What is up everybody? Real is the game in here, and we are finally back in the scary elevator I know I haven't played this game in such a while and matter of fact I haven't played roblox in the cool minute I just felt like I don't know I was kind of getting a little burned out on it It might have needed a little break, but we are back and also I haven't done a live stream And I know I will try to do one tomorrow as a matter of fact that will and make sure to drop your Usernames down below if you're in my group so I can send you guys a robux I'll try to send some you guys robux before we start to stream tomorrow, and yeah, let's begin Oh, so they got cartoon dog. Yo, I live jack. I think that is not a new killer. It's an old killer All right, so this looks a little different from when I last played it. Oh my god, dude Is that Jason over there to rapper? Oh, that's from a dead-by-day life. Okay cool Let's go check out the floor. They do have I remember they had a bridge worm, but I'm not too sure Oh, I was jack. Oh That man this can't be in the elevator right he's kidding everybody in there.  That dude was not running for his life now. He is dead kind of deserve it man for not running All right. Oh the other is new That's pretty cool. We have never seen the elevator been updated since a very long time dad I am not your dad lacy. What come on man We're so good to see what's up lazy. I keep dying. Let's see who we got in here Let's get some shots. They got Jake Frost. Oh Lacey Christie. What else do we got? That's pretty much it from the G squad man What's up? All right, you can't touch me open drowned. Oh cool Okay, so oh, okay, that was a dead body back there So we can see a lot of the floors have actually gotten renovated It's just pretty nice because I was getting bored of the floors looking the same floor badge. All right Oh, oh my man needs some milk He needs some milk. All right. Let's get these coins up here You'll never get me up here, right? I think we're safe. I believe we're safe. Where'd he go? Oh Well, dude, he's right under us. Oh something the noob Shit the noob. Okay, there you go. Noob working out to sacrifice you to the gods All right, there you go. He got lucky just in time. All right, so what hats new all right This is all this is not new. Okay, so they have a lot of free hats And then there's a pass where you get more hats. I don't know that's even worth it Okay, why is there a zero? For all that's a timer. Okay, what is this? Oh SEP 49. Oh Oh my god Every man for themselves. How did I die? Dude, how did I even die there? He wasn't even near that near me. Okay, so why the cartoon dog look like that, bro What is that? Oh my god? All right, hopefully we get the cartoon dog floor because I would be freaking awesome if we do oh scary elevator 2.0. I See all right new floors plus we were killers layer home the well. Hello, Lacey. What's up? Evil doge. Oh, what's up? Jake Frost? Oh the barn Kawaii sentient Stranded and lockers right so they rework some killers. They prop back some killers are added some new killers and all those bridge worm Dude, we better get that floor. All right guys. Let's go. Let's get it.  I'll you guys watching y'all are sus, bro. What? I just got clamped right before even entering the floor, bro. Like How is that even possible? Yo, this is pretty cool It's like exactly like a mungus. Oh pizza. There's pizza there. Oh, it's red, of course. Oh Oh, man. All right, that man's is not messing around Dude, why is he look like that? The floor looks phenomenal, but the imposter looks a little weird You look like an egg with legs. Oh, man. All right, whatever. Oh, I'm like do I'm yellow purple and blue got vented Oh, we finally get the bridge work floor All right, this is gonna be epic. All right, let's check this out. Oh Man, all right, I seem like oh dude that train is about to fall. Oh, it's gonna come out of there, isn't it? Oh Oh Dude, she just got eaten alive. All right, you know what? Let's go look for the badge. I need to get this bad, bro I need to get this bad. Where's the badge somebody show me the way. Oh that thing is so hideous. Oh My god to leave now. Oh, there's a badge cool. Okay, so we got the badge awesome, but check this prince worm out That's a pretty cool model. We're about to die. I Like how it actually is attaches like it shows the other face that it has inside But that's its real face the front part is just like an illusion. I don't know man. Do you look hella freakin? Oh When we're going back in time we got guess six six six here. Oh Man, this is a major throwback. Oh, okay, so now it's like a maze Okay, where's the exit portal activated in ten seconds great now We got to survive out here with the crazy guest on the loose All right, Lucy goosey. Where's yet, dude?  All right. Let's get out guys My beer only point of survival. All right, so let's have a look around the shop Let's see if they added any new things. I'm sorry guys. I just haven't played this game in a while So I don't know what's new what's old Compared to you guys. You might have seen all this already. Oh siren head pretty cool. All right. Nice All right. Yeah. Yeah. Oh, I wonder if the mega VIP has something new. Oh, let's go check that out. That might be a new floor Hello, okay, let's go in here with always all that's Chucky all that's Chara my bad All right Chara's all news, bro But they did update the floor as we see but still man. Come on Oh bench. We probably have that already All right. Okay, so they extended the floor from where it seems like I Guess that's pretty cool Because this floor used to be very small indeed. Oh, man. What's up with this avatar? She looks crazy. Oh, and we got the cartoon dog floor. Oh, dude. That is that cartoon cat in there Well, man, it is cartoon cat. Oh, all right. That is a weird model. Why is why is his legs like that? He looks creepy. Oh, oh, man. All right. Oh, dude. What is he doing? All right, my man does not look good. It looks like he is broken or something Dude, why do they keep shaking? All right. I wonder if he has a jump scare. Let's try it. Maybe not I don't want you know what? Let's die. Oh, I was gonna try to see if he had a jump scare And I didn't get the badge. Oh, man. I missed that. Oh dang it. I guess till next time All right, you guys love that was a scary elevator in Roblox. I don't know how I feel about this update I mean, it was pretty cool. Some floors are actually cool like this like I love you guys We've gotten the panty-wise one. It's like in a giant sewer Looks way better than before and a couple of the floors are also reworked, which I did not get them all But I tried my best. All right, you guys well Thank you guys for watching. Thank you guys for the amazing support Remember to use starcode realistic G when you buy Robux or when you purchase premium all that good stuff and dropping it in The comments if you made it to the end of the video and I will see you on the next one. Yeah


One of the things I love most about being a writer is that I'm entitled to endless hours of solitude. If I tell my friends I'm writing, their demands upon me cease and I'm allowed to disappear for days on end. Being a writer allows me in a curious way to be safely invisible. I become by choice disembodied and it is only my voice that connects with the reader. At least this is what I like to believe. My closest friends are also writers and all of us create across genres, across borders and between fields. We are poets, playwrights, intellectuals, dancers, fine artists and full-time academics. We consciously design and embody our multiple identities as a way of resisting pressure from the dominant society that reduces all black women to type. Yet when two of my friends ventured into the world of performance art, I lag behind. I have never been as daring as my friends and though I applaud and support their determination to insert their black female bodies into traditionally closed or hostile public spaces, I fear for them as well. My research has focused primarily on literary representations of lynching and rape. So for me, black bodies are always already in jeopardy. Before I begin to consider the work of Mickalene Thomas, I feel an obligation to share with you both my personal and professional anxiety around the display of black women's bodies. In the fall of 2006, I invited my good friend, Gabrielle Savelle, to give a performance at Mount Holyoke College where I was a newly appointed visiting assistant professor. In my course Introduction to African and African American Studies, my students and I were discussing Susan Laurie Park's display Venus, which is a fictionalized account of the life of Sartre Bartman. As you probably know, in the early 1800s, Bartman was taken from South Africa and exhibited as a freak or scientific curiosity in England and France. When she died at the age of 26, an autopsy was performed and Bartman's skeleton and genitals were put on display in the Musee de l'homme in Paris until 1974. It was not until 2002 that the South African government successfully petitioned to have Bartman's remains returned for proper burial near the place of her birth. Gabrielle's visit to Mount Holyoke began with a guest lecture in my class. She arrived wearing a zebra print dress with a plunging neckline and her favorite red Chanel lipstick. The students were intrigued, as they always are when they see someone else like me, someone who doesn't look like a professor. They immediately responded to Gabrielle's request for several volunteers to stand on top of their desks. Gabrielle then led us through an exercise in perspective whereby the students who were seated were forced to observe and comment upon those who were now up on display. Afterwards, Gabrielle asked the students to describe the experience of watching and being watched. Many expressed discomfort, but one or two young women admitted they liked being the center of attention. Later that day, in a much more intimate space in the theater department, Gabrielle reproduced the exercise, but with a twist. I introduced her to the small group of about 10 students and faculty members, and then, after just saying a few words, Gabrielle took off her dress and mounted the low-round coffee table around which the attendees were seated. Behind her, on a flat-screen TV, scrolled the definition of the word display.  And then, every 30 seconds, he barked, turn. Gabrielle immediately obeyed his order, assuming another position in her black-brown panties until the performance ended three minutes later. Roger said, next, and then sat down. Gabrielle stepped down from the table, pulled her dress over her head, took up her notes, and led us through a discussion of Sartre Bartman, Adrienne Piper, and her own work as a black woman performance artist. Gabrielle explained that one of her objectives was to expose the preponderance of very fair slender women exposing their bodies as or in performance. She questioned the subversiveness of women artists displaying bodies that the dominant culture already deems beautiful and desirable. I remember feeling a number of emotions during my friend's provocative presentation. I was then, and continue to be, awed by Gabrielle's intellectual and artistic audacity. Yet I must confess that there have been many times when I've been tempted to throw a blanket over my friend and drag her from public view. Whether she is teaching, performing, or simply walking down the street, Gabrielle wears her sexuality on her sleeve, so to speak. Though I identify as a feminist and don't generally think of myself as a prude, I fail to fully appreciate the rationale behind so much exposure. When I asked her if wearing animal print clothing is intended as a taunt, Gabrielle generously elaborated on her deliberate decisions regarding self-representation. In her email, she wrote, quote, when I wore that zebra print dress for your class, yes. I was aware of bringing a visual association with exoticism. So I would say I was using it as a taunt, but also a right tease or point of contrast that the professor could be in animal prints, that the feminist can wear lipstick, that we can be many things at the same time. Gabrielle, who is currently in Mexico City as a Fulbright fellow, then went on to interrogate herself, quote, but also, why did I have that dress in the first place? Some black women won't wear animal prints because they think or fear that the prints will reinforce negative stereotypes, but then I ask, negative stereotypes for whom? That's giving those crazy white people a lot of power if I choose what to wear or not based on how they might respond or understand me. I have a zebra print dress because I like it, because I think the print is daring or inventive, because the pattern is both spare and dynamic. I don't need to wear it, I want to, because I like how it looks. It's not the only look I like, but I get to have everything. Having everything isn't a concept to which I generally subscribe, yet I do envy Gabrielle and other black women like her who dare to self-direct and self-define without regard for the dangers I see lurking around every corner. When I catch myself wanting to safely contain my friend's voluptuous body, I recall Audrey Lord's admonition, your silence will not protect you. As a writer, I would resist any efforts to censor me and I'm learning that my impulse to hide my friend's body is a way of not confronting the power of the visual as a mode of self-expression. Denying this power will not protect her. Avoiding it will not protect me. And yet when Gabrielle insists that I show an image of Sartre Bartmann for this presentation, I refuse. Why not, asked Gabrielle, you show her image in your classroom, why not in a museum, at a conference filled with feminists? To these reasonable questions, I make no reply. For me, there is more power to be had from what I choose to conceal rather than reveal. One of Gabrielle's recent performances in Mexico City was called In and Out of Place, to celebrate the inauguration of President Obama. She stood on a busy street corner wearing a strapless, flame-colored gown and sang the Negro National Anthem and Say It Loud, I'm Black and I'm Proud, accompanied by seven mariachis. Gabrielle's performances disrupt everyday routines and upset people's expectations. She embraces the confused conversations that may follow and is undeterred by the possibility that her actions or appearance might confirm or compound racist, sexist ideas about African-American women. I too feel in this particular moment that I am in and out of place. I have no background in fine arts or art history, yet I am a Black feminist with something to say about the art of Michelin Thomas, which in this museum hangs just outside the Sackler Center for Feminist Art. I am here despite the fact that there are two competing events happening on this day. A few blocks away at Medigar Evers College, the National Black Writers Conference is paying tribute to the late Octavia Butler. At Brooklyn College, Angela Davis and other leading scholars are gathered to celebrate Black women and the radical tradition. As a Black feminist, I know all about divided loyalties, but I hope that I can bring into this space some of the issues sure to be discussed at those other venues. I first saw Michelin Thomas' work as I was heading towards the new feminist wing.   That's for me. Later, I would return again and again to stand mesmerized before the glittering, reclining nude. The nine by 12 foot portrait dominates the space and commands immediate attention as soon as one emerges from the period rooms of the Decorative Arts Gallery. Unabashed, this Black woman appears totally at ease. The model was Thomas' girlfriend at the time, and perhaps this explains her relaxed pose and the respectful, almost caring way in which she's represented. Thomas invests her Black female subject with a calm, self-assured eroticism. There is none of the frenetic gyrating so often accompanied, that so often accompanies hypersexualized images of Black women today. Determined to share my exciting discovery, I brought my students to the museum and listened with satisfaction to their murmurs of awe and admiration. I showed them a small reproduction of La Grande Oralisc. They noted the similar pose, the languid nonchalance of the two women, and the rich fabrics and jeweled accessories surrounding their naked bodies. The students were less valuable when I asked them to consider the reasoning behind Thomas' provocative title, A Little Taste Outside of Love. I didn't tell them it's a song by Millie Jackson from her 1977 album, Feeling Bitchy. Yet overall, I left the museum that day confident that I had achieved something important by sharing Thomas' work with these feminist cultural critics in training. When I later read their art reviews, however, I found reason to question my achievement.  Though some read defiance in the model's direct gaze, others felt her power was diminished by the title's implication of her availability for sex only and not for love. Most appreciated the illuminating effect of Thomas' application of rhinestones, but some students felt such bling, reduced the black woman to the level of a mundane commercial object, a watch or shoe, made into a pseudo-luxury item for consumption. One student in particular expressed her frustration that the artist had not provided an explanation of her work. Despite taking several courses with me, she was tentative in her critique, unsure of her own ideas, and deeply troubled by Thomas' decision to frame the black female body in a way that seemed to confirm, rather than counter, stereotypes about black women's sexuality. When I shared two of the reviews with Mickalene Thomas, we met a month before at a print show, she responded by saying she found them highly inspirational, and then added, I still have a lot of work to do. So do I, I told her. What didn't I teach my students that might have helped them to interpret Thomas' work with less apprehension? Am I to blame for passing on my own anxiety around the display of black women's bodies? For me, Thomas' portrait plays with time. Her model's bejeweled body harkens back to the jazz age, and the use of rhinestones immediately brought to my mind the blues women of the 20s and 30s. In their promotional photos and onstage, performers like Ma Rainey and Bessie Smith dazzled audiences with their beaded gowns, elaborate headdresses, exotic feather fans, and ropes of pearls. For the average black woman who likely worked long days for low pay as a domestic and a white household, the blues women were a vision of glamour, luxury, and opulence, ordinarily reserved for wealthy white women. With their booming voices, no nonsense attitudes, and daring lyrics, blues women claimed the titles and trappings of the rich, but discarded their elitist pretensions in favor of raw disclosures about love, life, and loss. Angela Davis calls blues women pre-feminist and suggests that their music, quote, was a space in which the coercions of bourgeois notions of sexual purity and true womanhood were absent, end quote. Alongside the blues women, however, plumage and sparkling jewels were also embraced by performers like Josephine Baker, who served up fantasies of the exotic primitive to French audiences of the same era. Jacqueline Bobo explains that the myth of the exotic primitive relies upon these characteristics, quote, black people are naturally childlike, thus they adjust easily to the most unsatisfactory social conditions which they accept readily and even happily.  Wearing very little besides feathers and fruit, Baker danced at the Fouley-Bergère in an erotic manner that confirmed ideas of the hypersexuality of African women who, 100 years after the death of Sartre Jabartmann, still figured as a distortion in the minds of many whites. Baker's Danse Sauvage was not based on her knowledge of African dance, but as Brett Berliner explains, quote, exoticism is escapist. It is less about reality than about ideals and fantasies. Integral to exoticism is ethno eroticism, the state of sexual arousal and desire for a specific people solely because of their racial or ethnic identity, end quote. Authors of a recent study of Josephine Baker suggest that Baker, quote, responded to and modified her own images. She expanded and exploded these stereotypical images through recordings, film, photography, and fashion, end quote. Baker embraced and manipulated various types available to her at the time, and perhaps, by doing so, also managed to have everything. Josephine Baker went on to become an icon in France. She was admired for her beauty, talent, and philanthropy and was decorated for her participation in the resistance of World War II. Yet in 2006, when contemporary performer Beyonce paid tribute to La Baker, she went straight for the bananas. Cultural critic Bell Hooks contends that, quote, popular culture provides countless examples of black female appropriation and exploitation of negative stereotypes to either assert control over the representation or at least reap the benefits of it, end quote. I'm not sure Beyonce understood or even considered the implications of donning a skirt made of bananas. She dances provocatively in nearly every ensemble, so perhaps for her the connection to exotic primitivism was unclear or irrelevant. And what did the banana skirt signify to the mostly white audience at the fashion rocks event? Hooks contends that, quote, desire for contact with the other, for connection rooted in the longing for pleasure, may or may not one day act as a critical intervention, challenging and subverting racist domination, inviting and enabling critical resistance, but as of yet, that remains an unrealized political possibility, end quote. When I met Mickalene Thomas at that print fair last November, she expressed her disgust at searching the web for images of Michelle Obama and coming up with representations of the now first lady as a chimpanzee.  So how do we understand Thomas' use of animal prints in her work? Is she asserting control over exoticism and its attendant hypersexuality, or is she reaping the benefits? Is it possible to do both? Perhaps Thomas' clear rejection of the politics of respectability mirrors the defiant stance blues women of the 1920s took in opposition to middle-class morality. Thomas doesn't seem to care that her work potentially invokes age-old stereotypes, and in the 21st century, should she? Perhaps it is my line of questioning which is out of place and better left to my 19th century school-marm predecessors. As Michelle Wallace points out, quote, we still credit and discredit black feminist creativity according to a mechanical concept of negative versus positive images on the theory that such an evaluation will indicate who was doing more or less for the race or the cause, end quote. When asked in a recent online interview whether she had ever been accused of objectifying women, Thomas responds, quote, yeah, I get that. But my work is about a sense of empowerment and celebration of self, beauty, sexuality, and sensuality. These are the components of how we feel about ourselves, end quote. Thomas insists that she does not ask her models to disrobe, but merely allows the women to express a self-directed, organic sexual identity, which ultimately serves to counter the Huchi-Mama images, splayed on magazines and music television channels. Yet how do we know that these images are being consumed any differently? Does Thomas' work serve as a corrective to the problematic history of misrepresentation of the black female body, or is it to borrow the words of Stuart Hall, a kind of difference that doesn't make a difference of any kind? Thomas reproduces the 1970s aesthetic with wood-paneled rooms, gaudy flower, floral prints, and afroed women dressed in polyester. Her subjects intentionally mirror black exploitation shero, Pam Greer, who aroused audiences with her avert and often dangerous urban sexuality. Hillary Noroney notes that, quote, the heroines of these films are characterized by their independence, toughness, violence, and intelligence. They are also glamorously beautiful, neither virtuous nor vicious, a complex combination of the desiring woman and the upstanding detective or community protector, which does not mean that she is immune to the female stereotypes of the time, end quote. This description recalls Gabrielle's earlier assertion about having everything, rejecting some realities of that gesture and disembodiment, which cuts us off from sensual ways of knowing, end quote. She ends her email by asking me, what does it mean for a black woman to be embodied as a way of centering her own knowing rather than perceiving her body only as a site of potential or actual response from others, end quote. I confess, I still don't know how to answer that question. I can't see how that looks, can barely wrap my mind around it because self-perception or intent is only half the issue. There's the body you see in the mirror, and there's the body you occupy when you go out into the world. I'm missing something. I know I am. Bell Hooks regretfully admits that, quote, this is certainly the challenge facing black women who must confront the old, painful representations of our sexuality as a burden we must suffer. Representations still haunting the present, end quote. Yet Hooks concludes with a fairly optimistic mandate, quote, we must make the oppositional space where our sexuality can be named and represented, where we are sexual subjects no longer bound and trapped, end quote. Michelin Thomas strikes me as an artist who is neither trapped nor bound by the legacies over which I obsess. Perhaps that is why she, like Gabrielle, is able to have everything. Thank you.


The Donna welcome back to my channel. So I've been getting a lot of questions on personal statements and PE school applications and just kind of all the information related to that whole process. So I decided to make a video specifically on the worst thing that you could possibly ever do on your personal statement. If you are interested in getting a personalized consultation session with me because you guys know I do do those and for those of you who don't know I do do consultation sessions for pre-PAs that are trying to get into PA school. Please be sure to go to the description box below. I will leave a link there. You can sign up for your consultation session with me and we can kind of knock through some of your own personalized questions to you. You'll get a full hour with me via like video chat or some sort of video communication or on the phone if that's what you prefer. This video is about the personal statement. So with respect to the personal statement I think it's like the key to getting you an interview right. If you have a bomb personal statement some of your other things that may not be as stellar I guess you could say will kind of fall by the wayside. You got to get your personal statement up and with that being said I feel like the worst thing that you could do on your personal statement is lie. For those of you who that may be difficult that may be a difficult task like listen up because you do not want to lie in a personal statement for those of you who are you know completely honest then hey you're good. I mean you just kind of have to make sure that you're sounding interesting and you want to be like the person that they want to allow to get an interview and essentially allow into their school. And with lying lying encompasses a whole lot you guys because I've done these sessions before where I'm reading personal statements and some of these personal statements sound exactly the same and if not exactly the same very similar and that's because they are taking pieces of other personal statements that they find online or hosted up somewhere and they're adding it and incorporating it into their own personal statement and then it just sounds really cookie-cutter or like the exact personal statement that I can Google. And so that is also lying it's being deceptive and if you're copying somebody else's personal statement to try to get into PA school no don't do that it's not personal to you it's not gonna get you in and they do check this stuff okay they reserve the right a lot of schools reserve the right to check and see if everything that you put into your application is honest and truthful and that includes your personal statement so be honest be truthful because that is the best thing that you could possibly ever do if you lie on the personal statement and they come back and they find out that you lied on that personal statement for instance if you got into school and you lied most schools have these contracts where they have you kind of sign a contract saying that you know everything that you're saying is truthful and honest and CASPA has that contract as well so if you break that by lying on your personal statement you can be kicked out of the program so please do not lie ensure that you are giving yourself a fighting chance and do not make that mistake because that is the worst the absolute worst thing that you can do on your personal statement if you have not seen my other videos on personal statements like where I share my own personal statements or my husband gives you tips you know from a creative writing standpoint on the personal statement please be sure to just kind of type in personal statement in the search bar when you get home if you're not watching on like a computer you know your computer or whatnot and you can find that information there I think it's really helpful and I hopefully it helps some of you as you continue to cultivate what you want in your personal statement be sure to follow me on Instagram at it on the PA and like this video and subscribe if you have not already done so thank you guys so much for watching I will talk to you guys next time


Okay, I know it's unmuted. So this is the list of components for the Hello World demo. We basically see a couple of interesting things that will be also shown later. One of them is a so-called net script, which is a Lua script, which will be used by our init process called net, which embeds a Lua interpreter in itself to basically configure the system, spawn new processes, and interconnect them via capabilities. So for the Hello World program, the net script is very simple as you can see. It basically consists of requiring a L4, the L4 Lua package, and then immediately using it, using its functionality to start the ROM, the Hello World program. So when we visualize the situation, there will be a couple of entities. In the running system, there will be the fiasco OC microkernel, on top of which there will be sigma zero process, which is the root pager for the root process. The root process itself called MOW. That's the process which provides the basic L4Primitives, like data spaces, which are memory-like objects that can be mapped into some other address spaces. It also provides us with a couple of other capabilities such as the namespace capability called ROM, which can be further used by the other components to access, for example, the hello.net Lua script. So net uses it to get the source code that it will interpret. All the boot modules also are included in this ROM namespace in form of data spaces. So that's how actually the other tasks can get to their content. And another example of an entity provided by MOW is the default plug, which is the default output. If we don't provide anything else, that's what all the components will be using for printing out stuff. And the alpha re-component, that's a binary that will be mapped in every tasks address space and contains the core alpha re-functionality. So now that's time for this short demo. Hopefully you can see the size of the letters is okay for you. So everything is already pre-built. This is just the way how we run it in QMU. So we can notice that some lines were printed by MOW, then one line printed or two lines printed by net, and then we have this hello world application, which just in a loop prints hello world. So this is a very basic example, just to illustrate how that would be done. Now we will make a little bit of a jump to something which is much more complex, such as running a Linux VM on top of alpha re. So this time our modules list, we will take hello binary away and we will add some new binaries. This time it will be the UVMM binary, which is the user space virtual machine monitor used in alpha re systems, the UVMM net script, and also a binary device tree, which will be used by the Linux guest and a RAM disk and also our Linux kernel image. The net script that we will use this time is also much more complicated than the hello world example. Later we will see how to get rid of some of the complexity and redundancy in these scripts, but this is just for illustrational purposes. So instead of hello, the script is spawning a new binary called UVMM. It's passing it some arguments such as the device tree and the RAM disk and Linux kernel image and some Linux boot command line. And besides of that, which is new to this example, is that we are passing it the lock capability from the initial environment of net and giving it to this new list point tasks so that it will be also able to use it. And another one is the RAM capability, which will be known under the string RAM inside of the new list point task, which is a data space provided by Moe and which will be basically used by the guest as its RAM. When visualized, it will look like this. We see that also the UVMM.net is another data space in this example and the RAM data space is figuring also on the picture as well as the log capability. And also the same for the device tree and all the images that the guest will be using. The picture is made this way to signify that the unmodified Linux will be running on top of the user space virtual machine monitor. So let's see how this work when we run it as a demo. So this time it's called UVMM. So here we see how Moe and net are starting that we saw a couple of lines from VMM, which is the virtual machine monitor. And now this is already Linux command line so we can for instance communicate with it and see that it's Linux 4.19.8. If we for example query the local time, we see that it's, we are back in 1970s. That's because there is no, at this point of the presentation, there is no hardware real time clock passed to the guest. So we see that we haven't configured any network interfaces yet. So that's running a single Linux VM. How about if we wanted to actually run two of them? Now we will face a problem. What to do with the input output of both VMs, how they will mix or how to prevent them from mixing so that we can't tell one from another one. And the answer is we will need to use another component from L4E which is called cons, which is the console multiplexer. And as another improvement to this example, we will no longer write very long and complex net scripts, but we will use this VMM.lua net script which kind of wraps all this functionality that we need and allows us to configure everything in a much concise way. So besides the L4 package, we can import the VMM lua package into our net script and then use it. For instance, we can define a lua function called function VM around its start VM method and just give it some arguments such as the number of the VM that we are starting and some network capability and some boot arguments and also capability for accessing the IO devices. And besides of that, we also just pay attention to the line that I'm pointing at. We can also create something which is called a factory object. So we basically create a new IPC communication endpoint which we call like a lock factory which will be used to create a new instances of the console that's depicted here. So the console multiplexer uses a pattern which is very common to all this L4RE configuration and L4RE components, which is the factory pattern. So using the variable, the IPC channel which is in fact a kernel object called IPC gate, we are going to create a capability, a new IPC gate and pass it to the cons process as a capability known under the cons string to it. And then in the vmm.lua script, there is code which uses this capability to create a new multiplexer and the new multiplexer is basically a new IPC gate object which is then passed to the lock capability of the UVMM process. And when we have all that, spawning new instances is as easy as just typing vm1 and vm2 and that will do what we need. On the picture, it will look like this. What is interesting about this is that while we provide two new consoles to the two VMs, the tasks such as cons itself and net will continue to use the default lock capability, but can be of course told to be using some other output if we provided some other capability which speaks the same protocol. So let's see what that looks like. That's not it, I'm missing game. So now we already see that we have two VMs and that the UVMM is logging some information for both of them. Now, when everything is booted, we happen to find ourselves in the prompt of the console multiplexer. So we are not anymore in the guest but we can now list the attached consoles. We have one for vm1, one for vm2. Now, we can also connect to either of them and basically interact with both of them. So that was us running two Linux VMs on top of L3, but that's not very interesting, right? Because both of them are isolated and we're not even interconnected. So that's what we are going to do now. We are going to provide some kind of network connection so that you can actually ping one VM and another one. This change requires us to add into the list of modules process called L4 vio.net P2P, which is basically a vertio switch which has only, in this case, it will have only two ports and basically is an equivalent of a virtual crossed UTP wire. So again, in this example, we will see the factory pattern used. This time, it will be when we create the vertio switch. So the vmm.lua wrapper provides us with a function called start vertio switch. We just need to pass it a table which says what are our switch ports called. And then we create a new IPC channel, call it switch, and pass it in its server form to the vertio switch process and it will be known as the SVR capability in it. And at the same time, we will modify the ports table which was passed to us as an argument and we'll use the switch capability to create new vertio net ports. That will, of course, be known as the keys, like the names of those capabilities will be the keys passed in the argument, in the ports argument. Then this is how the start vm.lua function looks like. So we pass it some table with some keys and one of them is hopefully net which is this capability created by the vm.start switch. And here we can see how this capability is actually passed to the UVMM process. And also remember this VBus line as we will be needing, as we will need that a little bit later when we do hardware pass through to the device. So our final net script which includes the import of the vmm.lua script can look something like this. Our net under bar ports table is what we pass to start vertio switch wrapper. And as we've just seen, it will create the factory capability and also our ports capabilities and will populate the net ports table with them. And it's just, we can just kind of start each vm by passing it its own net vertio capability, its port capability. There is one thing that we need to do. We need to add one extra device tree node into the device tree that we are passing to the guest so that the guest can actually connect using a device called vertio proxy to the provided vertio switch port. So that's why the net here is highlighted and is basically the same net as we saw on the previous slides. This picture shows the whole situation. The L4 vio net P2P is located between the two VMs to signify that it's basically just a crossed UTP cable with the factory capability as we are and both vertio net ports shown. So let's see how that works in a demo. You can notice that there are some warnings or still some warnings about some failure to find some devices that has to do with the fact that we still haven't passed these devices to one of the VMs yet, but we will fix that later. So right now we are back to the console, multiplexer console. We can list all consoles. We see that there is one new console created called switch. We can for example kind of see what the switch printed out when it was booting. So for example, here we can see how both of the clients registered with the switch and how the initialization proceeded. But more importantly, we now should see that VM number one has its interface configured and also that VM two has its interface for network connections and we can ping for example from VM two, I don't know, did that same. We can ping the first one. So they can communicate over the vertio provided network. So this is much better than just having two VMs that are not interconnected, but still you can't really do much except for a mutual communication between the two VMs that are still isolated from the outside world. Like if you remember when I typed the date command it showed some artificial time and not the real time. So for the purposes of this demo, I chose to pass a simple device which is the real time clock PL061 or 39, forgot the number, but it's one of these ARM devices. And our goal will be to pass it to VM one so that it unlike VM two will see the real time and we have approved that the VMs can communicate with the outside world. Normally this is kind of artificial example because what you would normally want to do you would want to give at least one of the VMs a real Nick card for example, so that you have network connection to the outside world and then something might be going on between the two. But because this is 64 bit ARM running in QMU and I was doing the demo, it's slightly problematic. I would probably have to pass the whole PCI controller to it. There might be some issues. So I chose this simpler version. So what we need to do in order to do a hardware pass through to a VM which is running under L4RE, we basically need to start another L4RE component called IO which is the IO manager. We need to pass IO its own Lua configuration in which we will tell it basically what real hardware it has. And then we also need to provide a Lua configuration file in which we specify which real hardware is actually passed to the guest and that's not all. We will also need to alter the device tree which is passed to the VM and tell it about the device that it should look for. So in this case, it's that PL031, not 61, but PL031, the real time clock device specified what interrupt it uses, what registers it uses, what is it known as. And then also if the device needs some other components from the device tree, we also need to provide them such as this clock node, which is necessary, otherwise Linux wouldn't find it. So our net script, if we keep all the net configuration stuff in, we just need to add another Lua table this time called IO buses in which we specify basically keys that will later function as capability names that are passed to the VM guest, to the VM. So when we have our table with the IO buses, we just call the VMM.Lua function called start under bar IO, pass the table to it and also specify the location of the IO configuration Lua script. Then we must not forget to also specify the name of the IO bus to the VM, which we want to have access to this bus. This start IO function, it does something similar to what we've already seen in the previous cases. So it basically goes through the table which is passed to it and creates a capability. The server part of it, it passes to IO and IO will know this by the way, by the key which kind of features in the table and the client part of it will be passed to a UVMM or to whatever client we have here. Also very important part of this is that we need to start the IO manager with some additional rights that the other tasks do not have. So unlike in the previous cases, we need to give it access to the Sigma zero process because Sigma zero, among other things, initially owns all the memory and also all the IO ports. So we need to create a new capability which will allow IO to access that. And also we will need to deal with interrupts. So we need to provide an interrupt controller unit capability, which in this case as we will see is provided by the kernel. So the IO config which is passed to IO looks like this. We basically create a new device called RTC and very similar to how it is in the device tree which is given to the Linux VM. We also specify the compatible property and also say what IO registers and interrupts the device is using. So when we do this, then IO will request this device from Sigma zero and the think missing is assigning or giving access to these devices to the actual UVMM or to the actual VM. And in order to do that, IO creates for us a new virtual bus, which in this case will be known under the name VM under bar HW. Then note the correspondence with the name that we used in that Lua table to configure this virtual bus. And we'll basically assign the hardware device to it. And there will be some other notes or some other devices on this virtual bus such as a virtual interrupt control unit that the client will be able to enumerate and start handling. So we can see all of that on this slide including the Sigma zero and ICU capabilities and also how IO provides the virtual bus object via the VM under bar HW capability which is basically the same thing the server side of the VBUS capability provided to the UVMM. We provide it only to one of the UVMMs or to one of the VMs because we don't want the other one to have access to it. And if we now try to run it in the demo, we now see there is slightly more output from some new components in this case from IO than before. So again, finding ourselves in the console multiplexer, we see that now there is yet another console for IO so we can also take a look at what IO said when it was starting this corresponds to all that red output that we saw. So we can basically see how it got access to the real hardware device and how it created the capability for the VBUS and also how it then tried to connect the IRQ and that we ask it to do for us. But now what's more interesting for us is we can grab the output of the DMessage program for PL0 and this time we shall see that the guest actually found the real-time clock device that we passed to it. So unlike in the previous cases and also in the case of VM2, date should be functioning properly. So we can also see that VM2 still thinks we are in 1970. There is one more thing to show in VM1. If we now go into the slash says directory, we can find the device tree structure there and we can clearly see that our PL031 is there and if we did this on VM2, it wouldn't be there. So that's for the demos. Now I basically deliver this presentation because over the last year there has been effort to move some of the L4RE components on GitHub and previously they had been available in so-called snapshots which are still available. So for example, if you wanted to recreate some of the demos that I was showing, components available on GitHub will not be sufficient because for instance the console multiplexer and the vertio switch are not on GitHub yet but you can go to L4RE.org download HTML and from there download a snapshot and copy the respective missing packages over to your checked source tree and it will just build fine and you can use them as I did. In fact that's what I've done. You will probably also need a tutorial. So there is a tutorial which was used for creating the QMU Advent calendar kind of entry that we had with the Christmas tree and if you follow that you should be able to also run unmodified Linux VM on top of UVMN on 64-bit ARM in QMU. And the takeaway that I would like you to have is that it's all about components that are mutually interconnected by capabilities and the way they are interconnected happens or is via a law and that there is a heavy use of vertio components and vertio stuff. With that I would like to thank you.


Everybody forced here ripping 20 22 top scrum sapphire baseball ten box full case number seven random teams check out the results on your screen anytime Elite sports cards commas go ahead and get started Well, it's super fracter Is anything like Friday was we're pulling super fractures for sure Right. I was crazy. What does he do? What is he doing in here? Channel two is taking over AI Got Lester cindy guard Phillips Gavin sheets. We've got a red Brewers Jake Cousins Royals team card and a red is double bath Red Sox card here. Oh Nice color match. You got Bogarts and Vasquez. Oh, those are totally Red Sox players currently Two of five nice card Red Sox and Mike Minor Zack short with a gold Brad Keller Royals to 50 40 of 50 Rivas and Vladdie jr. Nemo Kemp Barreiro rookie Brandon Marsh angels Eli Morgan Dodger's card Dane Dunning six though Sanchez Chanager we're roll for the triples here. This one's gonna go Astros either way because it's a majority So we'll die one two three four five six That's a one So all these cards will go left unless there's a majority So at the middle on the right team or the same person that'll go there. Otherwise, it's gonna go left Hendricks and Lorna Eflin weathers straw McCormick Aaron Ashby with an orange William Contreras for the Braves 18 of 25 for Tez rookie Marlins and Taylor Trammell Dan, what up, dude? What up Dan?  Chuck Peterson is a brave Cal Quantrill Arroyo and Mullins Diablo four. It's all everybody's talking about dude Jerinderan, maybe I'll play it in like a three three or four years. Got Brasso. There's a triple card pooholes Curtis Terry rookie Kevin Smith rookie Canna and Jansen Danny Jansen Cardinals Mercedes Redick in Stanton future stars out like Bum Josh Harrison Mayfield and Tucker And you gotta come join us Yeah, yeah, it's all about for tonight Francisco Mejia, it's his brand new game. We're all deep into it. Got a gold the 50 Kendall Graven White Sox Oslo Kim Josh Hader Zach Popp, Peralta, Matteo, Pollock. Is it new Chromemen you already out? I just got I got crumble last night Sean and I were at the pub and I had to get crumble on the way home I wasn't last night though. That was like 6 p. I was like 5 30 p.m Rookie Contreras pirates They were playing fort Got boston basher's red Sox card and orange. Luis Severino Yankees at 25 Anthony Bender rookie marlins.  Let me bring it up See what we got Oh, it's still this is still the old one still the old one Paul email me Got Lestella, Luis Castillo, Pacquinaughton, and Ryan Maltapia Sean wants you to email him Paul 18 to go on cosmic next. Yeah, that's right 18 to go I don't believe there are triple autos in sapphire now There aren't autos in this version of sapphire period actually Other sapphire. I don't think so either Got a cunha rookie mizika gold rookie zack short tigers to 50 JT Breaker. Oh, dude paul you're in trouble. Yeah Longoria matt barns peralta from oreas Gary Sanchez JP Crawford Ian Anderson and sonny gray Justin Turner purple jordan alvarez nice number to 10 for the ashows one of 10 great card Pat prasher hilly rodriguez would have been in Topschrom update You're done purple one of 10 congrats astros Andrew Miller Mombisi pirates alzali mccarthy and chris sale. You can just send it to me. I'll forward it to him. I have the same Late email. Oh, you do? It's shawn at latent sports cards.com. Yep Sean is shawn at latent sports cards.com not gonna type it in chat.  Josiah gray nationals of the 50 Hunter green rookie for the reds anime anime shot a nice green Jeremiah, I was serena got your trouble from serena. Well, that's it's uh better being trouble for me than her She doesn't hold back, dude She means business I miss it Justin Turner's at homer Brinson Tucker Jeremy paying your rookie for the shows and now a pavement smith. That is so guys gonzo Okay, well nothing late. All right. All right Miguel Cabrera Austin Warren coles vari and Garrett Cole Mice heredia Simmons Gudrum Taiwan Walker gman choy gold michael panetta the 50 twins Calnick do it. I'm wearing gloves. Don't worry. You don't have to worry about that Diving with sharks I'm like moustachis NL East division smiles one two three left four five six right. So left is marlin's right is Mets four right side Mets Sino and Feltner It's where your jersey and howl out. Yeah, I doubt the Bruins will be there at the exact The odds of the Bruins being there at the same time. I'm there is gonna be outrageously low Usually then either way out west what like late january or like february It'd be like a west coast trip Next sapphire break. It's probably on the schedule Horner a's rogers and wheeler You can find it right here. It looks like it'll be uh tomorrow night actually It's tomorrow night. There's bowman chroma sapphire on Tuesday and then there's more top scrom sapphire on thursday There's quite a few there football makes it down to 19. That's awesome 18 to go on cosmic chrome Again, hopefully trying to break that next Yeah, usually it's only one trip out out west Then the other than the west coast seems to link it once to the east wendell mayeda or herne and brujan Kyle hindricks orange ryan zimmerman the 25 nationals You help hoso and bizio scottie zerpa diaz beter hosay siri hydrae steam card gold brad miller fillies the 50 Eliezer Hernandez That's what I keep saying sampled two supers in one cosmic box last time. We got 18 to go on this thing next 18 to go good jared walsh fraser payton henry and matt veerling sound of all Dodgers card grindal and meadows Mackenzie quedo graveman and risario Oh, yeah, i'm aware. I am aware I am aware at every bruin's loss this year Come on red sox camp. You can't lose a series of the Yankees without judge. Isn't the Yankees without judge is just like terrible, dude michael shavis gold george springer to 50 blue jays Garrett crochet cori seager Kyle Muller spencer torquelson rookie for the tigers edmund and gimson hazes aguilar mike saroka raised team card and jad larry jad larry guy yadier melina Uh, shan gunther rookie orange 25 collin maran pirates Our failure tega ernie clements chris archer brad miller and michael branley michael panetta marlin's team card orange mariner's team card it's 25 soto smith zimmerman and widner zach louther patino ty france and buxton Five to go on prism choice now. It's nice Still 12 on contenders as well Come on guys basketball Cosmic and football. Let's get these breaks filled up. We are coming up to cosmic soon. I'll get you a link for prism choice Usually for everything, man Triple card there two triple cards and a gold rookie all funds are reboss the 50 cubs ever caprera Anybody having audio issues? got kyle seager bailey ober caesar hernandez david bodie james caprillion purple to 10 jammer candellario tigers and kershaw tyler mcgill ons kraus willy calhoun and uh hernandez Jesus lizardo shohei otani gold to 50 john lester as a cardinal charlie morten Got a uh bread gardener dish lafani Logan allen and jose barrios Alec manoa Roll a die here on this one one two three left for the blue jays four five six right for the padres Four are going to go right for the padres here padres auto Lopez mark melanson Frazier avon castillo jorhei lopez and brandy belt Uh, nobody else having audio issues. I suggest just refreshing Andrew ben intendee for the royals there gold will smith dodgers to 50 adrian hauser willy cash Joe jake chronoworth zack collins matt brash rookie and a reds team card glenn auto blue jays card erin hicks shane beaver redulfo castro patrick corbin james mccann and carlos career rookie boz martin pares's redsox still liftoff and giant's team card ponsor alberto glaber torrez a steven bralt and illoy hymen as rookie jake mires jose irania louis arayas and patrick wisdom kenley jensen orange rookie seya sezuki that's awesome two of 25 for the cubs great card cubbies we will get that into a mag tigers and a triple there goes to the dodgers by majority rookie twinge joe ryan kevin katt or curvin castro mitch marland and ozzy albis strassberg overton gold widener diamond backs the 50 taylor widener lube voy freeland alfaro filly's card and ryan belayde carcy kelly evan white shane mclanahan xander bowbars kepler keel bedou gold rookie cubs again here gray deekman this time to 50 arty bradley garrick richards brad keller chris bassett mike trout got flaherty followed by a purple lancet of colors to 10 for the astros another astros parallel cob braves triple there yon gulmes greg deekman jbj a brave last box everybody orders coming in for other days any orders coming in for tonight trevor rogers edward oeske barger rasmussen louis heal javier bayez brady singer say louis garcia and reiber san martin j hap carter keyboom corrie cluber and matt chatton probably grossman gold royals mike minor to 50 mvp meets rookie brian haze there mvp is rookie and rookie is uh wanderin Harper This is young phenom i'm guessing is that franco? so wanderin brice left side is going to be the yeah no team designation so left side is going to be the raise in this one right side is phillies one two three four five six that's two left side raise here raise gallas kykel jamer kandelario padre's card in you darvish verlander high five highway dodgers edward or rodriguez jackson koar jesse winker mike bulman alex dickerson jorge palanco keegan aiken gregarie soto and gold rookie guardian's elie morgan to 50 cold count just the moment we'll recap all right we had gold to the 50 elie morgan mike minor greg deakman taylor widner will smith john lester alfonso revas george springer brad miller michael panetta joseiah gray zack short kennel gravenman akil badoo brad keller orange of 25 mariners team card colin maran ryan zimmerman louis severino and william contraris purple to 10 lance mccollars jamer kandelario red to five double bath red socks card we had orange to 25 erin judge yankees purple to 10 yordle nalvarez astros and orange rookie sasa zuki for the cubs nice 10 boxer thanks again everybody we're moving on to cosmic


Yo, so you saw us in Asia and now we're in Australia, I pet wild animals, I go surfing, I jump out of a plane, me and AB, it's crazy, you gotta check out this video and hopefully it inspires you to be more adventurous too. Definitely big shout out to KKDA for planning these activities that I may have never done if it weren't for them. These are the adventures in Australia. Andrew, on this trip there's been plenty of firsts. Singapore, we did bungee, Thailand, jet ski, and seawall, today we're about to jump off a plane. Alright, first up, me, AB and our cameraman Jordan are jumping out of a plane in Melbourne. I'm not gonna lie, I'm still not scared yet, but I think when I put on the gear, I might start being scared. Are you scared yet? Not yet, not yet. I think once I look down, I'm gonna have a couple prayers. In order to be a sky diving jump master, you have to have at least 500 jumps in before you can even bring anyone out with yourself. Right now I feel pretty safe, but I'm on the ground. What's the point of being weighed? Because the plane can only take a maximum amount of weight, so we need to know what you weigh. We know what our tandem masters weigh, so the combination of all six of you gives us a maximum weight. Has anyone gotten hurt? Not that I know of. Okay. Make sure none of your anatomy is crushed. Nice and tough then, I feel safe. First off, they actually connect you to the aircraft, so they'll use one of these, whichever side is closest to the side of the aircraft, to do that. First parachute takes eight minutes to pack, second parachute takes two hours minimum to pack. It is inspected every six months regardless, so there is a backup plan. My heart is beating a little faster now, but I'm really excited. I'm glad to be doing these kind of adventurous things, you know. Shout out to David. I know he's missing out on this. So yeah, let's go. I'm starting to feel it. Really? Now that we're strapped up.  I'm not scared, but there's this. You've got the rush. There's this feeling right here. I don't know, man. You can't describe it right now. It's just a little nervous. Nah. Butterflies. It's going to be lit. It's going to be fun. Lady. Jordan jumps first, and then I jump second. You jump third. I'm sitting there watching you guys just vanish. It's pretty crazy from my angle. No, you don't hear anything. It's gone. All I see is clouds. Yeah.  Yeah. But I will tell you guys, the first 20 seconds are crazy. When you first jump out of the airplane, because your legs are dangling off the airplane.  And then you drop. Did you spin? I was spinning for a little bit. I don't know how much I spun. It felt like I was spinning for a little bit. Okay. And definitely when the parachute comes off, and you're kind of floating, it's pretty fun too. It's also exhilarating because you kind of feel like you're on some sort of light. Once it stabilizes, then you're like, all right, we're cool. Well, you're safe. That's what you do.  It's something that, I don't know, you want to feel like you can fly. Go with friends or a significant other, you know, somebody to share that experience with. Cool people. I mean, I understand why it's on the bucket list. Yeah. I get it. I was telling you earlier, like, I didn't have to go skydiving. No, I didn't. I felt the same. I was like, oh man, it was something I would do. You know, if it just came up, yeah, I'll do it. But, you know, no one ever set it up. I've been asked before, and sometimes it's expensive. But you know what, it's worth it. To be honest, this is something I never thought I'd be doing in America. Skydiving is just something I write off. Like, it's not something that Asians do. It was really thrilling, and it was a good memory. Next up, we're heading to Sydney for surfing for the first time. We are at the most famous beach in all of Australia right now. Yes, I'm talking about Bondi Beach. Nearly 90% of Australians live on or within the coastline, so you know, beach culture is rich out here. Me and AB, we've never been surfing before, so something that we wanted to do when we got to Australia was take some authentic surf lessons. Let's catch some waves. I lived in LA for about five years, and I never went surfing. All right, everybody, now it's time to meet our surf instructor, aka the Wave Master, aka the sensei of the sea for today. We got Justin. What's up, guys? Good to see you. Thank you, man. How you doing? Good luck today. We've got some really nice waves. One to two foot. Sun's coming out. We're going to have a great day. Okay, man. I've heard that surfing is a great way to start the day. Oh, of course, man. Better than a coffee. What is bigger, surf culture or cafe culture? Oh, surf culture. Oh! That's big. Everybody lives by the coastline, essentially. Most people do. So what percentage of Australians have tried to surf before, at least taken surf lessons? I've got to say at least 10 or 20%, so at least one in five. How long have you been surfing? Almost 20 years now. We're going to get you guys into some wet suits. All right, sounds good. Yeah, nice. Awesome. Let's get gnarly. Do you call them wetties? Wetties. AB was wearing his sunnies. Yeah, everything ends in an I.A. We ain't brekkie. Yeah, brekkie. First things first, make sure you apply a lot of sunblock. We're surfing pretty much during the holiday season. The only other place that you can kind of do this in the States is probably, like, maybe San Diego. Hawaii. Southern California. Let's make our way to the beach. We're instructors. We're going to do a similar thing to them. We actually, when we're at Bondi, we actually call it the sushi train. Because what we do is we're going to use the rip, paddle out the back, move across, catch a wave in. It's almost like a big circle we're going to be doing out there. Surfing is Asian influenced. Nice. Sand feels good in my feetsies. If you've ever talked to a surfer, they talk about surfing like it's an incredible man with nature, euphoric feeling. And I really honestly used to think they were crazy. But man, in my less poetic words, it just feels really, really cool. So we leave the beach now and are headed on to Port Stevens to continue our adventures. First, we feed emus and kangaroos, then we see dolphins and then we sand surf. Man, it's wild. Keep watching, guys. Around about 20 minutes past 10. Really a kangaroo. It looks the same. The legs are exactly the same. Tails the same. How is it not a kangaroo? That's a real koala. I've never seen one awake. They usually, I've never seen one awake. Whoa, you look spacey. Yo. Oh, hey, hit my finger. That's all I got, bro. Place monitors. Place monitors. Oh, he's just sliding through. I will say I'm pretty impressed at how close they let you get to the animals right off of that. There's really no preparation.  One-O-Web spiders are actually one of the poisonous spiders. But what they're asking, the zoo is actually asking for people, if they capture them, to donate them for a venom saving program so that they can make the venom that... Anti-venom. Anti-venom. I think they got Gatorade. Gator crossing. Let's go. He's only a baby, six years old. He's six years old. How much bigger would he get? He'll get twice as big at least. At the moment he's about 35 kilos, a kilogram. He should get to about 70 or 80 potentially. It was a really good experience to kind of like pet some wild animals. But we got more stops on this tour. I got you, bro, don't worry. He's gonna peck you. Ow, man, he got a lot of hand on that one. Yo, what a day at the Australian Reptile Park, man.  Let's keep it moving, Andrew. We got a fun-filled, packed itinerary. Let's get out of here. All right, everybody. So we made it up to Port Stevens, often referred to as Australia's Blue Water Paradise. AB, what are we gonna be doing here? We're about to go dolphin watching. Hey. That was weak. We did our dolphin watch out at Port Stevens. Earlier today we saw the wild animals at the Reptile Park. And right now, AB, where are we going? We're gonna hit up the sand to go sandboarding. Ooh. We went from the forest to the sea to the land to the sand. Let's go. I feel like the Noriega music video. Wild dogs. I also feel like animal dogs. And so we hit the sand dunes, and we're about to go catch some sand. Gnarly. So to be honest, I never thought I'd be doing all this within a span of two days. Like, I definitely felt some feelings that I had not had before. But yo, thank you, KK Day, and thank you, Australia. More from our trip coming soon. Y'all, Fung Bro's World Tour continues. Yeah. Hey, wild dogs. So do you relate to them? Wow.  Wild dog. Wild, wild, wild dog.