Think Tech Hawaii, civil engagement lives here. Hello, thank you for being back with us here for our Spring Break edition of Human-Humane Architecture here from our innovative island of Oahu, Hawaii. And DeSoto and myself. How do you do? Good, good. Nice to see you. Likewise, what are we gonna do for Spring Break? Do we go to Cancun or? No, no, no, no, no, no, no. We're not gonna go there. We're going to go to someplace here. Oh. We're gonna have a staycation. Okay. And we're gonna go to a kind of a cool place. Okay. Is it new? Is it new for you? It's not new, in fact. It's behind us and it's the Ilikai Hotel. All right. Let's check why that might be cool. Let's get the first picture. It gets us back to the mid-60s here. And this is where, as you can see on the ride, people were shooting these people here in this culture. Yes. Shooting people to the moon. Shooting people to the moon. The picture below is saying hi to my best buddy, Dan Kubrick, my first American friend. And when I came to his parents' house in Omaha, Nebraska, he opened the two-star garage. There was a 67 Pontiac GDO staring at me. Like we see in the picture in the bottom. Yeah. And this was one. And so I sent it to Dan the other day and said hi. And you were driving in that classic vehicle up there. I was being driven around in the 1961 Buick Special. Later, the 1963 Chevrolet Chevy II station wagon. During that time period, yes. Exactly. And next picture is the building we're talking about with his two neighbors. Yep. From right to left, it's the Hilton Hawaiian Village, the rainbow tower that we have featured in shows like Kaiser's Mainstream Hawaii. Also Tropical Tourism, our expert Suzanne is back on the island here with us in the studio. Hi Suzanne. And then in the middle of it, about Edwin Bauer's Lagoon Tower with John Williams. And we also had briefly touched on our building in the very left corner in one show. And that is between the palm trees on the top left, the Ilikai, as we said. And it's put into perspective in next picture. It also relates to a recent show of ours, right? Yes. And what we discovered was not well because we went to the, we went out to Makaha Valley. We looked at the remains of the Makaha Valley Inn. And that was a project that was also done by Chin Ho, who was the developer of the Ilikai. Originally started by the Dillingham Company. Financially, they needed to divest themselves of that. Chin Ho took it over and got it built, starting in 1964. And next picture also familiar to us is the architect of this building here because he was the architect of the Alamwada building, which was built I think two years before we said. Yeah, 61. And it was built a year before he built the space needle and talking innovations, as we pointed out in the show. It had a couple, but one that relates is the flying saucer, the revolving restaurant, formerly the La Ronde. And he tested it for the space needles a year after. But the next picture shows the context actually pre the Ilikai here.  We still see the talking Kaiser. We had a show that called it his avant-garde Kaiser Hawaii and it had still the dome. Right, the hills in the Hawaiian village. So the Hawaiian village was Kaiser's development and you see that in the bottom corner. And that was really very innovative but the Ilikai was gonna be built just a little bit after this picture was taken right down in the bottom of the lower left. And recently we showed it in another show, next picture please. We found this little iconic little diagram that shows all the icons were considered to be icons that were around at that time and the Ilikai is there at the very left corner, right? With the Waikiki and the aluminum dome. And the dome. So all these innovative, I mean this was top notch. Yes it was. This was really cool. I mean this wasn't anything. You didn't see it in a lot of places in the world. No, no, this was far out in the middle of the Pacific Ocean. You saw the coolest and the most cutting edge. Cutting edge stuff. And the next picture is our permanent background picture and that is a pretty well done rendering. That was all pre-computer ages. So this is hand drawn and basically watercolor pretty much. And it basically shows because as you pointed out Dillingham passed it on to Chin Ho and he had enough to do with them all. But even Chin Ho as we heard in the next picture please because he tried to sell it from paper. He designed it and tried to basically sell units as condominiums. And even he, you know being pretty powerful and pretty prosperous we should say, right? Had a hard time. And we want to just show these two diagrams here floor plans because the left one is from back in the days. And just the way it was drawn, sort of playful, the lines don't stop where the other line is. They you know the boats and stuff and the color runs. And they also called it pretty much here, Mountain View and Ocean View and Ocean View. And the other one somehow, someone's not in the picture but it's basically said city view. You can barely see as the blue is a little light here. So it just shows you the left one is really the, and you pointed out something interesting as far as this configuration. Yeah and I did not remember this until I looked at this again. Each of the wings of this hotel are a different size and a different length. They are not even. You can't see that when you're actually looking at the building itself. But in fact it isn't symmetrical which is quite unusual I would think. And something also unusual next picture shows the layout. This is two typical layouts of hotel rooms slash condominiums and they're rather large. And that is because it was originally conceptualized as condominiums. And then it didn't sell that well. And he had to basically make it into what we call a condo tail today. So a combination between a hotel and a condominium. And they've been struggling with that. It's a rather complex model. I learned that from my building I live in that we did a show about the Waikiki Grand. It's hard to get a mortgage for these because it's not either of the ones. So it's kind of in between. So people are struggling. And you've got transient people coming in and out. You've got residents who don't want transient people et cetera. So it isn't necessarily an easy mix. And just like maybe like Makaha, this was next picture please, was a bumpy ride to get it off the ground. And these are the ones to the left is one that you like a lot because it made you think a lot when you were kid. Yeah, when I was nine or 10 years old, that picture on the left of the Ilikai Hotel was really perplexing to me because clearly the background was a real background of Waikiki. And the building looked like a real building, but I could tell also that's a real red carnation lay, which is a very popular lay of that time period. So I was really intrigued by how they put this together. And as you pointed out, this is before Photoshop. So it had to be done with a real model with a photograph. But not a real lay. You don't grow a lay that's big. That's a model isn't very big. That's a lay that could fit her on the model. I know, I know. So next picture is finally breaking ground. Here it is under construction. It's pretty much what Kurt Sennberg calls a staklan-ni. So it's post and slabs construction here. Next picture. And when it was basically, you contribute this postcard here. And there it was. And it was this rather chunky. It was huge. Monstrous almost. It was huge. The ilikai when it was constructed looked immense because it was nothing around it. It was built on what had been flat, open ground. There were no other high-rise buildings close to it that were that tall. So it really stood out. Exactly. And next picture is basically also from the early days.  There's diamond hat and there is a man-made mount. Absolutely. That they created. Absolutely. And almost it was erupting. Capitalists was the volcano, right? That made it basically erupt. Next picture we want to look a little bit inside. These are our original pictures here. And I paired it with, again, zeitgeist-wise. There's Kennedy in 63. Turning onto Kalakau Avenue in Waikiki. Cruising through Waikiki. From Kapahulu Avenue. It went past the Waikiki Grand. Wasn't there yet? No, no, no. Where you were. Yeah, yeah, yeah. And also I have to apologize because I got screwed up last show because I was saying in 73 was an SS. And so later it was, of course, 63. And that was the time that we always used cars as vehicles for thought and reflection. So here is the early 60s Lincoln Continental Convertible. That's the sort of bourgeois, that big, proud, patriotic car. And that we think is the Ilikai, right? That's the attitude. And you brought this up and I think if we go to the next picture, we'll see that too. Because you pointed out that this is the lobby of the Ilikai, which is not extreme. It is meant to attract more of a middle-class type of clientele. So they're not trying to be extreme. But like the Lincoln Continental, it's clean. It's sharp. It doesn't have a lot of embellishments or stuff on it. It is a modern structure. Absolutely, yeah. And so also shown in the next picture, and I found these two ads from way back about the Lincoln. And so this is the night's atmosphere. This is sort of glamorous and glitzy, which Kalakaua has always been and still is. And so was cruising in that Lincoln Continental that's very elegant and just very American. I mean, me as an Americano, this is what America was. And at its best. And also, I think we go to the next picture, we can also point out too that that nighttime fountain that we see there, we've seen in the other two pictures, was part of glamorizing the Ilikai as a nighttime destination. And you pointed out that one of the features of the Ilikai is this outdoor elevator, which was really innovative at the time. And I can tell you, people were really astonished by it. The elevator shaft on the exterior is illuminated at night with this blue light. So that's part of the feature of the exterior of the hotel that makes it exciting as a night. The next picture gets us up to a rooftop restaurant on the top of the eye that has two little brothers. And when we show at the very bottom right, that's from the show with John Williams here. This is the top of Waikiki at Winbauer building on Kalakaua, a couple blocks over to Diamond Head. That one is revolving as was the next one above it at the bottom right, where Elvis sits there. And that was the Le Ronde of the Alamoana building. This one here wasn't revolving, but it was still pretty much. And a rooftop restaurant on top of a high rise was also very typical of that time period. So if you built a new high rise, you put a rooftop restaurant and that's where you went. And when I went to Havana, Cuba, on top of one of their tallest buildings, which was built in 1958, they have a restaurant there too. So it was a must, it was a zeitgeist must. Absolutely, oh yes, completely, completely, yes. And also next picture, which you already saw on this one here, this is like the branding of it, right? There's another illustration down there, a watercolor they created the whole scenery, the atmosphere, the lifestyle was sort of, you know, was designed. It was totally designed and you pointed out too that in the picture, which we will see in the next photograph, that's a rendering. These are both renderings of a building which hadn't been built yet, but in this picture it's there and that's the smaller tower, which is on the other side of this complex that now encompasses the Ileacai and that other tower. And then interesting enough, talking branding, this one is now branded to be the modern and that speaks for itself and they celebrated actually the times, it's sort of referring back and say these are cool days, so let's bring them back and whereas the Ileacai, we can go to the next picture, is pretty much kept original authentic in its main parts, but way back they were really indulging in it and celebrating it up to, as you can see here, music, recording. And once again, I love the sort of 60s, it reminds me of the fishes in the, what is it called, the apartment building, the complex, the proletarian paradise, exactly, the little fishes there. This is very sort of pop modern, right? Very abstract and it's not trying to be sentimentally Hawaiian. No, but it's modern and the word Ileacai means surface of the ocean, so that's why that illustration is focusing on the surface of the ocean with canoe on it and diamond head in the background, that's the name. And this leads us into how much the Ileacai promoted itself. Exactly. Which they did a great deal in the 1960s. As just the term exotic was popping out of my mind, next picture, the exotica movement also was related to it because here's Arthur Lehmann, once again, as one of the three from the exotica movement and once again, here is in the Ileacai. Right, and live at the Ileacai with the logo type on the wall behind him in the distance into exotic tropical birds which have nothing to do with the Pacific Ocean. And but then it was also sort of communicated beyond the island and through America pop culture and you surprised me because unless the very third one, I did not know of these three, so tell and teach us. Yeah, okay, so our next three pictures, let's go to our next picture. Here is the first of several visions of the Ileacai as it appeared on television shows in America in the 1960s. The first, Shindig, which was a rock and roll music show and they came out here in 1965 and did two shows taped on location. They shot a bunch of stuff at the Ileacai Hotel to promote the Ileacai Hotel and that's what you see on the right, they're on that deck by the pool. In the next picture, we go to another TV show. This is the pilot film for the TV series Gilligan's Island. They came out and shot it here at the Alawai Yacht Harbor. In the background, you can see the Ileacai under construction. The crane is still there. You see the Kaiser Hospital, you see the trade winds apartment building and here are some of those soon-to-be castaways about to get on the minnow for the three-hour tour before they get washed up on Gilligan's Island. And finally, we go to... And that one even made it to Germany, the one you're showing us now. Oh, of course it did. This was hugely popular. It's the popular all over the world. Yeah, yeah, no, not this one, but Jeannie was coming up now. Okay, I bet you had Gilligan's Island, too. I dream of Jeannie, very, very popular in the mid-60s, and there on the right is Barbara Eden playing Jeannie. On the left is her, quote, master, unquote, Major Tony Nelson. They came here for several shows, the shot on location in the mid-60s, and in this particular episode at the Ileacai Hotel, Jeannie brought King Kamehameha back to life. And I mean... That's a funny one, yeah.  The shirts are the same. They're not literally... They're very abstract. They're very abstract, right? And so next three pictures is us quoting our colleague, Kurt Sandburn, and saying what is the... What kind of context you recall in and around the Ileacai? And he was sharing with us these three here, these projects, and this was the new Otani in Tokyo, as you can tell from the picture at the bottom left, very similar, a three-winged star with a revolving sky restaurant at the top. And this one became popular in pop culture through James Bond. Yes, and they filmed, the film You Only Live Twice was shot in Japan, and it's supposed to be the headquarters of a giant economic company, and you can see in the picture of Sean Connery with that in the background. Exactly. But whereas we're trying to point out, the Ileacai predated that one. This was in 64, so Ileacai must have been the trend center for that one. Again, imagine innovation started from our island. And here we are out here. How amazing. Next picture, and it informed another one built the same year, that was also in 64, and this is the Hilton in DC, and this has a more sort of concave-shaped wing form, but again, very, very sort of similar. And the third one is about half of a decade later, this is pretty much the Hilton in Las Vegas, as you can tell. Correct. And it appeared in another James Bond movie, which is Diamonds Are Forever. Yeah, but also another tragic sort of popular thing happened, which we're sort of half-blocking there, which you pointed out. Yeah, this was the scene of a significant fire. And so reality does unfortunately re-intrude sometimes into Hollywood fantasies, and this hotel, this Hilton in Las Vegas, was badly damaged, a number of people were killed in a fire there. So it's not all glamour, unfortunately. No, no, no, no, no. And the next picture, at the bottom left, you saw from that previous one, you saw they also have events here. Correct, Danny Kane. But then there's a connection here, next picture, that basically Elvis Presley, who was very sort of involved in that project here in Las Vegas, in 69, he was playing there, and he was promoting it, as you can see, all over the place. I even found that picture at the bottom right, where he must have been part of the ground-breaking ceremony, they have hard hats, and he's there and signing something. And that book, by the way, when Elvis started that Las Vegas appearance, which he did, he went back to live performances, he's got a tremendous amount of publicity, it really publicized the hotel as well as Elvis. So it's a big comeback for Elvis and that hotel. And then there is a connection, no surprise to us here, next picture, because it has to do with the Ile Kai and Elvis Presley. And that was when his coming back was in the 70s, but this was early in the 60s around Blue Hawaii, where they basically rented a hotel room, as you can see here, there's Priscilla and there's this very sort of 60-ish, very poppy, you know, and here they are. And so there's Elvis in residence at the Ile Kai. Exactly. And we saw him in Las Vegas in a building, we see him in, oh, and another similar building. And talking TV and movies and TV series, the next picture, probably most known and promoted, the Ile Kai had been through Hawaii 5.0 here once again, thanks to Stefan, my German version, Hawaii 5.0. And in that second season here, I found one which plays majorly in and around the Ile Kai and the screenshots here.  And also the hotel rooms, whereas the hotel maybe is more international style and not very localized, but the hotel room, as you can see, the walls were woodclad. Even the light switch has the same materiality or look, and you pointed out the shoji screen. Yeah, right. And so this is very typical of the time period. They had shoji doors, shoji-inspired doors, very popular here for hotels and private homes that look like Japanese traditional doors, except now they're not made of paper, they're made of translucent plastic. Yeah, yeah, yeah, exactly. But most memorized by many people, the Ile Kai was next picture at the opening scene of every Hawaii 5.0, there was the crazy helicopter almost seeming to fly into the building. And then... The close-up, the zoom-in and close-up of the star, Jack Lord, incredibly important, I mean, it's made a huge impression all over the world, that opening sequence, because it was so dramatic and so well done to zoom in on him and have him turn and look at you in that same shot, amazing. And you, we just found out that at the time this was shot, Jack Lord was actually living in one of these that could have been his penthouse apartment. It was, it was. And he subsequently moved to the Kahala Hilton, or the Kahala Apartments, next to the Kahala Hilton hotel. Which we were talking about in the previous show, which is referenced to at the bottom right here, very much. Right, right. And then we have the number, the next picture is, we also quizzed our one and only expert of modern Hawaiian history on the island, Don Hibbert, and said, what are your thoughts? What should we not miss out? When we refer to the Ileka, and he said, you should certainly not miss out on the Sheraton Waikiki, which was built in 71. Yes. So several years later, almost a decade, you can say. And the only thing you can really find online, I mean, just compared to the opulence of stuff we have just shared, you find a postcard here and there. But for some reason, this one here has never made it up to that iconic. No, they didn't promote themselves as much, but also at the time that the Sheraton was built, Waikiki had been built up a great deal more. It didn't stand out quite as much, although when it was constructed, it was promoted as the biggest hotel in the world when it opened. So that is a big deal. But that shows you that within those intervening years, it was not a big deal as you think it had been. That's how fast went a little bit changed. And that's next picture. That's also what Dan then refers to when we quote him here with his book, that he basically says, yes, the town, the neighborhood grew around it. And so it was sort of, I guess, undoing its iconicness, because again, it wasn't self-standing anymore. But the next picture is again, going back to the original dreaming and envisioning of the Ilikai, again, this early sketch, very abstract artsy. As you pointed out, the signage has been kept until these days, never changed. And in hotel industry, as we know, and Susan knows as our experts, you got to have an overturn.  It's for the people still coming. No, it's very unusual that their main sign, as you pointed out, above their front door, they have never changed that logo type. They have changed their logo type in other types of advertising, but not that. And when they observed their 50th anniversary, of course, you go back to that 60s thing. And just like we've said before, everything goes through a cycle. So that logo type would have gone through a period where it was very outdated and considered outmoded. And then it gets back to where it's cool again. Exactly. And there we are. And talking cool, literally and figuratively, next picture, as we had observed the building a while ago in our show about Lanais, it's from its foreplanned, as we said before, very Western, double-loaded corridor. But then it got exoticized through having Lanais wrapped all around it. You got sliding doors. So it's pretty much adapted to the culture and climate here, as one should do the architecture. And then when we were referring to it, a while ago, next picture, I was sharing with you some emerging academic observations here, and you were intrigued by these, right? I was really intrigued because the plan that we see there shows that the Isekai is situated in such a way that it is either taking advantage of or it was built with an awareness of the weather conditions that are normally going on. So it is facing into the trade winds. So the trade winds are going to go on either side of it. And that is much better than what we've talked about putting something flat against the trade winds or this way. They're aerodynamic. Aerodynamic. And also that that's more of an awareness of sort of an environmental consciousness than I think I would have thought at the time people would have had. Exactly. But again, referring back to our most commercial classic show about John Graham's Alamwana building with a sun-retractable louvers, then maybe it's not so surprising. No, I guess not. And people just said, this was the pre-fossil era. People just had it. They were not thinking air conditioning. They were designing with a natural system. Exactly. Air conditioning was too expensive. And you made use of things to get away from it rather than just automatically install it. So next picture is me basically on my way back home from the shows. I'm not looking at what Concernbird called basically an offense to the environment.  Exactly. That new timeshare tower. But you scoop by and cruise by the Isekai. And then if we can get the camera to the table here, my CD of Elvis Presley or Loa, Hawaii, right? Yes, yes, yes. And there's one song in there where Elvis actually basically welcomes Jack Lord as being in the audience. Which is really cool. He loves Wi-Fi. So there's this connection that's supporting and branding. And this was also really important for Elvis. This live from Hawaii concert that was shown throughout the entire world, 1973, 74. He landed in a helicopter next to the Isekai Hotel after arriving at a little airport. Comes back to our subject tonight, Isekai Hotel. Absolutely. And phasing out, we always look into the future and say, what are the lessons learned from that? So the next picture again, what did we learn? Well, we're back to Primitiva. And our Primitiva is our cylindrical sort of fantasy tower, if you will, that is putting into effect a variety of other types of ways of living that are different from the average sort of big box standing up there in the sky. It's got more open space. It's got greenery. And as you were saying, instead of looking at it, you can look through it, because a lot of it is open. Yeah. And in that case here, we provocatively put it as one of the testing locations in front of the narrow side of the Alamoana Hotel. Because there, actually, you could sort of house all the working forest people that work in the mall. And instead of having them drive far out west and get up in the morning at 3 o'clock and commute back, trying to make a living and struggling, what we're saying is basically you got to evolve sort of the genetic code of a neighborhood and update it and should basically sort of renew that sort of notion of innovation. And now we've got different issues. We've got social issues. We've got affordability issues. Which were not really prominent at the time that I was built. So you can't build Ilikai literally again. And you shouldn't. But in the spirit, you should move on and design things like permittiva. And the next picture we have on Lanspecture, that we also shouldn't stay in the building range. But we should look at the urban fabric and basically sort of referring to Don Hibbert's book, Designing Paradise. You should redesign paradise in substantially renovating a tourist neighborhood, a tourist town. You just made a really important interesting statement to me, which was let's think of Waikiki as a box of jewels or jewel box. And if you were to look at, for example, a display box that has a bunch of rings in it, each one of those rings might be different. Each one of them might be designed differently. There is a unity and a coherence to the entire jewelry display. But each one of those of itself is something that is important and should be looked at. So let's work towards that. Very good. That's supported by our tropical tourism experts, Suzanne. So with that, we'll leave you with that. But hopefully we see you next week. And until then, you guys, please stay innovatively exotic and exotically innovative. And see you then. Bye-bye.


Ukraine's armed forces successfully counter-attack Russians on Svatov front. Oleksandr Sirsky, the commander of the Russian forces of the armed forces of Ukraine, has visited the front again and reported on the successful counter-offensive of Ukrainian troops on the Svatov front. The official visited one of the tensest areas of the front, without specifying where it actually was. He explained that he and the commanders planned and prepared future military tasks. I want to highlight the work of the 92nd unit of the Separate Mechanized Brigade, which not only repelled the Russian attack on the Svatov front, but also successfully counter-attacked and advanced 400 meters on their shoulders. Another example is the successful actions of the servicemen of the 80th Separate Air Assault Brigade, who every day, step by step, with competent tactical actions, liberated a significant area near the Ivanovsky Forest, Sirsky said. He also noted the achievements of the 80th Separate Air Assault Brigade, whose skillful tactical actions have progressively liberated a significant portion of the territory in the Ivanovsky Forest area.


Recently, Norton, Symantec, whatever the company is called these days released a report saying that information is worth more than drugs. Let that sink in for a minute. All you drug barons, warlords, everyone, you're in the wrong business. Information is the industry you need to get into because they make something like 40 bazillion, gillion, whatever, 12 zeros at the end of a number is. A year and you only make a peddly few billion. Now the first question that cup would come to anyone's mind, especially those working in information security is where's my slice of the pie? I mean you would expect like there to be crooked information dealers around every corner willing to slip you a envelope full of unmarked bills to look the other way while they VPN a tunnel into your network and siphon off some data. But that doesn't happen in real life. If we're drawing the comparisons between the drug trade and the black underground market of information trade then how do they actually measure up to each other? Hey man, amigo, I've got some fine information for you. I got credit card information, I got mother's made a name information, I got data, but come on, I'll get you some, I'll sort you some out, I'll give you some good prize, man. Better still, security professionals will be made to go undercover in order to do trades with the said dodgy dealers of information.  You've got the yeyo, the yeyo, of course I've got the yeyo, you can tell it to the judge. And that's not all, I'm sure the NHS or whatever health service your country runs would be full of people overdosing on information and you need to give them an adrenaline shot to the heart. But I think more than anything you'd have a lot of information security professionals burnt by guilt, you know, the sole Maverick renegade type of professional who's just let that one credit card information slip out through his fingers and the guilt eats him up on the inside and, you know, he becomes this kind of like dark Avenger. I stood by the shorelines for too long, seeing information slip through fingers like sand. Too many liars have been wasted, but I will stand for it no longer. I will seek revenge against these information, penniless and pimps and lone hives. Today, the information security community takes a stab. I think all in all what people need to consider is, okay, there's a value at information and probably being traded or stolen or used to hack into your bank account right now. But that's just a figure. It's, again, not compared to drugs, but it's not the same as drugs.  And information is information and that's what it is. Stay secure, my friends.


Hey, this is Brett, and this 2017 Chevy Silverado Double Cab 6.5 foot short box LT2 is stock number 23J37B. I am here at Summit Automotive in Fond du Lac, Wisconsin. You're new and used light duty truck headquarters. This 2017 Chevy Silverado 1500 has the 5.3 liter V8 gas engine. It has been fully safe and inspected by our service shop, has a fresh oil and filter change, all the fluids have been checked and topped off, and it is 100% ready to go. I'm going to go all the way around in this video, inside, underneath, start it up, and take a look under the hood to give you the most accurate representation of the truck possible. Deep Ocean Blue Metallic is a color, one of my favorite GM colors, and I shoot all my videos in 4K, so if you have HD capabilities on your computer, tablet, smartphone, or television I recommend turning them on now, because it is your best way to check out the quality condition options and cleanliness of the truck before seeing it in person. And if you like the video, you can subscribe to my YouTube channel, which is youtube.com slash summit auto. Click the bell notifications to get updates on the videos I do each and every day, as well as access to one of the largest walk around catalogs of vehicles on YouTube. This one has Nitto Terra Grappler G2 tires. These are 275.65 R18s, and I would say they have right around half the tread left on them. Comes with the painted alloy wheels, they are in really nice shape, that front fender is in nice condition, I didn't see any major dents or dings on there. One thing that's really nice about the LT2 package is it gives you all the LED and HID headlamps, and fog lights, and running lights. I didn't see any major dents on the front bumper or scuffs, and the grille is in really nice condition as well. The hood is in fantastic shape, I didn't see any major dents or dings on there. Other side front fender looks really good, and the passenger side front wheel, no major scuffs or scrapes on there, looks pretty good, just a little bit of oxidization on that wheel. Deep ocean blues got a lot of metal flake in it, a lot of purples, light blues, dark blues, really a cool looking color. And as you go down this side of this 2017 Chevy Silverado 1500, take note of how clean those doors are, how clean the body is, how reflective and mirror-like that paint is. I take these HD videos, so if you are far away or even if you're close by and you just cannot make the trip down, but you're still interested in purchasing the truck, you can see the truck here, the truck, and have confidence in the vehicle that you're looking at before you even get here, so when you do get here, there's absolutely no surprises, and you can make a smart and informed buying decision from wherever you're at, or just the decision to come take a look at the vehicle. Very clean down that side, and if this video helps you make that buying decision, let your salesmen know that you saw the video, it was helpful, and that Brett sent you. Back wheel is an excellent condition, and the back tires have just as much tread as the front tires, maybe even a little bit more. This one does have the Z71 off-road suspension with the Rancho shocks. The frame and underbody's got just a little bit of surface rust to it, but nothing too bad. Lower rockers and cab corners are all in really nice shape as well. Coming around the passenger side here, the box looks really good, didn't see any dents or dings on that. Rear bumper is in great shape, has the rear bumper step assist, full towing package which includes a receiver hitch 4 pin and 7 pin wiring, and the tailgate is in very nice condition as well. Comes with a trucks port by Truxedo, soft tonneau cover, didn't see any rips or tears on that. Beds got a little bit of light duty usage, nothing too bad, it is a truck after all. Shuts nice and solidly, has the easy lift assist tailgate. Going down the driver's side, the box is in fantastic condition, didn't see any dents or dings on there. And for full disclosure, there's back wheel just as nice as the front, so it should have a capless feel feel which it does, it's a nice feature, never get gas on your hands. And down the rest of this side, doors look really good, no dents, no dings, fender is in nice shape. Comes with the power mirrors with the driver's side blind spot mirror. Inside the LT2 package gives you the black cloth interior, you get the 40-2040 split bench seating in the front here. No rips or tears on those seats, they are in very nice condition. Power driver's seat, factory all-weather formats, tilt and telescopic steering wheel.  Back seats are just as clean as the front seats, no rips or tears back here and it does have the latch child safety system for any child car seats you may have. Fixed glass rear window with the built-in rear defrost. These seats do fold up for extra storage and you get the all-weather floor mats back here and the carpeting is in very nice shape as well. Inside and bottoms of the doors all look really good on this truck and the cab corners back here on the driver's side look pretty good as well. We'll hop inside and check out the miles, radio and everything that this truck has to offer on the interior. You can see that this one has 81,845 miles. You do get the Z71 instrument cluster on there. Comes with the leather wrap steering wheel, Bluetooth and information center controls on the right, cruise controls on the left and you do get audio controls on the back of that steering wheel. This one comes with the Chevy MyLink radio. It has AM, FM and Sirius XM radio capabilities on here. You have your home screen, you have projection where you can project your cell phone to the screen. It has a CD player as well. So while this truck doesn't have the factory navigation system, project your cell phone to the screen via Android Auto or Apple CarPlay and with Waze or Google Maps can have navigation right on your screen so that's pretty sweet.  This one also has the 12-volt power point and a 110-volt, 150-watt plug-in. Passengers side, format and seat, sorry about that. Passengers side, format and seat are in excellent condition, no rips or tears on there, smells very clean inside this truck. I don't think it's ever been smoked in, the headliner is in great shape. And you do get map lights up there as well as on-star and SOS buttons in the rear view mirror. We'll start it up and take a look under the hood. It starts right up, no check engine lights or anything like that. Did want to show you the backup camera, that is working nicely. And let's go check out all those HID and LED lights in front and take a look under the hood. I would personally like to thank you for checking out the video today and hopefully from this HD video you've been able to verify the quality, condition, options and cleanliness of this truck all the way around inside and out. There are those HID lights, LED running lights and LED fog lamps. They are super bright under the hood. We have the 5.3 liter V8 gas engine, engine bay is very clean, runs very smooth. Once again, this truck has been fully safe and inspected by our service shop, has a fresh oil and filter change, all the fluids have been checked and topped off and it is 100% ready to go. There is the emission sticker and I would highly recommend this truck from a quality and condition standpoint to see more pictures of this truck or one of other 550 new and used cars, trucks, SUVs, minivans, Wranglers, halftones, three-quarter-tons, one-tons, you name it. We got to go to that website right there, summitauto.com, full pictures and descriptions of every single vehicle, all at summitauto.com. And if you'd like to check out more HD videos, you can go to youtube.com slash summitauto. Click the bell notifications, you'll get updates on the videos I do each and every day here at Summit Automotive as well as access one of the largest vehicle walk-around catalogs on YouTube. In fact, in a second you will see a link to subscribe to my YouTube channel and the upper left to link to more Chevy Silverado 1500 truck videos like this one, the upper right link to this vehicle on our website and lower left and a link to one of our latest YouTube videos in the lower right. Click those, check us out. We're super excited to help you with this Ultra Clean 2017. Chevy Silverado 1500 double cab, six and a half foot short box LT2 in deep ocean blue metallic. Thanks again for checking out the video. Remember to like, subscribe, and share on the YouTube channel. I really appreciate it. Thanks again.


Hey guys, welcome back to Six Sister Stuff. Today I am making three recipes that are perfect if you're a beginner with the Instant Pot. I'm Kristen, I am sister number two from Six Sister Stuff and I might be a little obsessed with my Instant Pot. I absolutely love it. I have another post. That is my nine don'ts for my Instant Pot. So if you are new to Instant Pot, make sure you check that out and then come back here because today I am sharing three easy recipes that you can make with your Instant Pot that you really just throw in, you set it and you're done. So if you wanna see more Instant Pot recipes or Instant Pot videos, I would love for you to comment below, let me know or give me a big thumbs up. The way I do my food videos are a little bit different that you're gonna see my hands working and I'm gonna explain it step by step. That way you'll be able to see every step, every process so you don't miss a thing. So if you're ready, let's go make these three easy Instant Pot recipes especially perfect if you're just beginning. The first recipe I'm gonna make is called Sweet and Tangy Meatballs. So make sure your Instant Pot is plugged in, then you're gonna add anywhere between 30 ounce and 64 ounce of your favorite meatballs. I got these ones at my local Kroger. Then you're gonna add about 18 ounces of grape jelly. It can be any brand, it doesn't matter. Now I should probably use a spoon when I got this out but I really wanted to squeeze it out. Next I'm gonna add a 12 ounce container of Heinz chili sauce. Now you can get any branded chili sauce, you can also find this at any store. I got this one at Kroger and really just pour the whole entire thing on your meatballs. Now with the Instant Pot it's important to add water so we're adding a half a cup of water right on top. Then you're gonna put your lid on, turn it and make sure that it's on the ceiling. You wanna on ceilings will actually pressurize. On the Instant Pot you're gonna push manual and set it for 10 minutes then just walk away. When it's all done cooking you can do quick release. Notice how the steam is coming out quickly that releases all the pressure. So when it's done steaming nothing else comes out. You can turn it and open it. Just still be careful it's gonna be a little steamy and hot and let them cool down for about a minute. And then I'm just gonna mix it all together. Get that sauce covering all of the meatballs. Now you can serve this over rice. I serve mine over instant rice because I could cook it the same time I did my Instant Pot. This really is one of my kids' favorite recipes. For the next recipe I'm gonna be making enchilada rice. Now first make sure your Instant Pot is plugged in. Then you're going to take two cups of brown rice. I like to use the long grain brown rice. Or if you don't like brown rice you can use white rice too. Next you're gonna add two and a fourth cups of water. Next add one can of black beans. Make sure you rinse them and to drain them. Then add one 15 ounce can of your favorite enchilada sauce. I liked red that's mild. Sprinkle a little salt on for taste. Then I added one teaspoon of cumin here. Now you're all done put your lid on, turn it. Make sure you hear that little noise and make sure it's on sealing so it'll actually cook. Now I'm gonna push the rice button. Usually you can cook rice for seven minutes. I'm gonna bump mine up to 10 minutes because they're gonna be inside of a tortilla so I want them a little bit more mushy and soft. So I did quick release again just releasing the pressure. Now as soon as the steam stops I'm able to open up my Instant Pot and don't be alarmed at first. There looks like a lot of liquid on top but you're actually gonna mix that in. Now as you're mixing it's a good idea to grab a hot pad and hold on to your pan and mix. It will make your life a little bit easier. Now to put them together. I like to serve mine on tortillas. I also like to add a little bit of chicken, sour cream, avocados, really whatever toppings you like they will be delicious with. And last I am making fall off the bone ribs. Now don't be intimidated by these. They really are so easy. So first I'm gonna add a lot of salt on top of my ribs and then a little bit of pepper. Next you're gonna grab some apple juice and pour about a cup to a cup and a half into your pot. Now this is your liquid so you'll be able to get the pressure. Now my Instant Pot is a six quart and the ribs I'm using are beef ribs so they're actually a lot bigger.  But because my ribs are so big they don't fit that way so I'm gonna show you how I put them in. So first you're just gonna cut them right down the middle. Try not to cut the bone and try and make the meat as even on both sides if you can.  Then put on your lid, make sure you seal it tight and always always make sure it's on sealing so it'll work. Then you're gonna press your meat stew button and go all the way down to 25. Now I let this recipe do a slow release meaning I let it release on its own. So now I'm just gonna check, yep there's no pressure so I'm gonna open it up. And the smell of these things are amazing.  I lined it with foil so my cleanup is going to be a breeze. Before your Instant Pot is done cooking go ahead and preheat your oven to broil. So it'll be about 550 degrees or broil. Now before we broil these we're gonna spread some barbecue sauce on them so they'll be caramelized I guess in barbecue sauce. So I just did a few squirts of barbecue sauce. You can use any kind of barbecue sauce you like and then I just spread it around so it will be pretty even on each rib. Then when you're done stick them in the broiler for about two to four minutes. You need to watch it so it doesn't burn your ribs. Now instead of just dumping this apple sauce I'm gonna put some potatoes in it because I'm gonna have mashed potatoes with my ribs. This is totally optional but I'm all about easy side dishes. When you have your potatoes in you're just gonna turn it. Make sure it's sealed and then you're gonna push manual. First turn it off because if it's already on turn it off then turn it back on again. There we go. Then you'll push manual.  While those are cooking my ribs are done and they look amazing. Now because I only put a few potatoes on you can do a quick release and it won't splatter everywhere. So there you go. So I just took them out.  You have ribs and a perfect side of mashed potatoes. Well I hope these Instant Pot recipes are helpful for those who are just beginning or those who just need some new recipes. Please don't forget to subscribe to our channel and give me a big thumbs up or comment if you loved my Instant Pot things. All right guys, we'll see you later.


Thank you Gary Cole is with us and you know people talk about when you join the Yankees you have that Yankee moment Guess what? You already had yours. You had it with the sign you had everybody with the sign That was an incredible moment and your dad kept that for years, right? Yeah I put it in my closet and then when I signed they came over for dinner and my mom my him and my mom came over for dinner to celebrate And he brought the sign with me so And I had it and I just knew I had to bring it to New York so Garrett a lot of the stuff you set up on the dais was impactful But I think one of the sentences that stood out for us was pressure is a privilege You know that in coming to New York that pressure is going to be amped up You're the highest-paid pitcher in major league history. How will you in embrace those expectations? Well, I feel like I've had expectations not these ones specifically but expectations that have been high for a long time You know going to college a lot of what you heard was you know, oh, maybe you should have signed whenever you played bad and Or people second guessing your decision and then I became the first overall pick And I had to deal with that kind of pressure in the minor leagues, you know with the social media these days I don't even know. I don't even know how some of these guys do it I mean it was like kind of just coming around when I was coming up. So And then Pittsburgh same thing After AJ left I was kind of the head guy and and you know, we we didn't play that well And so you try to learn from some of those things and then you get a wonderful opportunity to play with a couple side young award winners three Justin Zach and Dallas And pitch on a big stage here and pitch in some big moments in the postseason So I've kind of developed I guess a process of how I go about that And although this situation is obviously something I haven't experienced before I'm just going to lean on the things that I've learned previously and and You know try to adjust and and you know take a step left or take a step right wherever I need to along the way So take us through the thought process. There are two schools of thought you could easily say well He's a lifelong Yankee. He wanted to be a Yankee sign easy or you could stay home in Southern, California Angels Dodgers made offers. What were the tipping points and said I got to be with the Yankees well I think ultimately my heart You know, I talk about following my dream and You know, I guess someday I might have a family So what better way to tell your kids to chase after the things they love than to do it yourself and set an example in that way but also you know The bright lights of New York and the big city and you know being about as far away from home as I guess I could be Our challenges that that our family is going to be able to meet But at the same time from an organizational perspective There wasn't a box left unchecked And that's just the way Brian runs things and that's the way the Steinbrenner family has done it for decades And so there was really no concern that you would always be competitive always be surrounded by great talent great teammates And a really great family atmosphere from the inside out from the Yankees organization How Steinbrenner just said that he wanted you and Amy to know that they were committed to you and obviously going to nine years It shows that what has to happen across these next nine years for this to have been a successful and a productive marriage for both sides Well, I think I think we need to win. I think we need to win a world championship and and ideally more than one that's for sure You know the organizations that the organization does such a good job of putting us in a position to get to October by surrounding us with great players And you know, it's our job to just go out there and and perform to the best of our abilities and compete for our teammates and compete for our city And so we'll do that and the numbers will follow the numbers will fall But we'll be out there on the field competing our butts off And trying to bring I mean, let's try to get let's try to get 30 30 of them I guess right let's try to get over 30, you know You've been talked about as a sponge a guy who loves knowledge deep into the analytics biometrics all of that stuff How much do you think or do you think it's important for you to share that with your teammates? What you know? Yeah? I mean, I think I think the game is just you know, it's such that's a large sample size We play so many games. We have so many of bats. He throws so many pitches over the course of the season So it's hard not to ignore some of the statistics and some of the trends that show up The analytics did a really great job of kind of illustrating What my strengths were and a lot of the stuff that I had learned along the way Up until I was kind of open to the analytics We're actually kind of verified by the analytics, right? Obviously Some tweakage in in my repertoire and maybe some pitch selection on again what strengths to lean on But you know, I I truly feel that you can't really lose the art of the game I mean because you can play the game over and over and over again But essentially you're playing against human beings So when you get into a seven-game series and you got to face somebody twice, you know, I Mean so what if he's swung and missed at pitch X for the last six months, you know It's really important what he did, you know five games ago when you faced him And that's when the chess mass comes right? That's when reading body language And trying to perfect the art and staying within yourself and taking as much information as you can Trusting your teammates really really becomes important. So it's a balance So there are a few times maybe when the data says go with the slider and you know in your head I got to throw up. Did you say I'm feeling a force in fast you got to trust your gut I mean your catcher's right there looking at the body language. You're right there Knowing what you're executing You know where where you're most likely to miss in those situations how Those situations match up with the strength of the hitter.  You have a you have a good gut You know what questions to ask and and you know, sometimes I just know what pitches this row So you got to trust those things and also just trust that your teammates are there, right? You got to go for it. If the guy puts a good swing on it. Thank God you got a good defense behind you You knew the Yankees were going to make a lucrative offer and they did an offer that you ended up accepting But they had a secret weapon with them out on the west coast They brought Andy petted out there with them to be part of the conversation. How impactful was that? I imagine you might have felt like an 11 year old again. I did it initially at first for sure I mean Yeah, I think he's certainly one of my favorite Yankees probably the city one of the city's favorite Yankees And he tends to win if not, he tends to win in October I know the meeting was in November, but we can you know when when Andy when Andy pitches anything Whether it be to come to the Yankees or a game in the postseason He usually gets the W and he did again this time two quick questions We'll let you go Jersey wise when you were 11 whose Jersey were you wearing at that all at that world series? I was wearing Derek cheaters Jersey Yeah, okay, and then 45 you got that for loop void big negotiation because he seemed willing to give it away He was he was not willing to give it away but Yeah, we spoke on the phone. We had a really nice conversation and and You know, I'll let I haven't spoken to Luke to know if he wants to you know really reveal exactly what happened So, you know, but we exchanged maybe a gift or something and he was very kind to to give me the Jersey So I'm really thankful for that. Yeah, it's so good to meet you. Congratulations. Thank you very much for having me All right, let's get it over to Michael and Meredith standing


My dedication to this sacred duty is total and wholehearted. In the responsibility bestowed on me, never will I falter. And with dignity and perseverance, my standard will remain perfection. Through the years of diligence and praise, and the discomfort of the elements, I will walk my tour in humble reverence to the best of my ability. It is he who commands the respect I protect, his bravery that made us so proud, surrounded by well-meaning crowds by day, alone in the thoughtful peace of night. This soldier will in honored glory rest under my eternal vigilance.


My name is Simon Alding and I am Director of the Crafts Study Centre at the University for the Creative Arts. The Potter and Ceramic Educator, Dora Billington, writing in 1937, in one of the earliest studies to reference British studio pottery noted that, English potters owe much to the inspiration of Mr. Vernon Leach, who learned in Japan to make stoneware that is in direct descent from that of the old potters of the Far East, with the same harmony of shape, size, colour and texture, and the same magic calligraphy. And to Mr. State Murray, whose magnificent big pots, with their interesting mysterious surface treatments, reach out to possibilities as yet unexplored. This paragraph neatly locates Leach, both in a place of some settled authority and in a place of tension. Leach's training as a potter took place in Japan and he saw at first hand the functional ceramics of East Asia, Korea, China and Japan. Leach's pot profoundly affected him and one cursory reading of his career as a potter is to acknowledge how he remembered and memorialised them throughout his long, lifetimes work. A synthesis of East and West, a place one might say, beyond East and West. In this place he might see, say, a Coney Lake, south-west of Tokyo, in this unpublished painting of his dated 1911, through a Western post-impressionist filter and through the filter of his companion, Japanese painters. Leach first met State Murray in the Artificial Guild in London in 1923, where their pots were exhibited together. As a report noted, they stalked each other around a showcase in the middle of the room before making acquaintance. The relationship remained one of a cool respect. Leach found it difficult to accept Murray's insistence on presenting his pots, not as ordinary vessels but as works of art. And Murray said that he found Leach's theorising on pots and art a little tiresome. Perhaps we can read into this tension a clash between Leach and his arts and crafts imbued moralising tendency and the metropolitan modernist, seeing ceramics as primarily a means of advancing the arguments of art. Perhaps the contested place where they meet is the place where British studio pottery gained its currency and its force. I want to make a focus on Leach's early years as a student and then as an emerging potter, both in London, St Ives and Japan, as a contribution in some small way to the programme inspired by the centenary this year of the founding of the Leach Pottery in St Ives. Leach says in his autobiographical book, The Old Eastern West, that he started his artistic training in 1903 at the Slate School of Art. I always loved him when he said, though his training under the ferocious and unforgiving gaze of Henry Tonks was not always enjoyable. We stood to Ease Old's drawing at Alham's length with charcoal on the chalet paper from plaster casts of Greek sculptures from maul till night. For me this was sheer agony. But, as newly uncovered drawings reveal, his introduction to the Life Class inspired him. A large collection of these drawings are in an archive gifted to the Leach Pottery in recent times, and a smaller number were gathered by one of Leach's friends, Alan Bell, who assisted him with his work as a member of the National Spiritual Assembly of the Baha'is, as well as in the transcription of Beyond Eastern West. So, I'll continue to illustrate this lecture with a number of these works, hitherto unseen. Alan Bell's archive is now in the collection of the Craft Study Centre, and you are among the first to see these works, since they left Leach's hands some time in the 1970s. Drawing Leach Observe took place on the backs of envelopes, even newspapers, on which I have jotted down these thoughts before they vanished into thin air. This habit remained with Leach. In later years an idea for a new pot might be swiftly drawn in the margins of a committee agenda, as a young and aspiring artist. He caught sight of the ship's cook on the way out to Japan, and the start of his new life as an artist, in this unpublished drawing from the Alan Bell archive. Leach's ambitions as an artist advance more rapidly during his short time at the London School of Art in 1908. Here, he says, he reflected on a genuine conviction of living expression in my own work, and so he took the opportunity which presented itself to study an evening class in etching run by Frank Brangwyn. But he also looked at Dutch interior paintings, the portraits of Franz Hals, as well as the works of the post-embrushness. He got to know Henry Lime, Augustus John and Whistler. He started painting in oils, though he was never comfortable with the use of colour, and he focused on etching. His first works are studies of the new model and scenes from London, very strongly influenced by Brangwyn. The London etching represents scenes of trade, boats moored in the docks, as well as the built environment and street scenes. They are either fully representative of the urban scene in front of him, or they introduce a more symbolic element, as in the case of the etching called the Gothic spirit, which he said was one of the best etchings I have ever made. It shows St Luke's Church in Chelsea, and he adds two hovering angels through the side of the building. It is as if Frank Brangwyn has joined up with William Blake. Leach was also influenced by the work and the etchings, particularly of Augustus John, and especially by Whistler. And here the more atmospheric possibilities of aquitint allowed the scene of the Thames to become more romantic and more lyrical. Leach could see how light, shadow and weather could make a landscape or riverscape more dramatic and even poetical. His etchings both in London and later in Japan and in China are improved, it seems to be, by the feeling that he is in the field, feeling the sun and wind on his cheeks. Leach's great friend, Sowetsu Yanagi, commented on this feeling of vitality and nature in Leach's work. Personally, Yanagi wrote, I have no hesitation in declaring that I think Leach's own work, especially his own recent soft ground etching, is distinctly worthy of respect. The example that I have selected for insertion here, done in 1918 and titled Lagoon, is one of his finest efforts. It is one of the scenery of Tegenuma, a place full of memories for me. I remember very well how he made the sketch for it one evening in autumn, as he stood by the side of the lake, watching the setting sun, and his thought could be read very clearly in the feeling of the line. We now have more documentary evidence from the remarkable Alambella archive of the linkage that Leach made between his drawing and his etching. The archive contains a small number of drawings made in the field before they were working out on the etching plate back in the studio. Leach does not seem to systematically display these drawings in exhibitions of his work, and so they have very rarely, if ever, been shown in public. Here, for example, is the un-complished sketch for Little Stack, a scene I think endorsed, and here is the etching on the right-hand side from the second edition. This made it the instigation of Janet Leach, Bernard's third wife, and her partner, Bruce Redgrave, and sold from the 1980s onwards, as they still are to this day in new craftsmen's and dives. And here is an un-published etching of Japanese canal. Leach travelled to Japan in order to fight his way as an artist. In his first publication, a review, 1909 to 1914, he reports that six years ago, my friend, the artist Henry Lam, asked me why I was going to Japan. I was unable to give him an answer, which satisfied him. Looking back, however, I do not for one minute regret step. It is not enough for the artist to belong to the present, still less merely to reflect and repeat the past. However remote and exquisite, he must also be an innovator. Searching the past and present for his own soul, he must build. All actions of the materialization of ideas and the finest ideas are mysterious inspirations. Leach, it seems, was prepared to let fate and the past come to him, but to meet it with hard work, problem solving, and his own detailed interrogations. Leach used etching as a kind of calling card in Japan. His problem solving could be based on new equipment, the massive printing press which made the long journey out to Japan on board the German line-up. It gave him a distinctive offer and the means of attracting, paying students. He published a lecture, the introduction of etching to the Japanese art world in the art magazine Shumi in 1909, not that long off the boat, arguing that etching would be of great interest for talented young artists to learn. It was a bold claim from a very recent alumnus of the London School of Art. Here is an unpublished etching by one of his students in Japan. The Leach scholar, Dr. Sata Hirosezuki, has attributed it to Tom Satoly, a member of the Shirokawa group, and it is a portrait probably of the novelist Naira Shigun. And here is a drawing of the Miss Latimore. Leach had been staying with her family in Japan in China as their drawing tutor. But this strategy to teach and exhibit etchings was set dramatically to change. On the 18th of February 1911, Leach and his artist friend Kenichi Tomimoto met up with some 30 young artists and actors who for recreation were painting pottery. Leach's epiphany for no moment took place, so to speak, in a pottery café. It goes on. In this large, most beautiful tea room, brushes, pigments and unglazed pottery lay about on small felt rugs which protected the matting. Someone who spoke English asked me if I would decorate one of them. And for the first time in my life, I considered what was appropriate on the point. It crossed my mind that pattern must be something different from either the landscape or figure painting to which I was accustomed. Leach had in fact to become a student again. After his pot was given its rakku firing, my dish was returned to me not too hot to handle in a piece of cloth. In thralled I was on the spot, seized with the desire to take up this craft. Leach's first work was made in the lo-fire rakku kiln to pass the time pleasurably and not as a life-changing creative endeavour. But he continued to use his visits to the ceramic holdings of the Tokyo museums as a source for new ceramic ideas. This alborello or drug jar is dated 1912 and it is based on an Italian or perhaps a Dutch Delft original. We can see too how the drawing, perhaps in the museum gallery, is a primer for the glazed painting. Leach went on to find a tutor, Yurano Shigekichi, who bore the honorary title of the 6th Kenzan and he began to extend his range from earthenware through stoneware to porcelain. Leach's etching of his master dated 1924 was presumably printed as a testimony after the death of Kenzan in the Kanto earthquake of 1923 and it relates very closely to a pencil drawing which is dated 1913, now in the collection of the Victoria and Albert Museum. Leach moved on to stoneware. Here I think is an unpublished photograph marked on the reverse, B.L.'s first stoneware made in Kenzan's kiln. He writes in a note on the reverse, frightful. Leach established his first studio at Abiko along with his friend Soetsu Yanagi. The significance of the workshop as the foundational place of his independent career as a potter was clarified in his work. In this model of the Abiko Kiln workshop for example and in this Yunoni or teacup for daily drinking with one might say the etched lines of the workshop buildings. He stooped to his work. The house adjacent to the studio merged the collections of Europe and ceramics of Asia and this was an important influence from Yunagi. One critic put it, I found my prophet that is Yunagi in a cottage. From the Japanese scene outdoors I passed indoors to a new Japan. Cezanne, Puvista-Cheval, Beardsley, Van Gogh, Henry Lam, Augustus John, Matisse and Blake hung within sight of a grand piano and a fine collection of European music. Chinese, Korean and Japanese pottery and paintings filled the places in the dwelling not occupied by western pictures and the western library of a man well advanced with an interpretive history of eastern and western mysticism. Leach was well served here for contextual information and resonant artifacts. Leach's cultured and museum-like rooms served as a stimulus for the work rooms that Leach himself would establish at the Leach Pottery and laid in life in his own private living rooms where pots from these cultures sat as exemplars, conversation pieces, canonical works and, in his great old age, works of consolation. He built up a remarkable collection of ceramics from East Asia, calling them the pots that gave him joy. They were alive to him, even when he could not see them in the blindness of his great old age. The sense of place is deeply important to Leach at his iconography and it was recorded in hundreds of drawings throughout his lifetime. This unique porcelain vase, which I think has never been exhibited in the UK, is in the Kawaii Kanjiro House Museum. Yeah. I'll take a tight laugh right? Yeah, this is... It's true, it doesn't want to. It's a lie. It might be better to take... Yeah, we'll take you out as well. The pot links place to person. And it shows, I believe, the municipal school of pottery booblings in Kyoto, which both Shoji Hamada and Kanjiro Kawai attended. Hamada was to play a profoundly important part in the development of the leach pottery. Leach himself recalled that our association in work and friendship has been a very special one. Shoji Hamada came to me as a young man and asked to come to England with me, although this is an image from a later meeting of the two in Mashiko. We came to St Ives together some 50 years ago, leach reports, and set up a pottery where there had been none, building the kiln, the workroom, the house, much of it with our own hands, then digging the clays, chopping the wood to fuel the kiln, putting pots and experimenting and finally exhibiting in London and in Tokyo. St Ives must have been a dramatic rationale for them both. He had the crucial assistance of Hamada, who, as the St Ives times you ought it on the 19th of November 1920, was imbued with the same artistic temperament as himself, and possessing a knowledge of the old technique acquired by a thorough scientific study. Pottery was defensively described by leach as having a very modest ambition, primarily to deflect rumours circulating in the town, that the cow pasture on which it was built would be lost to some sort of industrial complex. The works to be made there, he said, are to be of a private nature and on quite a small scale. Their intention was to supply genuine handcraft of quality. This a nod to the workshop's moral cause and its financial background, Mrs Frances Horn of the St Ives Guild. The works would be artisanal and not machine-like, sourdough, so to speak, not to owe this. Everything had to be done from scratch. The pottery grew up from what Emmanuel Cooper called rough proposals, which the town suburb then put into a form that would gain official approval. I don't know if Emmanuel saw this extraordinary paper model, drawn by leach, dated 1920 and now happily in the collection of the leach pottery. It describes the pottery to be on a single articulated sheet of paper. Here is another way of recording the place of pots, both as a dream and as a technical drawing. Hamader and Ein leach said, laid the foundation for an oriental climbing stonework hill, the first of its kind in the west. While the kiln chendrude was being slated, and his mates were not present, a casual labourer, George Dunn, took pity on us and came down to demonstrate how to use a long-handled Cornish shovel, with the haft over the left knee as a fulcrum. And so the pottery started, a deeply Cornish and Japanese construction, using methods long past, and the shovel perhaps employed as a tangible heritage tool, in a method of an intangible cultural heritage. Nothing in leach's paper model hints at this labour and graft, with the studio growing out of its Cornish materials. As leach said, I hope to depend on local materials, not only because it saves expense, but because it enables one to choose on the spot exactly what one needs, and to develop in the finished pottery, basic local character. If leach's early pots are potent expressions of the synthesis of arts and crafts and modernism's goal of truth to materials, then the leach pottery too is a studio crafted out of this synthesis, true to its granite, and George Dunn's Cornish shovel. And a place, in fact, where cricket might be played. In the 1920s and before, leach made a series of large, slip-decorated earth and wet chargers. I think nothing like them had been made systematically in England since the late 17th century, when Thomas or Ralph Toft in Bursam Staffordshire had made magnificent examples. Some 40 of these works signed by the Tofts still survive. The designs include the mermaids, unicorns and pelicans, portraits of King Charles II and Queen Catherine, Coates of Arms. The plates are marked around the rim with cross hatching. They resonate with a national iconography and narrative. They are celebratory, vigorous in conception and execution. They commonly offer praise of royal rule, royalty or folklore. Bernard Leach came across these works in 1913, four years into his residence in Japan and some two years after his first exposure to the craft of pottery. He was still working through his ideas as a potter. These works, which he knew not from the museum, but from a book by Charles Lomax, Quaint Old English Pottery, privately published in 1919, which had been given to him by Tommy Motto. This book stood Leach and he attempted to make similar wares, a habit that he kept up when he moved to St Ives. One of his earliest pieces in this mode, perhaps as earliest as this little dish, dating from 1917 and now in the John Driscoll collection in New York, it shows Leach's intense desire to cover surface, to crown it with a fluid imagery and text, as if to load the plate with thought and reference, and then to try and free it from this dense context by the depiction of the bird's rapid flight. It is as if his mind, as well as his hand, are in tumult and this tiny surface is all that he has to express himself as a painter, a reader, a critic and a student of pottery. The little bird, perhaps a dove, perhaps a symbolic bird of peace, perhaps a skylark, perhaps the precursor to the convent or northern diver that fly across the surface of many of his later works is in a kind of wrapped flight. The quotation from Woodpeck's prophetic book of Eurism reminds us of the significance of the mystical poet and visionary artist to Leach and to his Japanese colleagues and artists. Sawetso Yunagi, for example, published a massive volume on play in 1914, the first such work in Japan, and he dedicated it to Leach. The slipway chargers also laid out a template for a series of large chargers that Leach made in the 1920s with iron brushwork rather than slip painting, including one work in the Craft Studies and Collection, which is taken from Indonesian shadow play. And perhaps directly from the shadow puppet, given to Leach by the American teacher Richard Orton, working alongside him at Dalton and Hall in Devon. Shoji Hamada's impact on the Leach pottery was considerable, but Hamada was also an independent maker of gathering strength and voice, drawing on traditional Japanese iconography for some of his earliest and dived stonewares. This large bowl in a Japanese museum collection now and its smaller companion in the Craft Studies Centre displays a stylized presentiment, the Imperial Seal of Japan, carved in white slip in the manner of Chinese Caesar ceramics. And sometimes, as later in Japan, Hamada and Leach found an integrated way of living and working, where one melded into the other, where, as Janet Leach, who was a brilliant and perceptive observer of Leach's infatuation with Japan remarked, over all hangs the air of work as related to life, beauty coming from the daily way of things. It was a small but mostly collegiate workshop with the principles working out their balanced experiences for the good of the pottery. Leach said that, I was trained in art, Hamada in pottery technology. We were not folk potters, nor were we simple country folk like those who had made the best medieval pots or their counter pots in the East. We were artist potters and as such our horizons had begun to be all horizons. We talked of the possibility so long after the beginning of the Industrial Revolution of finding people who would be willing to go to training and to continue making pots for the rest of their lives. It was the theology of the studio and its radical cry, its stimulus of independent studios and independent potters. This bowl in the American collection of Dr. John Driscoll symbolizes the friendship and artistic partnership of Hamada and Leach. Made around 1923, it is a gift that Leach made for Hamada on the cusp of his departure back to Japan. It memorializes their friendship and their business partnership. The design akin to Hamada's personal seal is stamped in the well of the bowl as if to record the depth of their creative relationship. I want to conclude my lecture by commenting on one final pot which links Leach to tradition this time of the West rather than the East. This North Devon slip where Harvest joke by W. Fishery Holland is dated 1914 but it's made in a style common for over two centuries or more. It's a joke made in a standard commemorative manner explicitly for Leach and so it is marked with best wishes for a fellow potter. It's a testament of respect and friendship between the potters, the kind of memorializing of a ceramic relationship that we saw just now in Leach's gift to Hamada. In a way perhaps the repertoire of Fishery Holland's slip where master-guidance made in repeat patterns and suit in country kitchens might be seen as a precursor to Leach's own standard wear although the slip wear reached local markets and Leach's standard wear was shipped across the world. I began this lecture with a prospective Leach and State Mariette an exhibition in London in the 1920s and I'll conclude by recalling that one of Leach's greatest pupils Catherine Play-de-Bouviery met Leach in 1923 at an exhibition of his work at the Patterson's Gallery in London and she remarked how she saw the sort of pots I had never seen before quiet, coloured, gentle surface pots with a pleasurable sense of peace about them. Taking up a position at Leach Pottery enabled her to find a way to construct a template for her own lifetimes work making stoneware vessels that referred in shape to the Song Dynasty standards although she observed that nature was the true driving force between her own ceramic orthodoxy. She made her way, so to speak, on from Leach. She said that I want my pots to make people think not of the Chinese but of things like pebbles and shells and bird's eggs and the stone where the moss grows. The Leach tradition was continued as it is to this day by a density of family potters referencing the twin tracks of Bernard's aesthetic the East station and the English folk craft as it were. Bernard's eldest son David for example worked independently at the Lower Dan Pottery in Devon where his own son works now but with his father still to some degree looking over his shoulder. David Leach's vessels assumed a strength of form and a high degree of technical elegance and he was responsible for many important developments in the business running and the technical infrastructure of the Leach Pottery. Janet Leach's arrival at St Ives was a counter-blast. She continued her own practice honed by her own long independent training in Japan and the thinking of a sculpture that had craggy virtuoso presence. They were intuitive with sometimes graceful calligraphic mark-making. Her work stood apart from the conventional aesthetic. It was less mannered, more gestural, more freely conceived although here it kept true to Japanese methods and approaches to the independent vessel. She made sure too that the Leach Pottery was not simply a monument to the heroic male potter. It could be and it was a place of female empowerment, rigor and heartfelt practice a place where the pottery life could be lived fully by all. Hameda you might say is also a Stanley Poseidon when she spoke of her desire to imbue each of her pots with my evolving consciousness of my inner self presenting the vessel with a relaxed yet suspenseful attitude. Let me end with the Leach however. Here he is to bid us farewell unfiltered cigarette in hand sitting in his personal studio upstairs in the pottery ready to talk rather than to listen. Kindly in pause making his forceful contested contribution to British Studio Pottery which started a hundred years ago and which still echoes to this day. He has the last word in this poem written in 1967 he fuses time as he fused east with west to a place where he could feel beyond them both and in doing so at intricate ease with East Asia and his other homeland of some times a moment when everything might be possible in life and in history and in art. All that has been is now and all that shall be is now in this seed moment.


In the search for lighter and lighter materials for their laptops, Lenovo turned to carbon fiber, a material used and known for its toughness and light weight. After finding use in motorsports as well as aerospace and everything else that wants to be as light and as strong as possible. Today we have the Lenovo Yoga Slim 7 Carbon, a 13-inch device powered by the Alder Lake P series that weighs less than a kilogram. Yes, you heard us correctly. Stepping on the scale, we get a weight of 0.97 kilograms, while the thickness measures at 14.8 millimeters. Our model comes with a white finish, with rounded edges and corners. There is some branding with mainly a yoga and a Lenovo logo on the lid, which is entirely made from carbon fiber. The base, on the other hand, uses an aluminum magnesium alloy. All in all, the laptop is one of the toughest ones when considering its weight, as the lid uses a layering technique, stacking layers of carbon on top of one another. Opening it is also an incredibly elegant procedure, as the hinges are very smooth. We're also glad to see the thin bezels, which manage to house an FHD webcam, a Time of Flight sensor and an IR sensor for face recognition. The Time of Flight camera can be used for zero-touch login as well as autopause, as it can detect your presence and how close you're to the laptop. Moving on to some more boring parts, the keyboard has an obviously shorter key travel, but the feedback is clicky and very consistent. The touchpad is covered in glass while having a respectable size. On the sides, we don't see a lot of ports, with just a Thunderbolt 4 port on the left and one 10 gigabit USB Type-C port on the right. For the main attraction, we have a 13.3-inch QHD plus IPS panel, with a 90Hz refresh rate. It reaches 410 nits of brightness, while covering 96% of the sRGB color gamut and delivering excellent accuracy results with our design and gaming profile, which results in a delta E value of only 0.9. It doesn't use PWM at all, even at lower brightness, as can be the case with other displays. We'll leave links to our design and gaming profile in the description below. With a higher resolution display, often enough, you get slightly worse battery life. However, with the 50Wh battery pack and the Core i7-1260p, we still get around 9 hours and 22 minutes of web browsing, or 7 hours and 37 minutes of video playback. Only 2 per 100 people watching this video are subscribers. If you decide to just start following us, we'll be able to reinvest more in our laboratory, thus making even more helpful videos for you. Thank you, you're awesome. Speaking of the Core i7-1260p, it's the top CPU that's available with the Yoga Slim 7 Carbon. Stuck inside such a small package, it can still match bigger laptops in short loads like Photoshop, while still showing good performance in 3D rendering and other prolonged tasks. With the provided Iris Xe Graphics G7 IGPU, you can also tackle video editing as it comes with dedicated encoding support known as Quick Sync. Keeping the i7 cool and happy is a setup with one pipe and one fan. Still, we see respectable clock speeds and wattage of up to 2.69 GHz on the P-Cores and 2.22 GHz on the E-Cores, while the CPU runs at 46W in the first few seconds of the test, which is more than enough for most types of work. In terms of comfort, the laptop can get loud, as the fan ramps up to keep everything running well, while the base heats up to 45°C, which we're not that happy about. It shouldn't come as a surprise when we reveal that the Yoga Slim 7 Carbon has soldered LPDDR5 with up to 16 GB running at 4,800 MHz. You can access the storage through one M2 slot, which fits Gen4 SSDs. Our teardown video shows the inside of the laptop, as well as how to mount a new SSD for when you feel it's time for an upgrade. It's linked down below. While it seems like Lenovo drank a bit much from their own kool-aid implementing the P-Series CPUs, while the U-Series could have been perfectly fine, we're still satisfied with the Yoga Slim 7 Carbon. It looks amazing and feels great in the hand, while the display is gorgeous, making any type of content look incredible. The little to no I.O. does mean that you'll have to get used to dongles. The big win for us is the keyboard, which feels excellent to type on, despite the thin profile. Keep in mind that if you're okay with an extra 200 or 300 grams, there are other fantastic options on the market, like the 14-inch Swift 5 from Acer. If you need more convincing for purchasing the Lenovo Yoga Slim 7 Carbon, go over to our website, where we have a more detailed review paired with more tests and benchmarks.