love bombing and gaslighting are two ways that people will try to subtly manipulate you into believing something else, into believing that they're not controlling you, into believing in their frame as Johnny was talking about. Well I wanna add to that the last behavior that we're looking for is floodlighting where now I'm going to be extra overly vulnerable to Michael to where he feels sympathetic to not having those beers with me. And so I can give him all of my woes and problems and issues and in order to play victim so that Michael will comfort me and have those beers with me. I mean those three tools right there and if you ever see hints of any of those behaviors you should start, you should take a step back and review the relationship and review how often and the patterns of which you see these behaviors because these are three behaviors that people use continuously and in abundance in order to manipulate the situation so that they feel better. And this happens romantically, yes. socially and professionally. Yes. So don't get misconstrued by love bombing. You could have a coworker or a boss love bomb you. You could have a social friend gaslight you. So I know we've talked a lot about romantic relationships on this show but these behaviors show up in all three relationships that you have in your life. So understanding the subtle ways of people will try to manipulate you you can start to see the first sign of a toxic person or a toxic relationship. The second one is what Johnny was getting at. So now you start to realize, okay, maybe I am being controlled. So what do you do? You set up some boundaries and you say, well, you know what? It's just easier if we grab lunch for me to avoid drinking altogether. I don't like being in pubs. I don't like staying out late. I have half marathon training in the morning. Let's grab lunch. So now you've asserted a new boundary.  It's just easier for me to grab a salad with you at lunch and we can catch up when I could hear about everything going on with you. In a second sign of toxic behavior they will disregard that boundary. They will rally all of your friends for a night out and make you feel bad that now you're only going out for lunch with them. So you're always telling someone stop behaving in a certain way and they just continue. And listen, respecting the boundaries of others may not happen the first or second time you assert a boundary because it is a new behavior in your relationship that you are establishing. But they should make effort to understanding and respecting that boundary. If you are met with criticism over that boundary, if you are steamrolled and they completely disregard it that's a clear sign that this person is a toxic person and not helping you reach those goals or mind those values that you have. I would also like to add that understanding a boundary is not absolutely necessary. Like if I set a boundary, it's not my job to over hours and weeks explain to you why I set it. Like this is the boundary. I expect you to respect it. I will try to make you understand it. But if you don't understand it, it's still my boundary. There's still no discussion around this. Yeah, very important point. If you're finding yourself constantly arguing over the new boundary, they're disregarding it. Yes. Now the third sign is they take without giving. Now we're not saying all relationships are based on giving and you have heard us interview Adam Grant. We talked about his great book, Give and Take. We believe that being cooperative is a high value behavior. So if you find yourself in a relationship where someone is constantly taking from you, the bill comes, they're constantly underpaying. You find that they're constantly asking from stuff for you, borrow your car, let me get that PS5 game. Hey, can you cover this bill for me? And you never see any reciprocation in all of your giving? It's probably a toxic relationship. Giving and taking is part of any friendship but it should balance itself out over time. It shouldn't require a note in your phone to keep track of every dollar and cent spent in the relationship but you should feel on the whole that you're walking away as an even exchange. A toxic person is often there simply to take from you and they will take, take, take until they can move on to the next victim with no thought or concern for giving back to you. We drop great content each and every week and we wanna make sure that you guys get notified and in order to do that, you're gonna have to smash that subscribe button and hit that notification bell. And if you've gotten a lot of value out of this, make sure you give us a like and share our videos with your friends. Also, we have to understand our natural tendencies to wanna get attention, appreciation and acceptance for ourselves. That allows us to feel good. So this brings us back to how are we going to get those things for ourselves. And because that is so ingrained in us because we are herd animals, it's the first thing that we look for. I go to a networking event and my first thought is who here can serve me and my needs and what I have going on. If I'm going out on a date, it's my first thought is how does this person benefit me? How does this person make me happy? Now, that is a low value way about going about things and it's also, it gives you a low resolution view of how the world works because you're focused on yourself. It's making you very selfish. However, I don't have to live my life that way. And of course, then when I have those thoughts or understanding living it life at a higher consciousness, I go to a networking event and I'm going to flip the script rather than thinking about who here can serve me? Who here can help me reach my goals? I'm now going into it thinking, how can I help those around me? Who can I help here? This flips the script. Just because I have a natural inclination to want things to be selfish, I don't have to move that way. And what we're doing is flipping it. Now, there are many ways that someone can be giving. So I want to bring this into the conversation because just because you are giving with time doesn't necessarily mean your friend is going to reciprocate exactly with time. So we can be giving with our money. We can be giving with our time. We could be giving with our relationships meaning introducing you to other people in our network or we could be giving with other resources we have. So physical goods and items outside of money. So when you think about giving and taking you can't just think about it on one dimension. Someone might not have much time but they will happily give you a beautiful wedding gift. Someone might not actually care about gifts at all and we'll find it much more valuable to give you their time on a long hike and that emotional support that goes along with it. So when you think about giving and taking I want you to think about it a little more holistically. Just because you show up in one of those four dimensions in your relationship or maybe two or three doesn't necessarily mean that you're gonna get that exact reciprocation back from the people in your life. But on the whole if they're looking for you to constantly give on those four dimensions without any thought appreciation of what it is that you've given and it's consistently taking then it's time to start asking am I in a toxic relationship? Now the fourth sign they're always right. Always right. They're gonna find ways to be right even when they're not and they're gonna go back to those three tools that we talked about of manipulation, gaslighting, floodlighting and love bombing to get you to see that they couldn't possibly be wrong. That they didn't make that mistake. They rarely if ever admit they messed up, miscalculated or misspoken. They showed responsibility onto everyone else in their need to feel right. AJ have you ever met any of these people? I'm thinking about each one that I've cut out of my life and we'll talk about what to do with these people a little bit later, but certainly have been there. And here's the other thing through the work that I've done on myself and with a therapist I've realized that I've showed up in these ways in past relationships. In my 20s I had this need to always be right and I would fight people to the bitter end on it. And I'm sure some of those friends who've moved on and are no longer friends with me would label me as toxic in those situations because I wasn't mature because I hadn't grown to an understanding that it's okay to be wrong and there's not this need to be right. But that was ingrained in me from a young age. So that battle was raging inside of me through my 20s, definitely. It's a difficult thing to learn and to use it in a music, a musical context. When you get into a room with a bunch of other guys and you're creating together, you're collaborating you want the best ideas to prevail. And there's an old mantra that we would always use that it's not about any of us, it's about the song. The song takes on a life of its own and you want it to be the best that it could be. So then everyone starts contributing and it's not about you making sure you get your time or your part gets picked. It goes to, well, it's not about whose part is best. It's whose part is best for the song, which gives it a hierarchical way of looking at it. And then you want to contribute it to it. But with that, you have to be okay that what you brought in doesn't make the cut. And that wasn't easy when I was young. I always wanted it to be my riffs and the things that I had brought in. But as you get stronger and as you get better you realize that there's better parts and people are bringing in different things and that you become okay with that. And that's why in a collaborative setting I feel very comfortable because I've been working in some capacity of that for most of my life, but it's not always easy.  You can feel compelled to fight tooth and nail because of how attached you are to that idea. And this takes time to detach yourself, to be able to be creative, to bring in ideas and be okay that it doesn't make the cut.


If you're looking to get into film photography but you're on a budget, one thing I recommend is looking into brands you might not be familiar with. Often cameras that are pricier are only pricier because those camera brands are still around and therefore have some brand familiarity. Canon for example, Nikon. But there's a lot of cameras that are actually fantastic that you can get for a lot cheaper because people just don't know about them. Right here I have a Yashica Electro. This is a camera that is a bit pricier because it is a bit of a cult classic. Anyone that has used it knows how good this camera actually is. The build quality is so-so. It kind of coincided with an era in which the build quality started to go down and there's more plastic used. But other Yashica cameras are fantastic and solid, really solid. So I've really enjoyed shooting with those. This guy here is a Vivitar 35 and I didn't think much of it because of Vivitar but it actually was astoundingly good. I've only shot one roll with it but the images looked great. So that's another one but my favorite off-brand we'll call it. It's not really an off-brand would probably be the Yashicas and I got one down here. This guy, this Conica. So I've played around with a few Conicas and they're built like tanks and I know that's often overused but I think this Conica might be the heaviest, most solid construction of all my cameras I own. All right guys so I hope that helps. Remember don't worry about the brand, worry about the camera and the quality. You could also look at brands you might be familiar with but with their look at their earlier cameras. If you're comfortable shooting with the Sony 16 you can go for all manual cameras. Pentax Spottmatic which is fantastic and then you can use that camera with any M42 mount because it's a universal mount. So yeah I'll see you guys soon. Actually I'll see you tomorrow.


Jimmy K here, Metal Voice. Look at this. The Metal Voice shirts are now on sale, just go to a video description to find out on how you can purchase one. Metal! Here we are. Well, we're in Canada, Charles is in Germany, and oh my god, where is Stefan? Stefan is... Northern British Columbia. I'm about a few hours away from the Yukon border. For those of you to sleep in White Forest tonight. For those of you who don't know where Yukon is, it's next to Alaska. In fact, I'm driving right now on the Atranta Alaska Highway. Wow, very cool. I saw a few bears, a few buffaloes. And you're eating a deer right now, right? Well, I found a baby dog with three bars on the cell phones. I figured if I don't stop now. We should probably get on with it as well. He's drinking his beer. What is that? Like a canned super beer? No, that's a Coca-Cola. Okay, all right. Brought to you by Coca-Cola. On the show today. A bit of a Jim Leahy vibe going on, Stefan. Iron Maiden, 17th studio album, Sinjitsu released. Today, it's been six long years, double album produced by Kevin Shirley and Steve Harris. Okay, so I already did a review on YouTube, but you know what? What does everybody else think? Now that we've had a little time, or not that much time, but just a little bit of time to sort of digest it a little bit. First impressions. I'm going to start things off. I think what we should do is let's go track by track, because if each one of us talks about a double live album, this might just take until a double album, sorry, double studio album. Here we go. All right, let's start things off. As we go through the track listing, you guys can comment about what you thought about the songs, what you thought about the production, the vocals, the musicianship, the writing, and all that fun stuff. All right, starting it off. Title track, Sinjitsu. Let's Stefan start things off with Sinjitsu, the first song on the album. What do you think, Stefan? Well, it's like any opening track of any Maiden album. It's always this big smack in the face. This is what you're about to get, a very, very powerful song that sort of gives you an idea where they're going. I like it. It's not my favorite track of the album, but it's definitely a very strong opening track, and I even liked it better than the opening of, I can't remember the opening track of Book of Souls, but this is definitely a good segue into an album that is turning out to be far superior than what I anticipated. It's not Bruce's finest vocal work, but structurally, I think it's a great track. I've listened to it three times since this morning when I got the album, and it works for me. You know what? Feel free, everybody, to just weigh in. We're not going to do one at a time, 10 songs. I just thought Stefan should start things off. All right, guys. Let's just go through it, and we can debate it as we're going through it. Whoever. Charles, go. Are we still talking about the opening track? The opening track, my friend. It's actually the one, one of the songs I'm having a few issues with on the record. I don't think it's a great opener. I think it would have suited better to be a bit more like Seventh Sun of a Seventh Sun was right in the middle of the album. I would actually, I thought the album should have kicked off with strategic, whatever you want to say that, or what's the other one that's that form that's long? What's the other one? Help me out, somebody. Are you sure the one you mean? Days of Future Pass. Days of Future Pass would have been a great opener, then into Stratejo and then into maybe The Darkest Hour or something like that. It's got kind of a children of the damn kind of vibe to it, but not a great opener for me. The album kind of comes to life with track two for me a bit. Very good. Just quickly, you know what? I think the opening kind of drums and guitar that lead off Senjutsu, that grabbed my attention right away. That's cool. And then I was waiting, but I was waiting for the song to kick in and it didn't really kick in the way I wanted it to. So it's, things kick in and track two. Right. But see, I would have gone from the intro of this opening track with those tribal drums and the guitar, and then went right into Stratejo. I just think the rest of the song, I don't want to say it's lackluster because I think it's a good song. Like I gave everything two thumbs up, one thumbs up. It's not an opening track. I couldn't see them playing it live. I have to say a lot of their opening tracks, I can see them opening the show with it. I can't see how they would open the show of this because it's too kind of slow and flooding. Knowing them, they probably wouldn't open it. How did they start off the book of souls? What was the opening track? Yeah, but it starts off slow. More uptempo than this. It was a little more uptempo than this is. Okay, what does everybody think about Senjutsu, the opening track? Art, hello. Gabriel, hello. David, hello. Benoho, hello. Tony Wade, hello. Up the Irons. Alexander, nice shirt. You like that, Stefan? Look at that. Not your friend there. Martin says, hi, everybody. I can't see him. Sorry, Dean. Oh, yeah. It says Def Dealer. Okay. Hey, Metal Voice is a teenager from the 80s who's been a fan of Iron Man since 1987. I've seen five of their live concerts. All right, great. I think the opening track was exactly what we all didn't expect. Loved it. Tribal. And I think it doesn't lose one. I think it's like that's one of my favorite tracks. All right, let's move on to number two, unless somebody else has another comment to say about this. I think we've talked a lot about tracks two and track three, right? Because Stratigo and the writing's on the wall. I think that Stratigo is one of the, it's like a maiden highlight. I see that being a very strong track in years to come even. And I see that being played at concert. I'd open the show with that. If they often do open with a new song, so I would probably open with it. And I have to say, when Stratigo first came out, I remember I wasn't able to do a show, but I think a couple of you guys did the show on it. And I wasn't in love with it. And it's really grown on me to the point where it is one of my favorite songs on the record now. Like I gave it a two thumbs up. I felt like, and at that trademark galloping bass, you know, there's going to always be at least a couple of songs with the Harris galloping bass, and it has that.  So I think strong second track that maybe should have been the first track, the Giles's point. All right, Stratigo and the writing on the wall since they were both the first two singles. Stefan, what'd you think? Stratigo, I like much better than writing on the wall. The more I listen to writing on the wall, the more I realize it might be one of the weaker tracks on the album, especially considering what else there is to come on this record. I, you know, I was curious and anxious when it came out. I remember I gave it a relatively good review, but now that I get to hear the rest of the album, writing on the wall. Nah, it's, it sort of reminds me of when peace of mind came out and Flight of the Karris was like, you know, the leadoff single. I thought, really, you know, I hope there's better material than this. And this is exactly what I'm getting this time, which writing on the wall. All right. I think, I think it's one of the most memorable choruses on the record. I just, I just find that Bruce, and I've said this many times now, Bruce sounds muffled on this song. Like he's, somebody said, he sounds like he's singing underwater. Well, what are you gonna do about it? I mean, this is what Bruce sounds like in 2021. No, no, this is just, this is the, this is the production of his vocals. And I'm talking about how he's singing is. I don't think it's the production of his vocals. I think it's his vocals. Maybe it was in a telephone booth. I don't know, you know, dialing it in. Now I'm going to go to the next track, because we've got a lot to go through lost in a lost world. And before I say anything, I just want everybody to know that when I bought the number of the beast, the day this came out, I ran and I bought it, like a lot of people did. And it kind of took me back a little bit. I love the album, don't get me wrong, but it took me back. It wasn't the number of the beast. And that's made in for you. And that's where we're getting to lost in the lost world. Charles. Really good song. Takes a few listens. I really like a lot of the vocal melodies. I love the outro.  Really atmospheric, kind of haunting. I don't know what made and does best these days. Blaze, would you say blazes in there? A little bit of blaze here or there? It's funny. I hear, I hear so much X Factor in this album. It's just, but I've heard X Factor in every album since because that was the turning point record for them being more longer songs, more proggy if you want to use that term. But yeah, I do. This is a very good song actually. Really good, really good tune. Yeah, Aaron, Stefan. Actually, one of my least favorites. I have, I have two thumbs down on the albums, two songs. And this is one of them. And I love the intro, the kind of keyboard and acoustic intro and the Bruce's vocal and some of the chants. And to Jarl's point, I also noted that I really like the outro. But other than the intro and the outro, I really don't know if I like the body of the song all that much. It's got quite an interesting drum pattern. It's very sort of a militaristic, marchy kind of almost snappy beat. It might grow on me. Quite a hypnotic drum pattern, drum groove on that song. It reminded me of Ghost of the Navigator on Brave New World, which is one of my least favorite songs on Brave New World. So for me, it was kind of a mix of X Factor and that. And that's, yeah, like I said, this is only two tracks don't do it for me. And this is one of them. An interesting thing I might just add is that the more, the more I'm hearing people saying, well, this has got overtones of X Factor, you hear that the last two or three records, the more the X Factor is getting appreciated. It's kind of interesting how, you know. Well, I'm probably going to go back and listen to X Factor again and A Matter of Life and Death again. Honestly, one thing I love about the album, I'll deviate from the song for a bit. You know on a DVD, how there's Easter eggs you need to look for? I think there's like Easter eggs in all of these songs. And I listen to songs. I think it's very, I don't think they did it on purpose. I think it's organic. But I hear, hey, there's a bit of Brave New World. There's a little bit of X Factor. There's Mother Russia. There's, you know, I really find all these things. It's definitely worth mentioning. I think that the repetition is kind of setting in a little bit now. I mean, they've always kind of gone different places. I mean, no prayer for dying was very different. And Seven Sun and Seven Sun was way different somewhere in time. And X Factor was different than Virtual Eleven and Brave New World was different again as was Dance of Death. But the last two, maybe three albums, we are getting a little bit repetitive. So I am hoping that on the next album, I'm not saying they're going to come out with Holy Smoke or Hooks and New, but it would be nice to think they will, they are, they are perhaps becoming aware of this themselves. And we will see them going in somewhere different on the next record. Yeah, I'm sure we will. I'm sure we will. Who knows. Six years or no, I don't know. It's the fan. I know he's standing up there waiting to weigh in. I've heard differently. Apparently they're recording right now. But that'd be fantastic. I'm with Aaron on it. Not my favorite track. They are, you know, good intro, good outro. But the middle sounds maybe too much like generic late era Iron Maiden. Like, you know, it's always sound of X Factor. Oh, it has a bit of this, a bit of that. No, it just, what it shows that it's not original. As far as I'm concerned, it's not original. It's not an inspiring song. It's not a song that makes me go, oh, I've never heard that before. And I don't, and I think that's why I'm not crazy about that. What about the Moody Blues?  But, you know, there's the Moody Blues bit that everybody's talking about, and it is a direct sort of influence there. That's new, right? The Moody Blues influences in their music for years. Well, now it's more apparent. Let's call it more apparent. Okay.  Well, I haven't heard that part before. You know. I'm not saying it's a bad track at all. You know, something has to be your favorite and something has to be your least favorite. This and one other are my least favorite. I don't think it's bad. Just not my favorite. Look at this. Benno is saying, so all you guys bashing on the album think they're still in their 30s and should put out a power slave or peace of mind. Am I right? I agree with you. And actually, I'm not even bashing the album. For me, I like every song. We're bashing the album. Because I'm certainly not bashing the album. He sounds like you're bashing the album, Baron. Really? No, I'm just kidding. I'm not bashing the album at all. We'll give our ratings and look, I, anyway, we'll look, I'm just saying some songs are one thumbs up. Some are. We have to get on with this because we don't even offer through the album yet. Well, let's get to the next. Well, we almost are actually like it's only 10 songs on the album. I think we're about to hit number five. I'm sure we're going to have plenty to say about how long I was. I kind of like lost in a lost world. I think, you know, the only thing that's missing is Blaise Bailey. All right, Days of Future Past. What do you think, Giles? Brilliant song. A definite highlight of the record. Reminds me a little bit of something off the accent of the birth of people, wedding of Bruce's solo stuff. It's an excellent song. And whereas, whereas Book of Souls succeeded, where it was kind of polar opposites, you had things like Book of Souls, you had things like Death or Glory, Speed of Light and, you know, very typical made in short, catchy tunes. And then on the other end of the spectrum, you had an 18-minute song and a 12-minute song. It did kind of have both ends of the spectrum. Was this album kind of stays, stays kind of at that other end of the spectrum with the long, long, long songs, and they could probably could have benefited from another Death or Glory or something like that. This is about the closest you can get on this album to that. And I really like this song for that reason. It provides, this and Stratigo provide one, you know, two of those. And it's a very catchy made in song, probably closer to the age of the album. What a great chorus. Stefan, what do you think of Days of Future Pass? I like it. It's one of my best songs on the album. And it's funny that a couple of minutes ago, we were talking about Moodie Blue's influence. And here's a song name after Moodie Blue's album. It is one of the stronger songs. I, anything that has a strong, very in-your-face Dave Murray solo for me does it right away. And this song is the case. And that is why I like it so much. It's well structured. This is made in at its best. And this is a song, I think it's definitely the standout. And I hope it becomes a concert regular. I agree. The chorus, the structure, the solos, you know, I think it's the best track on the record, honestly. It is definitely the rocker on the album. And Matthew Slim is saying, why is nobody talking about how good Nico is on the album? I think Giles did say that. At the end, we'll give our overall thoughts maybe on production and performances, but now we're just doing the songs. But I'm just going to say that I think he's brilliant on the album. All right, Perrin, go. He's brilliant. He's always brilliant. You know, I'll keep this one short. I agree with both of the guys. I think it's one of the better tracks, if not the best track on the album. I think for whoever's hating on the album, I think if the whole album was songs like this, they'd probably like it, right? Because I think this is what some of the people are pining for. Four minutes, energy burst, great chorus, driving guitar, you know, so great, great song. It's ranged between number one and number three for me and my ranking on the album, which is probably going to keep changing around. And here's an interesting thing though. You know, when we talk about some influences from way back, there's a riff at the start. It's like a modern rock riff. It's like a Foo Fighters riff. I'm really honest about it. Let's not go back. Let's go. Let's not go there. Please. I will take that as an insult. Please. There is a modern rock influenced riff, which is really hooky and catchy and really, you know, I'm listening to it. I'm like, whoa, wait a minute. That's not old. That's kind of newish sounding. But again, for people who say they're not fresh and interesting, they kept us on our toes a little bit too. So terrific track. All right. Frank Potvin saying, what does Moody's Blues style mean? I guess if you put on nights in white satin, that's you get an idea of what it is. All right. The Time Machine. I'm going to tell you guys, I love this song, but go ahead, Joel. It's my least favorite. It's a little bit of a kind of in the middle song for me. I'm not really sure if I love it or if I think it's just okay at this point. I think it will be a grower. It's a grower. It's definitely a bit like the opening track. It's going to be a grower. So far, we've gone through the album, the opening track is a little bit of a struggle for me. And then so is Time Machine.  There's a jammy part of about two minutes left in the song that I think is really good. Yeah. It takes a long time to get there. And yeah. So this is the one, you know, I like it better today than I did yesterday. But when I said I had two thumbs down on the record, it was, it was, it's this and it's lost in a lost world are the two that I'm having a really, you know, about, you know, these maiden albums all month from now, it could be my favorite song. No, exactly. Even from day to day, I find myself changing a little bit. Absolutely. Stephen, I, it's funny when, you know, the jam part at the end with that that parent brought up, I like it. And it's, it's the element that made me really, really fit. You know what? This song is a keeper. It saves the track. Sure. A keeper. It saves the track. I feel like that part kind of saves the track. Yeah. Yeah. It's, you know, it's not the best track of the album, but it has highlights, which means this is not a song I'll ever skip while listening to the record. It's quite comfortable. Wow. This to me is like a highlight of the album. And you know, Isle of Avalon and is definitely, you know, the intro and I love the keyboards right in the background of it all. And then there's a little Tom Morello guitar riff there. You guys know Tom Morello. Yeah. Listen to it again. Tom Morello so far today on our main interview. Tom Morello. I'm not saying really. Come on here to talk about him. Tom Morello. Let's see what the comments are saying here. Alejandro is saying, Stratigo, the best song. Hi guys. Late to the party. Loving this new record. Besson's Brave New World. Rich Wolfson. And you know what? We'll talk about what is it ranked in the post Bruce hero. The best is brave new world according to some people. I guess that's for Brave New World. But what about the X factor of virtual living? They were pretty good. All right. Going slowing things down a little bit. The darkest hour, darkest hour on disc two, a Smith Dickinson composition. You're hitting the waves and the seagulls of natural science of rush. So what do you think, Stefan? I really like the darkest hour. Normally, you know, whenever there's a slow paced song, I'm always okay. Is this an excuse because they're out of energy? But again, I said before how much I love anything that is highlighted by good old Dave Murray's solo. And this is it. I think the guitars on that song are really, really pushed high in the mix, the solos. And, you know, I keep pressing repeat because I think it's a really great song, even though Maiden can be sort of hit and miss when it comes to the to the mid tempo or slow tempo songs. I really, really like darkest hours. All right, good. Perrin. Let me say that, you know, there were six songs on the first disc and I loved to, I liked to, and I was about to. So if the record stopped there, I'd be this is a so so Maiden record. For me, disc two, starting with this song, takes this record into the stratosphere. I absolutely love the second disc.  And then we've got three over 10. Oh, boy, I better buckle up for this. Disc two takes this record into the stratosphere for me. darkest hour is another one that I would put in my top three on the album. I love the beautiful emotional solo that Stefan referred to. I think Bruce's tone is great in the song. You know, it's like a heavy song, even though it's not a fast song.  There's also not a ton of time changes in it, like some of the other songs. So two thumbs way up on this one, I think this and the solo is just as emotional as the vocal delivery, right? And that's what makes it great. The melody, it's the melody to the day.  It's in there somewhere somewhere in World War Two, they're ticking on the whole world. Brian saying they are 63 to seven years old now, speed or rhythm of a song doesn't mean it has no character or it's lame. I'm sorry. So we're not allowed to comment on the songs because someone's 60 or 70 years old, we're just going through the songs talking about what we think to them. Well, I guess I should, I should tell you that he's actually defending me and saying that they are that age and they're not always going to do speed. I don't know if this needs defending.  We'll get that to a sec. So what does Giles think of Darkest Hour? Didn't you already say what you thought of Darkest Hour? Okay, go ahead. I love it. I think it's fantastic. One of the highlights of the record. I mean, I'm listening to things in that kind of Spotify mentality these days. There's not a disc one or a disc two. But if there is a disc two, I find it a little strange to start it off with such a slow song. I think this would have been the perfect closer to act one of the album. And then I think this two should have been the three Steve Harris songs. But then maybe people would have just thought this is the Steve Harris disc and treated it almost like bonus tracks at that point. But it seems like the three Steve ones should have been on their own disc. And this would have been the perfect closer to act one of the album. I love it. It's a great song. And they don't do many ballads. I mean, it's better than coming home. It's better than wasting love. I mean, it's a very, very good song. I like it a lot. All right. Frank is saying Frank are good. Frank is saying Darkest Hour is great. Very Bruce solo stuff. It is. It is. I agree. I agree with that. And actually, I did a whole review on this album. So that's why I'm not really throwing out the same stuff I already said. All right. Here we go. Now here we go. Death of the Celts. Wait a second. We're back to the X factor. Oh, sorry. We're actually at the virtual, virtual 11. Not just not just that. Not just that. Go ahead. You're right.  It is. There's total Klansman in there. I love the cool bass keyboard intro. I definitely hear Klansman. At first I was saying to myself, come on, Steve, learn the art of brevity. It's too long. And then that passage in the middle, the instrumental kicks in. And I hear Rhyme of the Ancient Mariner in there. I hear Genghis Kong. I hear Genghis Kong in the middle. I hear Rhyme of the Ancient Mariner in there.  So I don't want to say that part saved the song. But my favorite part of the song, and I guess when songs are like 10, 12 minutes long, there is going to be parts. My favorite part is that instrumental piece in the middle that really took me back to how they slowed it down and took us on a journey in Rhyme of the Ancient Mariner before they kick back into the song again. So this one is in the two thumbs up for me. It's a one thumbs up, but I like the song. So what's one thumbs up like 50% of two thumbs up like 100? What is that? Let's just say the system. This is like sitting on the fence. It means I like it, but it's not on my top. It's a Fonzie. You're saying it's a Fonzie. That's what you're saying. All right, it's a Fonzie. The darkest hour is a Fonzie. I like it, but not my favorite song of the album, maybe because it's a throwback. To previous songs like the ones you mentioned, but which they've done better in the past. I hate to repeat myself when I say that Iron Maiden does have a tendency to get repetitive and sort of follow a certain pattern and a certain formula. And this for me would be the song that is the well rehearsed formula catch all Maiden song, except it's not as original as the ones it draws from. I understand the middle part and all of that, but I don't find it to be the strongest song of the record. I love the bass. I love the bass sort of has that Celtic sort of scales. They're happening. Go ahead, Gels. I'm kind of not sure what to make of this one, actually. I like it. Yes, I like it on the surface. I like it on the surface. It's making all the right noises and doing all the right things, but I'm trying to get my head into it. I can't hum it for you right now. You know what I mean? I like it when I'm hearing it, but it's always sticking with me and that leads us into the next song because that's my big problem with the next song, too. I just can't remember anything of it.  What's the next song called? The Parchment. The Parchment. I just, I may as well continue. I mean, this is the one song on the album. I mean, okay, I'm struggling a little with the opening cut, but I dig it. I'm getting there. The time machine, that's, you know, 60% you know, but the parchment. I am just like, this is my least favorite track on the record. I'm just not good. That's just, it's not doing anything for me. And I hope it does. I hope it does. I really hope it does. I haven't lived with the three Steve Harris song as much as I have the first, what is it, six tracks? I kind of needed to digest this kind of those get the relatively shorter ones kind of internalized first and then move on to the three long Steve Harris ones. Hell on earth is grabbing me now. The other two I'm working on and I hope they do because I love Steve. Steve's my favorite songwriter, my favorite musician, my favorite everything in the whole world. So I'm excited about three Steve Harris epics, but Steve actually redeemed himself in my eyes on this record. Like I really found myself gravitating to Smith Dickinson. Having three Steve Harris epics in a row is almost a little bit like too much ice cream or too much chocolate cake at this point. I never enough chocolate cake. I gotta say, like I was losing faith in Steve and I really felt like, man, I love Bruce Dickinson solo. I just felt for the longest time. Everything Steve did was kind of like so, so, and it was where the world blows. That's one of his best songs ever. Okay, there are songs here and there. I'm going to tell you that when I asked today, what is your favorite songs off this new album, this one was definitely one that everybody was picking for some reason. Everybody seems to gravitate. Maybe because it's got that power slave kind of groove going. I just need to give it more time maybe. Maybe, maybe, Stefan. The dueling solo in the middle is great. It's hypnotic. It's a very hypnotic rhythm and this is again a testament to Nico. He's got this hypnotic drum pattern happening throughout the whole song and it changes. There's a lot of tempo changes, even time changes and key changes and they just, they happen so gradually. You don't even notice them. Go ahead, Stefan. I, you know, it's funny. I think the opposite. I think it's one of the stronger tracks from Harris in quite a while. I think, you know, I would put it in my top three, top four from this album and certainly the best Harris song from the album. I just love how it it feels like a cavalry invading the planes. It just has this boom, boom, boom in your face. And I think it's pretty well structured. One of the flaws from Harris is that most of his songs start the same way. You know, a bass riff. Yeah, I love that. It's kind of his thing now, you know. Oh, really? Yeah, but it, but he could be a bit more creative sometimes. But in the end, I find that it works for me. I think it's a very, very strong song. I think Harris, he has a tendency to repeat himself, but this one, he did much better and I'm really happy with it. I think you guys are saying and based on the comments, I'm looking for the song clicking with me and I'm sure it will. I've just had the record a couple of days, so I'm just needing it. For sure. And I need to say also, it's in my top three on the record. So I agree with most of the public who's putting it up there. I had this darkest hour and days of future passes, my top three in no particular order. And you know what? I will say, you know, I only had time to start reading some of the lyrics today because I've had this, the album for four or five days and I had a stream and I couldn't look at the lyrics. Now I can read the lyrics. The lyrics on this one, I find really connects with me. It's fruged on the stream. I didn't get any of that. Hell on earth. Here we go, Giles. Hell on earth, what do you think? I really know what you think, but glad. Really, really, really cool song. I love the ending and I love the bit, you know, I love the beginning and the middle too, but the way it ends is just awesome. I think it's a fantastic song. I'm actually looking forward to learning, learning it more and getting it more kind of ingrained. But yeah, love it. What a great. Is it annoying that for the last few albums, Bruce is singing along with the guitar, like in a note for note? Bruce is singing along with the guitar. I think Steve's just writing the songs that way. Well, you know, here's the guitar part. Here's the guitar is going to play the melody and you're going to sing the melody with the guitar. I think that's just how Steve does it. It doesn't really bother me that much, but it is curious of note that that seems to be Book of Souls had a lot of that as well. You know, the vocal line follows the guitar line and the vocal line. Like a guide track. It's kind of like it was a guide track when they're writing the song. They go, oh, just keep it in there. You know, I don't know. It's kind of weird. I could have kind of done without that. Something that's become prominent. And I thought Book of Souls is like a perfect record really. This one I feel is about 90%. I just, I just feel we needed a death of glory or just a couple more of those ones in there. I don't know what you'd take out to put one in or if you just make it even longer and have another couple of short ones. I don't know. I do feel it's not quite the record Book of Souls is, but who knows? Maybe like I say in a month, I'll be saying it's the best thing they've ever done. I don't know. Made in albums these days, take them, take a minute. They're an investment, you know. All right, Stefan. I think it's not the best song. And I think it's one of the weakest song in the album. And the fact they put it as a closer for me says a lot about me. Either the band felt it was not their most convincing. So they just buried it at the end or they completely discredited and assumed that, you know, fans will see it as a very powerful closer. I don't, I think it's a weak song, but that's just me. You know what I gotta tell you? I've had this album for a while now before I get the parent and I could tell you I could tell you that this was my least favorite track upon first listen. And now I really dig it. Like it's just like Giles is saying you need some time to absorb all this information and just to get into it. Karen, go ahead. It's not one of my favorites, but I like it. You know, the beginning had a Brave New World seventh son kind of feel and I like both those records. Then I kind of felt you got into the Harris Galloping bass and if you like the blaze era, you know, I know Giles really likes the blaze era. And I feel like this is a blaze era song with Bruce singing it. So I could see how blaze fans will like this tune.  And I'm kind of seeing a very, this is the polarizing song on the record I feel. I feel like people absolutely love it or people kind of really have it low down the list and I'm kind of in the middle. So, you know, again, I like the better second, third listen than the first listen. I think it's good, not great. All right. All around out of 10, what is the production for you? What rated out of 10, Giles? It's, you know what? I like it better than Book of Souls, but look, it'll never match the Martin Bergera. That's for sure. Yeah. All right. What would you give out of 10, the production, Stephane? I think we lost you. Somewhere in a bear garden. The production or the album itself? No, I think the production for the album. Yes. It's better if I take over here, I think. Go ahead. Go ahead. I think that, look, Kevin obviously knows how to work with the band. I read a comment today that Bruce said that they're not the easiest band to work with every set in their ways. They have little quirks and Kevin understands and gets all of them. But as far as end user like result, I honestly am not crazy about Kevin's.  Are we talking about the mix? Are we talking about? Let's talk about the traditional definition. Are we talking about the mix? It's everything. It's the mix, the mic-ing, the sound, how the vocals come out and how the guitar tone. I think the mix is actually pretty good. Okay. If we're talking about the mix, I think pretty much the last everything after Brave New World leaves a bit to be desired mix-wise. If we're talking about the production, as far as coaxing the performance out of the artist, I don't know. I'm not in the studio. I don't know how easy or hard that is to do with Maiden. They seem to know what they're doing. Mix-wise, I think they, I'd like to see a fresh pair of hands work with the band myself, honestly. But I think that's the consensus. I think it's a consensus from everyone. It's been a consensus for a long time. But I mean, look, I'm over it. If I'm honest about it, look, with young bands, a young band will often wind up sounding the way the producer thinks they should sound. With a band like Maiden who are set in their ways, like Giles said, Kevin works for Iron Maiden. And his job is for the record to come out sounding the way Iron Maiden wanted to sound. So this is how Iron Maiden wanted to sound. This is Iron Maiden in the 2000s. This is what they sound like. And I know a lot of us 30 year plus fans don't like it. But I'm just, I've waved the white flag on this one. I too would like to see them work with someone else just out of curiosity. But this is the way Maiden sounds in the 2000s. I accept it. You know, someone said earlier, I think Nico sounds really great. I don't know if it's his playing or where he is in the mix. I think Steve is not too high in the mix. And often he is. He's way too upfront sometimes. And I think Steve is in the right place. And I think the guitars, I'm not a guitar player. So I find the guitar pleasing to the ear on the record. Guys who are guitar players might talk about each separate guy's tone and this solo and that solo. I like it. Honestly, I have less complaints about the production of this record than I have with the last three records at least. Well, it's strange because this is more of a less muffled on the instrument sound, more brighter as a production. The mix I find is great. I just find that the way they recorded Bruce's vocals on some tracks. Again, I'll say it again. Sounds like he's in a phone booth singing. I don't know. I listened to it on the stereo. I listened on headphones. I listened. There's just a couple of tracks they're getting. It wasn't done right. There was something wrong there. It's like it's like Redeemer of Souls. It just wasn't done right. Did they know that? I don't know if they knew that. Maybe. Oh, I think they know that. This is how they want to sound. I think they're very deliberate. I think this is how Iron Maiden want to sound. Maybe. Maybe you're right. When you listen to Judas Priest's Firepower or even go back to like Heaven and Hell's Devil, you know Iron Maiden could have so much more balls. The albums just sound so thin. You have three guitar players and you can't hear any of them. It's just, I don't know. It's obviously the sound they want, but the songs are awesome. They're my favorite band of all time, but I just wish someone else could do a mix for them just so they can hear what that. I mean, Bruce's albums sound fantastic. They do. They do. Stefan, should this have been a single disc or a double disc? Should they just catch the rest of the stuff for bonus or not? Yeah, definitely. Single disc. I think it's great to say, well, because of streaming and stuff, we no longer have limits on how long an album should be, but take away the weaker tracks that you would have had a killer single album. Yeah, what about you, Giles? Single, double?  I mean, give me more. I just, it could have even been longer, I guess. I would have got through it all eventually. Yeah, I think triple disc. What I'd like to make, what I'd like to say here is- Is it already coming out with six, seven disc album? I don't care. What I would like to add here is, okay, so where are we going next?  Are we going to get just one song that's like 70 minutes long? I mean, it seems like it is time for Maiden to do something different. I mean, I see this pretty much as a partner album to Book of Souls, even cosmetically. It's got that very iconic cover with just the figure in the black background. It's a double disc. But haven't people been saying that for years now, Giles? Like it's time to sort of strip it down and just quick fast tracks. I mean, I see, I see this as a, as like a brother and, Book of Souls and this one are like brother and sister albums. Yeah, yeah, sure. It's funny you say that, Jimmy, because when no prayer came out I think at first, a lot of people appreciated the stripped down nature compared to a Seven Sun or somewhere in time. Like there was not necessarily a theme and it was a- That's the thing, we're getting a little bit- I mean, Seven Sun and Summer Sun were two of my favorite albums of all time, but yeah, they were getting like, okay, how much longer are the songs going to get? Yeah, so that's why they had to go that way. But in records, I hate no prayer.  I much prefer Seven Sun and Somewhere in Time. The question becomes, is do you prefer this album over no prayer? But that's not the point. The point being is they had to do no prayer and I love no prayer, but they had to do no prayer because how much longer could the songs really get? Yeah, I got you. So I think there definitely has to be, I expect there will be on the next album, some sort of radical, maybe not too radical, but there will be some sort of, it'll either be one big long song like Dream Theater or something, or Fate's Wanting did, or it'll be a bunch of shorter songs, or maybe they'll do something that we don't even think of right now. But I do think they've reached the end of the run, as far as the, I could be wrong, but the super, super, super long, long songs, because really, when you do three discs with even more long songs, where do you go from here? I wouldn't put it past them. Stefan, is this better than the Book of Souls? Yeah, yeah. Uh, mind you, I do need more time because Book of Souls at first I liked it, and then I listened to it over and over, over the years, and I start comparing. You know what, it's great, but not that great. This morning, I listened to it three times in a row, non-stop, and I like it. Like, first impression, I, it's an overall like. But it's how much I will be drawn to it, and to put it back on and on and on, that will determine how much of an impact it had on me. All right, all right. I think, I think, I think all, all post Brave New World, including Brave New World made, and is actually fertile ground for rediscovery for many decades to come, because they're just the more musical, denser, extravagant, longer songs. I think there's stuff to discover on all those records for years and years and years to come. If they did a tour where they only played songs from Brave New World onward, I would be perfectly happy. I would be too, but I know fans would be. And I know so many Maiden fans would be pissed with that, and they roll their eyes, and they think these songs are where you go take a piss break at the concert. If they did a tour of Brave New World onward, I think it would be terrific, maybe that's a good idea. That's a great idea, you know. But the real question is, Stefan, is this better than firepower? The short songs, you actually took Rainmaker, and if you took Speed of Light, and you took Death of Glory, and you took Stratigo, and you took, I keep forgetting the name of the damn thing. What's the other short one on this record? There's a Future Past. There's a Future Past.  You could almost get a double album of short songs. They do exist. They just sprinkled in amongst all these longer tracks, but they are there. All right, so Stefan, I asked you this question before. Is this better than Judas Priest's firepower? Just for fun. Look, it's hard to answer.  And after that, my love for Priest sort of diminished with each new album. Firepower was considered by me as a marketing success. Okay, so our fans want real heavy stuff. Let's give them real heavy stuff. It was not an evolution of Judas Priest. It was Judas Priest trying to regain their fans. I think that is so well put. That is so well put. That is exactly how I feel. Yeah. Yeah. Perrin, Firepower or Sanjitsu? First, back to the first question. I think this is better than Book of Souls. I like Book of Souls. I think I might love this record. I mean, more time with it. And then Firepower is my favorite Judas Priest Runeon era record. I love Firepower. And I like the songs that are buried on it a little bit. Necromancer, Children of the Sun. I like Traitors Gate, Specters. I love Firepower. Love it. And today when you did that poll, I actually voted for Sanjitsu. And it's a bit of an unfair question, Jimmy, because you're talking about an album I've been living with for years versus an album that I've listened to. No, but Stefan put it so well. Iron Maiden, they're growing as musicians and the songwriters and they're doing what Judas Priest was doing. But now all Judas Priest is giving the fans what they want. They're just rebranding something that was successful. I don't think anyone wanted Nostradamus. Well, maybe they didn't, but maybe if they did do another type of Nostradamus, but in a more creative fashion, maybe fans would have liked it. I don't think you've given Firepower enough of your time. I think if you forget the cliche stuff, like Never Surrender and the title track. Love Never Surrender. I like Firepower. I just never listened to it. I love it too, but it's simple. I never listened to it. Like I like it, but I never listened to it. I mean, but you don't know if you're going to be listening to Sanjitsu in three years, Jimmy. So anyway, this show isn't about Judas Priest, but I'm just saying. If you just show us about how Iron Maiden is better than Judas Priest. I don't know why I'm sitting here at like 20 pounds midnight. Because it's Iron Maiden, that's why. We're faffing on about Judas Priest when I think we're doing it on. Yeah, right now I like Sanjitsu better, but I think Firepower is a great record. I don't think people give it enough credit. I think if you listen to the deep tracks, it's a great record. All right. I thought Firepower and Redeemer of Souls were the redemption of Judas Priest for me, because I thought that Nostradamus and Angelic Retribution were quite patchy to put it mildly.  I mean, can I go to bed? Really? No, no. You have to get a coffee, get a coffee. This is the last question of the day, and then we're going to let you go to sleep. Out of 10, how would you rate this album on first impression, Giles? None. Okay. All right, Stefan? Seven. Oh, Perrin? Eight. Oh, wow. And I kind of be in the middle between Giles and Perrin. I'd be like at probably 8.5, 8.6 around. Well, that means we're averaging around an eight or better. So that's pretty good, you know? Yeah. Okay. Well, you know what? It's time to celebrate our main as a new album, and hopefully it'll, everybody will pick it up and it'll grow on everyone as time goes by, because I definitely, I can tell you guys, I gave my opinion on this. I love every track and I find something brilliant about every track and I don't know. It might be one of my favorite albums in the pre-Blaze, post-Bruce era. And actually, sorry. Pre. Post-Blaze. Post, post, no, pre-Blaze, because I didn't like Fear of the Dark and it was the other one again. No prayer. No prayer for the dying. I didn't like no prayer. I'm talking about from before no prayer. It's probably one of my favorites. Yeah. It's great. It's awesome. Everything's great. I love everything. Time for Night Night, Giles. It is the fastest break in the world. It is the fastest break in the world. Be good, guys. All right. Be safe. Be safe, man. Look out for the great white buffalo there, Stefan. I will. Later, guys. Later, guys. Bye. Bye.


Now to check for the spinothalamic tract there are a couple of different things we can do and that would be either Check the patient's sensation to touch to pain or to temperature and typically we only check for temperature If the sensation to pain is abnormal and that doesn't mean that we induce any pain in the patient But that's again that sharp and dull assessment that we're doing with most likely our cotton-tipped applicator So first I'd like for you to close your eyes and tell me where I'm touching you Which side? Okay, how about now? And here And here Okay, good, so that would be the touch sensation and next we'll do the sharp and dull So I have this cute tip here again I'll be touching you in the upper and lower extremities. Tell me if you feel sharp or dull as a reminder Here is what dough feels like And here is what sharp feels like Okay, they felt the same. Let's try a different part of your hand sharp and dull okay, okay So sharp or dull? sharp Sharp or dull? sharp sharp or dull? dull Sharp or dull? dull Sharp or dull? sharp Sharp or dull? sharp Okay, now on the legs? sharp Okay, very good. So that is the sensation to sharp or dull. Now if that was abnormal we would check The temperature since and so what we could do is Use the handle of either the reflex hammer or the stethoscope Which is you typically cold and then hopefully the palm of your hand which is warm and we'll see if he can tell the difference here Is this cold? Does this feel cold to you? Yes, and does this feel different warm? Okay, so and we'll do the same thing but touching different body parts and asking him to identify whether it's warm or cold Okay, close your eyes, please and tell me if you feel warm or cold warm Okay, excellent. So this is the peripheral sensory neurologic exam


session of the 2021 Open Simulator Community Conference. In this session we are pleased to introduce the presentation Learning to Live on Mars. Our speaker is Mike Laurie and Mike was editor of the Neil Stevenson Quicksilver MetaWeb Wiki in which he helped flesh out the virtual world of the novel Snow Crash and other works by Stevenson. A military veteran Mike was a member of the Extropy Institute which pioneered early VR concepts. After joining Second Life in 2006, he built one of the largest estates on the grid, developed the first virtual stock exchanges, and was a frequent guest on the popular treat TV show and Metanomics. He then capitalized the first commercial Open Sim grid, Central Grid, and members of his team were part of the original LiveSL group that built the tools that made OpenSim possible. Mike currently serves as chairman of the Exhibits Committee of the International Space Flight Museum. It has facilities in both SL and OS grid of kitely.com. I want to give you some housekeeping. Please check out the website conference.opensimulator.org for more about this specific speaker but all speakers and a full schedule of the rest of the events for this conference. This session is being live streamed and recorded so if you have questions or comments during the session you may send tweets at OpenSimCC with the hashtag OSCC21. All right welcome everyone and let's begin the session. Mike I'm going to turn it over to you. All right great thank you. Mary Krampus. All right so with that out of the way, thanks everybody for coming. So yeah we've been talking about a project that we've been doing for the ISM here in OpenSim for the been working on the past few years and we're going to be opening it up to being able to be used by the public for training in in early 2022. So for those familiar with the International Space Flight Museum we started in 2006 in Second Life and we have two regions still in Second Life. You may have visited our rocket ring there that's been featured in a number of media articles. We had featured full scale exhibits of all the world's rockets and so a few years ago we decided to open up here in OpenSim because we could get a lot more bang for our buck in terms of land and space and so forth because our two regions in Second Life are getting kind of cramped. We still operate them alongside the National Space Society and ISM is now a Texas-based 501C your donations are welcome and we are in Kitely now we've expanded to an eight by eight region where the normal museum exhibits that replicate what we have in Second Life are now in a four by four section of that eight by eight and we started to develop training simulator spaces for teaching people about colonizing different places in the solar system. So the first example of this that we've been without nearing fruition is our Mars base and the idea is that it's not just something for people to come and take a look at and see the pretty exhibits and so forth. Our plan is to implement scripted devices throughout the entire exhibit that are fully interactive so let me start with the slides here so we've got when you first arrive you wind up at our landing spot and we have a fully operable SpaceX Starship rocket the one on the left there is capable of ferrying people from our Mars base sim back to our area of the sim to our museum and back and forth from our SpaceX launch tower there in the main museum and it'll spend some time in quote-unquote orbit where you can enjoy zero gravity and so forth and we'll get a little information about that but the big focus is in our Mars base and the training stuff and this is something that I'm trying we're trying to take to a whole new level that isn't really seen much in open sim or Second Life so what we're going to be doing is implementing some features with our scripted devices that really take things to a whole new level so it's not just trying to make a facility that's got a realistic appearance and maybe have some things that you can operate every scientific technological device that's in here is going to be fully interactive not just to be able to operate it but it's going to have failure modes so things will break down from time to time and you'll be able to troubleshoot them and then repair them and everything will be fully documented so that people who want to train here can study the documentation like a textbook you know basically pre-train and use as a reference material for doing their interactive training work and that'll also allow them to record their performance in these functions in terms of time and and missteps and things like that so when this is fully implemented we'll have a fully operable curriculum so that people will be able to sign up on our website to become what's called analog astronauts to enter this training and when they complete the whole program they'll get a certificate from us certifying that they've completed this program as a virtual analog astronaut so you may have heard the term analog astronaut before it's something that's used by the Mara society and other organizations around the world that have facilities that allow people to who who basically show that they have the training to enter these sort of programs and they'll go to places like the Arctic and Utah desert and other remote facilities that have been built to resemble what a an early Mars based on Mars excuse me an early base on Mars would look like and the way they operate there is they live inside these modules most of the time as just like they would be doing if they were living on Mars and when they exit the modules they you know wear a spacesuit so doing like geological surveying and scientific work anything outside they work in their spacesuits they'd use equipment that's been designed for for astronauts and for use on plants so it's a very realistic training experience they log all their scientific data so it's it's a very intense program that usually lasts between three to six months depending upon the program and but it's those programs there's limited availability of slots there's only so many facilities around the world to be able to do those sort of things and we're going to be seeing a lot more opportunities for people to colonize particularly Mars in the coming years because if you've been paying attention to the media Elon Musk and SpaceX are intending to help move as much as as many as a million people from earth to Mars in this century and so that's a lot of moving that also means a lot of training yeah that's my dog in the background and so we need to make training more accessible to more people and as well as have sort of a pipeline where people can do their virtual training online particularly when we have situations like you know we've all been dealing with with coven everything where everybody does everything remote now um and so this will help people decide if that's this is something really for them they even if they decide against moving to Mars they'll have learned a lot about what this is all about and they understand both the feasibility and the difficulties and the amount of work that goes into these sort of things and so setting up programs like this will help to pipeline people into more intensive in-person training they'll prepare people for an actual colonization migration that will happen uh sometime you know late 2020s up into the 2030s is one thing should be getting started with SpaceX and so you know who knows who else uh what other companies or countries may be getting into the game so um let's see some other things we've got here so um when you arrive in our region you'll wind up at our landing point right next to the rocket landing pads um you are immediately asked to put on a spacesuit because you're in a vacuum and you're gonna die unless of course you're a droid like myself um and so we've got the free spacesuits so people can slap those on and they have two choices they can either get into the Mars vehicle there to the left and trundle over to a airlock to go straight into the base or if let's say their ship has had some issues with onboard illnesses then when people arrive they'll go to the right into the doorway to the right and that's a goes down underground to some modules that they'll be quarantined in for a certain amount of time until they're demonstrated to be free of any illnesses that we don't want spreading to the population and so once you get into the base then we've got a number of things to look at so a big important thing with living on Mars is energy so we've got several forms of energy this is a what's called an mp200 nuclear reactor so it's a very simple reactor has basically five moving parts a control rod for the reactor core and four sterling generators and each generator has one moving part it only takes it only needs maintenance every six years very rugged very durable and then it'll generate 200 kilowatts of energy as a base loan for the base and one of the big things that's important is rockets need to get back to earth to bring more people here and one of the things that makes this sort of program very economically feasible is what's called the sabbatier process we need to instead of hauling all the fuel we need to get back to earth with from earth which is what earlier mars exploration projects had expected and why they were so expensive using what we call in situ resource utilization or isru we use the resources that are on mars to make the things we need to live on mars so in this case this little chemical plant we see right here takes carbon dioxide out of the martian atmosphere we take water from ice that's being found to be rather plentiful on mars even if it's underground and so we put the water in the pink tank we put the co2 in the yellow tank we split the water into liquid hydrogen and liquid oxygen so that gives us liquid oxygen as an oxidizer for the rocket engines the liquid hydrogen and the carbon dioxide go into a induction coil based uh catalytic reactor that's got a bed of of platinum pedals pebbles in it and the induction coil heats it all up and it turns those gases into methane and water and so then it goes through a condenser and the first the water gets condensed out of that and winds up back in the h2o tank and then the remaining gas is methane and that goes through another condenser it goes into that red tank which says ch4 which is methane so now we wind up with liquid methane liquid oxygen we refuel our rocket send it home to get more people more cargo and more equipment and so that's how we make this an economical thing and so you see in the background we've got some windmills up on the rim of the crater there and so some people may say well mars really doesn't have much atmosphere how can you use windmills well the fact is that uh even though mars atmosphere is only six millibars of pressure now earth sea level is a thousand millibars so that seems rather thin but a carbon dioxide is about 30 denser than oxygen and nitrogen and secondly the average wind speeds on mars range from 60 to 120 kilometers per hour so when you calculate all those factors in uh wind power on mars is almost as useful as it is here on earth cows for mars right but they require a lot of food that you got to grow as well okay so next thing we got is so you arrive here and you can see this another style of of windmills here on the right of this image and these are helical windmills that are lower power but they're easier to maintain and so we wind up at the base here so this front module we see is sort of a three-decker module that's based on the original mars direct designs that dr robert zubrin zubrin designed back in the 1990s and so that'll be the first module that gets erected on mars and so the first team lives in there and then they start setting up large 3d printing machines that will use mars resources to create martian concrete they'll be gathering iron and nickel asteroids that have fallen on mars for billions of years to create martian steel they'll be gathering silicon to create martian glass and with these types of materials they'll be building all the other modules that we need there on mars and so while they're living in this first module that will be covered in what's called reguleth which is just martian dirt to provide radiation protection because the martian atmosphere is thin and so then we can start building more modules that you see behind there now this is one of the pieces of equipment that we use for gathering martian resources these are called rasor machines and so they're basically robots that have these drums on the front and back that rotate and they scoop up martian dirt into those drums when they fill up they rotate upward over the bin they turn in the reverse direction dump all the soil in the bin when the bin's full the robot goes and they delivers all that stuff to a refinery that separates it all and delivers the refined materials to 3d printers and so there's lots of opportunities for learning to maintain things here we've got a garage here for the mars rover vehicles and here we've got also solar power now solar is kind of useful on mars it's slightly less intense sunlight on mars than on earth because mars is over 40 further away but again the atmosphere is thinner at least when there's no dust storm so you can gather a lot of solar power so once we start building modules from local materials we need the next big thing is we need to have sustainability to keep people alive more than just water and air of course we need food so this is a combined living and agricultural module with a geodesic dome on top using a model called the universal habitat that was pioneered by NASA engineer Greg Allison Greg was a past president of the L5 society and he's got he's got his green greg's channel on youtube if you're into sustainable agriculture and permaculture this is a larger agricultural module where we've tunneled deep into the ground and built a four-story agricultural modules where we can bring in sunlight and illumination that's powered by electricity and grow rather intense levels of agriculture both vine material species on the walls and down the columns but in the fields area you see in the brown areas of the floors there that's all soil and so we'll have everything from lettuce and corn to pears and strawberries and all kinds of stuff in between and if you look down at the very bottom there's a little cistern there so underneath the the bottom floor there is a basement that's filled with water and so gathering water in this mars base is going to be like if you've ever read the novel dune how the people on iraqus uh collect water underground we're going to be doing the same thing on mars because even though there's a good amount of water on mars there's certainly not as much as there is on earth and it's all underground and frozen so we collect the water we melt it we filter clean it and so forth we distill it and we store it in our facilities here for long duration use as well as recycling once we have a nice good sized martian base going then we're going to start building more because they one of the reasons for doing multiple bases is is that there are different types of minerals in different areas of bars and so to be able to travel between those two places particularly transporting cargo you can waste a lot of energy flying it there or traveling on the surface and exposing whoever's trans transporting it to radiation or we will be using tunnel boring machines to build hyper loops on mars now you may wonder why hyper loops well if you've ever looked at all the companies that elon musk invests in he's basically looking at core technologies that are needed on mars and he's figuring out how to get markets on earth to capitalize their development by creating markets for them here so he created tesla cars because there's no oil on mars so you need electric cars on mars he created solar city because again there's no oil on mars space acts obviously to get there he created the boring company to develop tunnel boring machines and so on and so forth so when you understand that whole idea that you start seeing how he's got a rather holistic view of development so that's basically the whole presentation so far and so here I am on my hyperloop train at riding around in a we've got a nice two kilometer loop underground that you can ride on and it will break down from time to time and you'll have to fix that so that's that any questions hey mike I wanted to ask you so how do you get for these builds I mean how are you getting how to recreate these specific rockets and things that you're putting in here I do a lot of research online with you know what's going on with with for instance with the rock with SpaceX rockets I'm keeping tabs on their designs their dimensions yeah I can tell you exactly how the raptor rocket engine works so on and so forth so I delve deeply into a lot of that stuff online if you're into this sort of thing I actually recommend a couple different youtube channels there's what about it is a great space youtube channel there's space eccentric which is another great one that focuses on SpaceX and then there's everyday astronaut which Tim Dodd runs and is actually quite educational for on a lot of different topics so if you're into that sort of thing check those channels out they're really excellent awesome any other questions before we let Mike disappear into space all right well Mike thank you so much for sharing your time and information with this I think a lot of people are going to be heading your way great we're always open for volunteers particularly if you're in descripting we want to accelerate this process and so and and we are offering money for people that want to do scripting for us so give me your ring all right so as a reminder to our audience you're going to want to check out conference.open simulator.org to see what is coming up on the conference schedule you won't want to miss our next session which will begin at 2 30 p.m it's entitled animash is coming animash is coming get excited also we encourage you to visit the oscc 21 poster expo in the oscc expo 3 region and to find accompanying information on presentations and explore the hypergrid resources you can go to oscc expo 2 region and you can see sponsor and crowd fonder booths are located throughout all of the oscc expo regions so feel free to open your map and jump around and enjoy yourselves I want to thank you again thanks again to our speakers and to the audience for coming and we'll see you again here at 2 30


Okay, my name is Christian. I'm from Croatia. I'm running the only in the largest Drupal shop in Croatia I think it's completely different. I think it's the largest camp in Europe. I've been to accept Drupal camps and the most I think the most people from all the Europe are coming here. So to all other camps there are people coming from some part of the people but like London is like some kind of center of some of business, etc. Then there is like I think the most number the largest number of countries in different visitors came to London each year. If you want to meet really Drupal is from all over at least Europe but even the world you should come to Drupal, come London. This is I think the variety of countries here are the really I met people from I don't know from Armenia, India, USA, I think yeah, there is no camp in Europe that will bring more people from around the world.


Good morning, John. It's Esther Day, a day in our community and ideally in the whole world where we celebrate non-romantic love. When we call on people to tell the folks that they love, that they love them, even if it is a little awkward, like John, I love you. I appreciate you.  Is that what love is? I also asked on Twitter this week if people had questions about family and friends, because I wanted to use people's questions to kind of get it something I've been thinking about a lot, and it worked. But let's start out with a few easy ones. What's the weirdest thing you've ever caught John doing? Like, besides sponsoring a third-tier English soccer team? N-nothing. That is the weirdest thing. What's a cute orange story? In the morning, sometimes he looks at me and he says, Baa-ba-da-nah-nah. Which is actually a sentence that means, pick me up, up, up, take me downstairs, da, and feed me a banana. Baa-ba-da-nah-nah. How do you know when it's the right-ish time to have a baby? I actually made a whole video about this, but I mostly want to answer this question because then this person's mom replied to her and said, Ask your mom if she's ready to be a grandma. No. No. Bad mom. No. How do you stay in touch with family when you're separated by long distances? One of three ways. One, you can just happen to have all of the same free time and all of the same desires for communication. That's not gonna happen. Two, you can do what I did all throughout college and you let the person who wants to talk more guilt you or nag you into calling them, which creates resentment. Or three, you can schedule it, just schedule it. Have it on the calendar so nobody's having their expectations upset. Relationships are work. Do the work. Speaking of which, here's the actual question that I wanted to answer in this video. Because I knew I was gonna get it a lot and I've been thinking a lot about it. How do you make friends as an adult? I also see people answer this question incorrectly a lot. Those answers usually go something like, you gotta put yourself in places where you will interact with other people.  All that stuff's fine advice. I just don't think that it gets to the root of the problem. I'm gonna go ahead and get pretty real here. When you're young, you make friends easily because you find it very easy to value other people. Like the kid next door, when you're growing up, you implicitly believe that they're a big deal and what they think about you matters. And likewise, they feel the same way about you. And when two people each agree on the other's intrinsic importance, they work together to maintain a relationship and respect and appreciation and that's friendship. At least as far as I can tell. I'm sorry I think about these things very rationally, but it's how it works up in here. But as we get older and we're exposed to more people who might not be worth being friends with, we also start to value other things like romantic love or money or power or likes on Instagram. I think, and this is just guessing, we're less likely to quickly value other people and less likely to be quickly valued by others. I think when we ask, why is it harder to make friends as an adult? What we're really asking is why is it harder to value and be valued by others? But I actually don't think that it is harder. I think that we just forgot how hard we used to work for it. None of this answered the question, but I feel like understanding the question better might help us each individually answer it better for ourselves. You want to make friends as an adult? You have to figure out how to really value other people and to get them to believe that it matters how much you value them. Because look, we're all on this messed up 2018 together and sometimes you're going to put energy in and in and in and never get any back. That can hit your confidence pretty hard and then you stop trying. But you got to understand that there are so many non-social and quasi-social things taking up our cognitive resources that it makes sense that people aren't giving back when you give. We kind of sometimes don't have the time and energy to devote to valuing individuals in our lives and that's a little bit of a disaster because that's what friendship is and that's what love is. And while this video has a lot of guessing in it, that's something that I know. Love is not free. It takes a devotion of time and energy. It takes work. And I want to say to all of my friends and family, thank you for helping make that labor joyful. John, I'll see you on Tuesday.


Vice Admiral Jan Tye became the first female commander of a numbered Navy fleet Wednesday. Tye relieved Admiral Michael Rogers as Commander U.S. Fleet Cyber Command and 10th Fleet. She served as Deputy Commander of 10th Fleet since November 2013. Rogers takes the reins as Commander U.S. Cyber Command and Director of the National Security Agency, Chief Central Security Service. U.S. 5th Fleet Coastal Patrol ships successfully tested the Griffin Missile System, or GMS, last week. The patrol ships launched four Griffin Missiles off the coast of Bahrain to test the system's operational capability. GMS was modified from aviation and special operations platforms to improve escort duties, commercial shipping defense, and maritime infrastructure protection. All 10 Bahrain-based patrol crafts plan to have the new missile system by 2016. Read more about these stories at Navy.mil. From all hands update, thanks for watching.


Today I am going to focus on problem solving on infix to prefix and infix to post-fix notations that is polished notations this is this topic is from discrete mathematical structures. The learning outcome of today's session student will be able to convert the given infix notation into prefix and he will be able to convert the given infix notation to post-fix notations. The contents I am going to cover in this video first of all I will explain what is the precedence of operator then I will focus on example how to convert the given infix expression to prefix and in the further slides I will explain how to convert the given infix to post-fix expression or notations. First of all let us understand the precedence of the operator. Now as we know that there are different types of operators are there we have studied various operators out of that the negation has got the highest priority then and is the next then or conditional and biconditional so in this five operators biconditional has got the least priority whereas the negation has got the highest priority and if suppose the formula has parenthesis then the innermost parenthesis will be evaluated first and in that again the same precedence of operator will be followed and then the outer and the outermost parenthesis will be evaluated for the particular formula. Now let us understand one example is given how the precedence of operator will take place. Okay here we see that p or into bracket there is no bracket actually p or q and r or s and t okay overall there are two operators are there r and and okay we know that and has got the highest priority and out of that and has two times and is appearing okay between q and r and s and t. Now how to resolve this problem which one should be evaluated first for that okay to resolve this okay to resolve this what we do we come to the left side of the formula okay now we will traverse from the left hand side okay whichever n comes first that is q and r so this will be evaluated first that is why it is written as 1. Then secondly s and t okay this comes and comes second okay so this will be evaluated second then r again two operators are same operator okay but in a formula twice the appearing. So that again we will resolve the same problem with the coming to the left hand side of the formula we will traverse from the left hand side whichever r comes first okay that will be evaluated first so this particular r will be evaluated first then this r will be evaluated at the end okay so the priority of this particular formula will be q and r first s and t second then the result of p or into first t1 and result of the entire this r will be evaluated. Let us focus on the problem over one the problem is q and p conditional q or r or s okay now brackets are there so first of all brackets has got the highest precedence okay so innermost bracket is what p conditional q okay the second bracket is r or s both are at the same level both are at the same level so the first p conditional q will be evaluated okay then second r or s will be evaluated and third the result of these two okay will be operated with r operation with operated with r operation okay so this is how the entire bracket is will be evaluated now let us see one by one say this is equation number one first of all convert this into prefix okay as we know that in infix notation operand operator and operand two okay p and q are the operands and conditional is a operator okay so operator will lie between two operands in prefix first of all operand will come followed by the two operands okay so let us convert first of all p conditional q into prefix so it is converted into conditional pq say it is equal to intermediate result t1 now put this t1 in the equation number one so that this will become t1 or in place of this p conditional q I have placed t1 intermediate result or this particular r or s will be written as it is in equation number two this is only one r is there okay then now next time this r or s will be evaluated r or s is equal to convert that into prefix that first of all operator r will come then the two operands r and s will appear in a prefix so this is say equal to t2 as a intermediate result second result okay now substitute this t2 substitute this t2 in the equation number two okay so that equation number one two will become now t1 or t2 t1 or t2 say that is equation number three now what we will do we will we will this is what equation number two okay put the value of t2 okay put the value of t2 in the equation number two t2 is what t2 is r r into bracket r s okay well before that this r okay t1 or t2 t1 or t2 will be converted into prefix that is converted or as r t1 t2 so this equation number four should be considered now equation number four should be considered and in this equation number four t1 and t2 should be substituted what is t1 is conditional pq and t2 is r p r s so if I substitute these values so this will become r conditional pq or r s okay so this is the required prefix notation this is the required prefix notation or will be written as it is t1 is nothing but conditional pq and t2 is nothing but r s so this is the prefix notation from the given infix notation let us go to the second problem okay consider the following expression and convert the following expression into prefix okay take a pause over here in the video and write down the answer the answer is answer is it is first of all p and q will be evaluated then r and s then negation r negation pq so finally it will be conditional and pq or r s now the same example okay that we have taken for the in the first previous slides okay now let us convert this same problem into post fix expression or it is also called as a suffix expression okay now in suffix what we do say this is equation number one suffix first of all the two operands followed by the operator okay so p conditional q will be evaluated first so convert that into suffix that is pq conditional say is equal to intermediate result t1 okay then put this t1 in the equation number one so that becomes t1 or r or s so this is equation number two only one r is there then r or s convert this into post fix that is r s or say this is result t2 so put this t2 in the equation number two so this will become t1 or t2 so this t1 or t2 should be converted into post fix that is t1 t2 or okay so that we will see in the next slide so t1 t2 or in the equation number four okay now we will substitute now what we will do we will substitute the values of t1 okay now what is the value of t1 t1 is what pq conditional pq conditional should be substituted in place of this t1 then r and s or okay this is what t2 okay that should be substituted over here and then the r connective the r connective will be placed as it is so the formula will be now after substituting this t1 and t2 values in equation number four this will become pq conditional pq conditional then this is what r s or r then r okay r s or then r should be should be the answer let us see what is the answer put this values of t1 and t2 in the equation one by one okay first of all for t1 we will put pq conditional okay pq conditional okay then for t2 for t2 what we will do this value of r s or r s or then r will be placed over here okay now if you look at this particular formula if you look at this particular formula this is this is the same formula okay whatever the formula was given to us okay so we have converted into this is a required post fix or suffix expression we have converted into in fix to prefix then in fix to post fix expression okay and we also we also can convert the given prefix to again back to in fix or this particular equation okay this particular equation okay say this equation can be converted back to in fix notation or this can be converted directly to prefix also or prefix can be converted into post fix also okay so all conversion are possible okay so this is what I wanted to explain and I hope you will be able to solve now how to convert the given formula in fix formula into prefix or the same formula can be converted into post fix expression so these are the references and I think you like the videos thank you very much have a good day.