Set up What's up money gigs was the V here welcome to another video guys so in this video I want to show you guys the setup of my my trading for stocks So I have another one that I'm gonna do a separate video for the setup for options But this one is specifically for stocks because I've gotten questions from a lot of you guys to kind of share What my setup looks like for the most part I do trade using we both So this is we will in specifically this is the we will web app because we will has to Two main platforms you can trade on including your mobile Platforms that makes it three you can trade on the web app or their desktop app or the mobile platform So this is their web app that I'm talking about and that's what I'm going to be showing here in this video But before we get to the guys if you're new to the channel We talk about how to earn money how to save money how to invest and build wealth So there's something that interests you go ahead and hit that subscribe button in the notification bell So you don't miss out on you know content So when it comes to trading you want to have a layout that works good for you In my case, I've actually built a dashboard that works and give me all the information that I need To make a trade at a glance so as you can see here I've actually really modified the dashboard to my liking so that I have my flow and in this case My flow is from left to right so if we start here, I this is where I pick one stock I want to look at or trade next up is this is my entry form and then this is my level two Data and then this is the quote for that particular stack and the reason why we I have the quote here Is because it provides me with? Marginable and shortable information so and then obviously my charts and my indicators and then You know kind of like my position and my working order which is down here that I use then the very end here I have the news because I mean obviously news is important if I see a stock gapping. I if there's any News about a stock I want to be able to click on this and see that news and And just no kind of you know go with it so that if it's good news Then I that would get my attention if it's no news then I start to wonder why is it being sure squeeze and stuff I got so again, I said my layout is From left to right so if you go on the webo web app You go on their traits and when you log in you go on the trade This is where you want to come right here on the trade Once on the trade if you go to the top Right corner here. You'd see says new dashboards or if we over over there It's a new dashboard and so if you click on that new dashboard They would bring you to a page like this what I want you to do is click on this blank Dashboard right here. This one this would be the blank where you're gonna start with so click on that blank and then once you once you're done It's gonna bring you To the blank screen on that blank screen. I mean like I said blank.  So on that page on that screen What I want you to do next is At the following widget so as you can see here on my screen if you go to Top right corner again go under widget settings and click on that and the widget setting is gonna show up And then the very first step there is the generate tab You have account details. You have your watch list. You have position and they have orders So I usually so you click on watch list you click on positions. I want you to have that There so if you click on watch list is gonna show up something like this and then if you click on If you click on position, it's gonna share something like this and they click on orders It's gonna share something like this But we're not gonna use these orders Because we're using something else and I'm gonna show you so I'm gonna delay this Because I already have them on here. So I'm gonna delete that then the next thing I want you to do So you I want you to do one to watch list on position the next thing I want you to do is go on the stacks I want you to think add quote to your to your dashboard You know, I'm deleting that because I already have quotes down here I want you to add chart which would be what we have here obviously that's the first one you need And then I want you to add time in sales if you have one and then under this other book So it would be if you have level two It would that's why it would show but if you don't have level two and they can only do the time in sales So I want you to do other books, which is at level two and then if you come down here it says Not not do option. You say is news right here. I want you to add the news widget Once you add the news widget, that's what's gonna give you this and then what else do we have? so if we go on their active trade again, this is gonna show you your active trade and What else I think and then if you go on the trade, yep, please do add traitor on here Do a chart all the books or time in sales depending on if you have access to level two add trade and then News right here and put So once you have that means you have all the pieces that I have here And then the only thing you have to do is just to move them around Like I have right here. So You can move them to your liking. So in my case, I I want to make sure that my orders or my Watch list is where I start so the flow the way I read is I mean I read no more I read from left to right So hey, okay, we stuck to I want to trade let's say emcee. I come to emcee I click it on my on my watch list they populate across the board here. So I have my order from here Let's say I want to buy a hundred shares of emcee or I can pick it from this list I put that information as a buy and then I feel in the rest of the information and I'm ready to play that order But why I'm trying to play that order at 91 point three and I'm looking level two here I'm seems like hey, I see ass coming at 91 point five point six point seven So there's a possibility this price is gonna go up.  Let's see if I can get an order. So I'll place that order as a limit order Again, I'm just telling you guys that this is the way I would look at it to get information that I need And then let's say if I wanted to short the stock and I should I'll look here on their Quotes say let's take for instance a stock that's shortable. Okay, let's say we take work horse Which is shortable now if I look here terms that the stock is marginable at the same time the stock is a TV which means had to borrow but it's shortable So I see that information then obviously I have my chart which I'm gonna I put on here Opening or expand it to your liking and make it fit once I have the chart The next step is I want to put my indicator So if you go under indicators, they can check it. You can see here. I have VWAP RSI. I have stochastic right there and then if you scroll down I have volume as well So you can see right here. So this is Right here. This bottom is RSI. This is volume and this is stochastic So I add those three indicators and then on the chart again This is one key thing I want you to do if you go to the charts go under settings right here click settings It's gonna bring up this Once this display comes up. I want to if you're sure extended hours is unchecked. I want you to check it Make sure that button is checked because Once that button is checked and then you will see this gray area as you can see on my screen here That shows you that this is after hours. So this gray area this gray box shows you after hours I'm assuming so you can see pre-market and after hours. So this is pre-market on the left side Grayed out means the market is not open and then once the market open is this dark area And then when the market closes, you see that gray area again So that's very important. Make sure you check that and then once you have that Like here, I like my I like to have this widget for working orders on this widget for position So my working order let's say I put in a limit order to buy 100 shares of workhorse Let's say 100 shares of workhorse at let's say 15 bucks So if I put in that it's gonna show up here as a limit orders It's gonna be under working until that order gets filled and they move over to my position And then from there I can monitor and see if see my P&L if it's going up or it's going down Then I can make a decision see if it's time for me to get out of the stock or keep holding For those profits. So that would be the basic setup that I have One other thing though when I'm trading. I usually like to go to on the on the here.  I can say for it's gonna give me 40 finger So I can I could be watching this one stock. I could be watching AMC or I could be watching Let's say cloth. I'm just putting some meme stocks in there or I could be watching Blackberry so let's say we do we're watching all those so and then this is why I'm so I'm gonna take this right now I'm gonna move it over to my other monitor, which you guys don't see here on the screens I'm gonna move it to my other monitor and then on that monitor I can see the charts there and see if the stock is moving or not. Let's say I see Blackberry moving and then I'm gonna switch right the way to My trading watch list I'm gonna switch right away and then click on Blackberry so that way I can trade it So that's the way I do it. Let's say clove is moving I can switch over here and look at clove and say hey, this is clove. It's it's actually gapping. So Do I want to go in or I want to stay look at all the other indicators? So that is the basic setup that I have right now For trading stacks on Weibo and again guys, this is just a basic layout that I have If you go if we go get on the trade You can definitely create a multiple layout to your likings depending on what you're trading so for stocks This is what we have. I'm gonna do a separate video to show you guys what a layout looks like for options So if you're new to the channel guys, we talk about how to earn money how to save money how to invest and build Worth so that's something that interests you go ahead and hit that subscribe button in the notification bell to you Don't miss out on new content also guys if you're looking to get started with investing Weibo has their promotion where if you sign up and deposit a hundred hours You get some free stocks links in the description below and as always guys do your due diligence Don't be a greedy savage and stay motivated You


What's going on everyone? Sam here really in sports cards. We are ripping 22 upper-deck Skybox Bumble Universe champions hobby one box break number seven random pack style We do the random now We've got our 15 participants as well as our 15 numbers 1 through 15 representing which pack number you're gonna get We've got three times on each one two and three will see down to Daryl M and Three times on yo numbers one two and three nine down to one We've got will see at nine awesome sab at 14 Michael L 7 Trint at C 12 will M 15 Dean with 13 and 2 Lauren ease got 10 Dean with 5 Vincent C 3 will see 11 and 4 Michael L 8 miles H 6 and Daryl M with 1 Alright, let me get these copied over guys. We get started in just a sec here. Make sure you guys get your Um Get your results number seven. There's your results. All right. Good luck So again, we'll have packs 1 through 5 6 through 10 and 11 through 14 Stop John. Yeah, happy. I guess it's Saturday now technically, but happy Friday, man Most of you guys made it to the weekend How many days straight have you worked I think tomorrow or I think like later today will be eight or nine She's grind All right, um do this range All right start off with Daryl M at one Daryl M at one AJ Griffin J. Caner 2,500 degrees shade on sharp. I got Daryl Kendall Brown and Peyton Watson number two. We got Dean. Good luck Dean Dean I Chasing the guap. Oh, yeah, salute Peyton Watson CJ Stroud That is a Jackson holiday a cut above Kenny Pickett. Nice one there That's Dean. I saw a short print for a their buddy insert and Bryce McGowan's Vincenzi at number three and Acunia premium Henry Davis Diego Jota and Bryce young dude if these were licensed. Yeah, we cow Will see it number four. That's why I like those PMG's from the 90s and 2000s are so expensive Johnny Wright heck Rodriguez. There's a tiger also have a sr. Thompson on the Z-Force and DJ ukulele. I love the Marvel PMG is here. They're so clean. So nice. Do you have any? No, I wish I did but those are way Yeah, they're pretty expensive Dean again at five. Good luck Dean. There's a Jordan Isiah Spiller Jivari Smith jr. Is our Thompson Wayne Gretzky universe the great one and Jeremy Sohan number six miles H Marcello Aspen lad Jojo Roper Tiger Z-Force Nice one there miles and a more cava metal shredders Number seven Michael L at seven and eight. Good luck here Michael Even burge wine. There's a Marcello Meyer premium cart CJ Stroud and Caleb Williams metal shredders Nice one Michael at eight at Sharapova Tolia tag-of-i-law Caterina Macario. That's a looking into the future of Caterina Macario short print and Edie Cappy number nine will see Smith intimidation nation scoot Henderson Very cool. Stephen Berge wine and a Will's alatoris fresh foundations There you go. Will nice ones there Lauren at 10 now. Good luck here Lauren Henry Davis Bryce McGowan's There's a Peyton Watson Universe Tiger metal shredders and a Bryce young fresh foundation Very nice. Congrats Lauren solid pack there for you Will see it number 11 starting our last stack here Purple PMG's are one of one Caleb Houston. Yovitch Traylon Berks. That's a Malik Willis premium card Got a McGowan's and Traylon Berks Shin tat see it number 12. Good luck here chin tat no crew shade on sharp willy T ribs Kayla Harrison Z-Force tie-tie Washington Very cool and DJ ukulele. All right, Dino again at number 13. Good luck Dean Dean at 13 this time Looks like a PMG Dean. Nice. You got a PMG Johan Dotson and Tony O'Carlo's Jr. Kenny Pickett No, that's a 75 Still nasty congrats Dean on the PMG I don't know maybe this they probably call this a different color. That's awesome 37 of 75 Kenny Pickett on the PMG Yeah, I would say so congrats Dean. There you go, buddy huge card right there That it's gonna be a Matt Corral and Henry Davis. Yeah, it's gonna be like a fuchsia or something Yeah, it's gotta be a different. Let me let's see what the parallels are one sec guys upper deck Skybox no universe Picture of a purple one Gems That is a pink technically that currently counts as a pink. I can see it still nice though Oh, yeah, all right. We got sad at 14 now. Good luck sad My maximo coast the same howl tie tie Washington Jackson holiday nice one there in the universe and shade on sharp metal shredders and Will and finishing up finishing us off at 15 Altaur's Griffey Danny de Andrade Ricardo Pepe Christian Hernandez and Armando cruise That is gonna do it for the break guys. Thanks again for the fill coming up next is number eight


Welcome everyone to the Bridging Knowledge Scholarship webinar tonight in our series. We have John A Paydon who's joining us. This scholarship program is sponsored by the IMLS and we are so glad that you were all here to join us. This presentation will be recorded and the recording will be posted to the SJSU YouTube channel and it will also be shared with the Sustainable Heritage Network. If you have any questions feel free to pop them into chat and at the end of Johnna's presentation she will be offering time up for Q&A. So we're so glad that you're here. And without further ado, I will let Johnna introduce herself. Thank you Johnna. Sure. Hi everyone. It is great to see you here. Thank you for coming to the live session. My name is Johnna Paydon. I am from Acoma and Laguna Pueblos and that's my Pueblo behind me in my background. I titled this Responsibility Representation and Respect in a Tribal Archives and Library because I hope to show how these three words are my guide for the work that I do. I was raised by my grandparents. I grew up on the Laguna Reservation but I'm very tied to my Acoma homelands and I've lived in Albuquerque for gosh going on 24 years now. Alrighty, so as you all know I'm a graduate of San Jose State University. I was part of the second circle of learning cohort. My title says Librarian and Archivist, but I am Archives Educated and Trained. So for my degree, I chose the career path of Archives and Records Management, which really it's the whole title is Management, Responsibility Representation and Preservation of Cultural Heritage and Records. So I am in my third year as the chair of Native American Libraries Special Interest Group of the New Mexico Library Association, and I am also the archivist for the NMLA. And one of the associations I belong to is the Society of Southwest Archivists and I'm on the committees, the South, I'm sorry, Diversity and Outreach Committee and the Publications Subcommittee and the Local Arrangements Committee because SSA will be in Albuquerque next year. So I'm excited for that. I've never been able to attend any of those conferences so I'm excited for that one and I believe I'll be doing a tour of the Cultural Center for the group that comes. Another project I was involved with is the School for Advanced Research. We did guidelines for collaboration. This one is guidelines for non-indigenous museum and archival staff that work that are working with Indigenous museum archives and curatorial professionals, cultural leaders and artists. So it's really just advice for the Native side, the Indigenous side, for them what to expect when you go into a museum, what sort of questions should you ask, what should you be prepared for.  So it's just kind of advice to help the two, both the Indigenous people and the non-Indigenous archive and museum folk be able to work together. So of course on the museum side we would hope that they would, for whatever information we give them that they would also share it back with the communities. So here's the Cultural Center. If you've never been here to visit the center, the picture on the left is one entrance and the picture on the right is the middle. So it's kind of shaped, the center was built in 1976 so we're close to celebrating our 50 year anniversary. The original building is a D shape which is reminiscent of Chaco Canyon. And so there's murals all around the big walls in there as well as a lot of artwork, huge artwork pieces of artwork by Pueblo artists within the building. So this new part has meeting rooms for us. So I've been there for a total of 20 years. I started out in the bookstore, which is opposite this picture here. The room is opposite this picture. I was in retail for about 11 of those years. So I was on the profit side of the Cultural Center. We have both a non-profit and a profit side. And so after I had my son, then I became a stay home mom. And I was stay home mom for about four years. And then I went back to the center. Well, because in that time, 2001 or 2002, I went back to the University of New Mexico. I had started right out of college, but I certainly wasn't ready for for college. I had bad habits and in high school and that followed me straight through college. I went for about a year and a half and then I left. I thought, you know, I'm wasting my grandma's money. I shouldn't be wasting her money. So let's I'll come back at another time in later years. And so it took me almost 10 years before I went back to UNM, but I loved it because I got to make my own degree.  I was doing receiving at that time. Checking in all the merchandise that we purchased, putting it into a database, putting price tags on it, that sort of thing. But I that wasn't a career. That wasn't something I wanted to do for the rest of my life. And so then I happened to come across the honoring generations at University of Texas Austin. And I thought, well, what the heck is a library and information science degree. I found you could become an archivist and I thought, well, hey, that's I think that's something I want to do. So then I just happened to find the circle of learning program at SJSU and applied and yay, I got in. Okay, so the next photo, I'll tell you all about all about me as we go along. So here's our mission. The mission of the center is to preserve and perpetuate Pueblo culture and to advance understanding by presenting with dignity and respect the accomplishments and evolving history of the Pueblo people of New Mexico. Now the purpose statement, the library has a different mission. Oh, that is, I'm sorry. That's the mission statement for the library. No, no, no, no, I'm confused here. This is the mission statement for the cultural center. So our mission statement is a little bit different, but it relates to the mission statement of the center. So the purpose statement for us is that we reflect and support the IPC's mission by collecting and preserving Pueblo history and culture, and to provide informational resources to educate and understand the 19 Pueblos of New Mexico and then the indigenous peoples of North America. And actually, there are 20 kind of 21 Pueblos. We kind of include the Hopi as a Pueblo because they've been kind of named a Pueblo, but they're kind of not really a Pueblo and they're in Arizona. And there's a sluttadel sir, which is in El Paso, Texas. Okay, next photo please. So here's a map I thought I'd share of all of the Pueblos that are in New Mexico. So we go from Taos Pueblo in the north to Islada in the south, all the way to Zuni in the west. So there are 14, I believe, 14. There's more tribal libraries, almost every Pueblo has a tribal library, but there's more coming every year and of course the Navajo Nation has that as well as chapter houses. Their main library is in Wendo Rock, but they also have chapter houses across their land base. Okay, next. So here is the entry photo to the library and archives were located in the basement. And every single, this is our third move and I think this, I hope this isn't our final move because I would love to get us above ground to where people can see us and, you know, not be stuck in the basement, but every single entry to the library has been excellent for SWAT analysis, which I'm sure y'all have taken that in the Library 101 class, the strengths, weaknesses, opportunities and threats, because we're just not visible. And I mean, it's gotten better, but we're still kind of not visible because this little hall area, I lighten the picture, it's kind of dark there. But once you walk in, we've got 40, I think I counted 40, like 44 lamps or lights, fixtures at the top. And we had someone who came through and did an assessment for environmental assessment for the library and archives and it was crazy. And they said that the average, the normal light lumens I think is like 300. And with all of these lights here, we're at 1800. So it's quite bright in there. The bookshelves that you see there, they were donated by the University of New Mexico. And this was just around, you know, we're still kind of in COVID time so we have the plexiglass what do you call in the center there to dividers, dividers in there. So the library has been in existence for as long as the center has, but it was often, it was started by Dr. Joe Sando, who's from Hamas Pueblo, along with, he's a historian and an author, along with a UNM professor and his wife. And up until about 2012, it was managed by non-librarian volunteers and only open one day a week for limited hours. So as I said, that's one reason I decided to get an MLIS and I thought I would love to get this place open and more visible. And so I returned back to the center in 2011 for about a year and a half as a volunteer so I could get familiar with what I would be working with. And I had absolutely no experience working in the library or in archives. So that was my opportunity and chance to do so. Things worked out because in 2012, we got a grant, an administration for Native Americans grant that helped expand the library, helped purchase a lot of the equipment, desks, computer software, computers, helped pay for three student interns of which I was one and brought on a director to help start the library. So that so we moved from the library used to be located right next to a boiler room. So we moved it into a little bit bigger room. And so now this is an even larger room. So we are a research library. And so one of my goals has been to make this a welcome environment.  And there's a few other things I've bought bigger plants and whatnot I put a, like a wooden coat rack at the door, just, you know, to make it a little bit livelier and I had one of my friends. He does a lot of sewing of traditional clothing and whatnot. I asked him to make a like a coffee table scarf, because we have some old card catalogs there. So to cover the top it's really beautiful. So just little things like that just to end. I do know they have like clocks with the numbers and carousel maybe eventually I'll get that along the wall you can just barely see there's a whole row. And which are the, the, what's the right word, the, the, like the symbols, the logos of each of the pueblos. So, but they're in black and white and I think I'd like to get those in color. So we're non lending, and we're special collections and research library so we use the Library of Congress cataloging for our classification system. We're focused on Pueblo history but we also have other Southwest tribes and indigenous peoples across the globe really a majority of our books are donated. We have a lot of older titles that are represent representative of the 1950s to maybe the 1980s, maybe even older 1930s and such, which I keep in a special collection for research purposes, because especially the children's books because I don't really books I want children to be reading, but they are great research material for people who might be research and you know what representations of us look like how we were written about, because really it's, you know, on one hand it's amusing but on another hand it's, you know, it's not so. So when I was a student intern with the administration for Native Americans grant, I was an intern for three years. So for the first year, year and a half I worked on the library side. And one of the things that I was awarded I wrote a grant for the New Mexico to the New Mexico Library Foundation to help purchase some books. And those were children's books. Okay, next slide please. This is one of our prize collections it's the theses and dissertations. These were researched and written by Pueblo scholars from about the 80s on, and if they're not written by Pueblo scholars they're definitely Pueblo topics. And so we would love to grow this section because we're, you know, getting a lot more Pueblo people going to college and, you know, producing dissertations and research so this is definitely a section we would like to grow. Next slide. So this is our children's and juvenile books. So the picture on the left is what any typical library looks like, especially, I think a research library. I'm kind of taken from the public library side, and using colored tabs so like on the right here, so that the children's books are their call number has a different color versus the juvenile section which has a different color, which is helpful for our volunteers that help us in the library it'll help them and us be able to bookshelf the books properly. So, and then of course just taking the books and facing them out to say you know this is a new book or here's the topic for the month and here's you know books on that topic. So just trying to make the bookshelves look more welcoming and inviting and able to browse by, by, you know, shelf because the Library of Congress system is really tough. I mean a lot of my classmates kind of laughed at me when I took when I took cataloging and classification because, you know, a lot of places you have the software that will do it for you but when I structured my MLIS last degree I did it with my boss, Dr. Rose Diaz, who is very helpful in helping me navigate this new world of library and information science. She wasn't a librarian but she did work at the University of New Mexico library she was a research historian. So, she helped me pick a lot of the classes that we thought I would need to run a place like the cultural center. So, cataloging and classification was one of those and I'm so glad I took it because it's helped me learn about the Library of Congress subject headings as well as all the things that are wrong with it and the issues with it you know and the naming. You know, to how they're how we're catalogued and classified. So, um, so what I did here then with the kids section is I broke it up into different areas so there's a people section as you can see there with Deb Holland, Maria tall chief and will my man killer. There's a nation section so that's going to be on tribal nations about tribal nations. There's a section on myths and legends because that's what they call our stories. And then just a general section. So I'd like to extend this kind of organization throughout the entire books that we have. You know putting the poetry all in one place because they can't the literature sometimes they're in different places because of the way LCC catalogs them by location rather than by subject, putting all the art books together all of the boarding school education books together. And I'm very well might separate them by nation. I know we have a donation that came in that's primarily books on Alaska tribe so that's what I'd like to do there. Okay, so I prefer to get, especially with the children section native authored books, more than half of our books are donated. We have a loan from the Albuquerque Archaeological Society. Most of them are older books in the children section, such as by Ann Nolan Clark, which were readers she did a series of readers for to be used in Indian schools. But those as we know are troublesome for their content their voice and their accuracy. So those go into the special access, like I said I don't want kids to be reading books like that about them themselves. And there's also books you know that have been bought and I will say that when I worked on the retail side I was the book buyer. And I'm, I will honestly say I didn't assess every book that I bought so I know, you know, some of our popular sellers where the Paul global books which aren't Debbie Reese will not recommend. So I think for those books that are still in here, like those written by global, I would love to get articles and be able to put them with the books or put them in a section nearby so you know we can say well this is why this book, you know isn't the best to have. Okay, so we also have in the special access we have some restrict its restricted sections for religious and I guess you could just call them cultural tell all's where you know there's everything written about a tribe or a nation. And some of the pueblos are more open than others but because we're all related, we will respect the more traditional pueblos and restrict access to culturally sensitive materials. And, you know, we've had people come in that ask them, particularly for like, hopey kachina books and if they're non native we tend to not let them see. But at the same time you don't want to police what people read so there's a fine line, and I think we're just still trying to figure that out what that means and how we enforce that. So that's a work in progress. Okay, next slide. This here is our catalog. We use library thing because of its low cost, but it certainly has issues it's not meant to be a book catalog. It takes a lot of the information from Amazon and automatically feeds it in there. And one of the issues was, as I mentioned, the library was run by volunteers. So they didn't understand or weren't aware of library policies. And how things should be proper, properly put into a catalog. Plus there were, as we say too many cooks in the kitchen, you know, so there's a lot of inconsistencies in our in the database. And, you know, as I mentioned I worked in retail and I did entry of the inventory so database is in my background I had over 10 years of work with databases so I understand how to how something should work better. So that's what I'm trying to do with this catalog is to improve all of the little glitches and whatnot and try to work and see how this catalog can work better for us. So next slide please. So this is an example of one of them. The top one the Pueblo Nations that's what an old entry would look like. So it uses a lot of tags, which are not necessarily helpful, you know when you have just the general public naming things because, you know what what is what is something you know what is land rights who's land rights, those sort of things. So the next Thunder Baron code that's one of the. Yes, one of the improved tags. So, you know where I try to be conscious of the naming of people. So saying, you know, take what Indians instead of a general Indians of North America. But even on that kind of labeling, when you get Indians of like Indian, let's see is it here Indian Wars, or Indian women, I tend to put in brackets American in front, just to differentiate that you know, we're talking American Indians. So the nice thing we I've been doing is adding on the reading age and the grade level just to give readers a general idea of you know what grade level that book might be for. And one of the new things I found in library thing is to be able to do a collection. So that way they're divided you know the children's collection, we have a juvenile collection, a reference dissertation and the seas. The special access and the books that are on loan from the Albuquerque Archaeological Society. So as you'll see on the bottom the seeming Sue. That's our designation that special access children. And then the rest of the call number. Okay, next slide. Um, let me see. So I transitioned from the library in March, March 23 of 2020. Yeah, I was. So after I did my stint as a student intern, I was at the cultural center, I was a volunteer and then and a student intern from 2012 to 2015. And then I came back in 2018 as a community intern. And so I had been called back to the center because they had a national endowment for the humanities grant. And so I worked with her on an oral history project, which I'll show here in a bit. So when I came transitioned over to the library, because the previous librarian before me left took a different position. Alone, my staff were put on furlough and the cultural center closed as we dealt with the COVID. So I worked from home for a bit. And then I went back to work, you know, all these dates. Just kind of mesh in my mind so I can't exactly remember what wins what I think I went back into work in November of 2020 for a while. And we worked staggered shifts so that, you know, half of the staff was there in the other half was there on different days. So like Monday, Wednesday, Friday kind of thing Tuesday, Thursday. And so that so that we didn't have the full staff. And so in that time I decided well, you know, what can I do to help make the library more visible. And so I started this blog, doing a monthly library blog. At that time on the nonprofit side we would have monthly theme. And so we would try to kind of do the same related content. The nonprofit side includes the museum and the curatorial. What is what is her title curator of collections I believe she is so she does a view into the collection, where she talks about her, the items the objects that we have at the cultural center art, art objects. So like, you know, in December, we would do a storytelling kind of theme, and she would talk about storytellers. So that's how I started the library blog. I wanted to inform on contemporary subjects and people none of this in the past thing. So I stick most a lot to contemporary topics I mean, I'll bring out like the Pueblo revolt which of course happened in 1680 but you know bring it put pool in new things contemporary things to help tell that story. My background. Okay, so as I said I went back to the University of New Mexico. I got a bachelor of university studies degree which I was happy I got to create my own degree. I did English and under English I did professional writing and native literature. I also focused on linguistics I did a native American languages. So I took Navajo for my language class because I figured, hey I took Spanish in high school. If I'm doing a native studies kind of degree, you know Navajo would be perfect so certainly would have done my own language had they offered it at unm but you know, it's not a written language so my family was a little like what you're taking Navajo but hey, you know, I did pretty well so the guy that you see here at the top that I did the interview with Andrew Thomas he's Navajo and he was so impressed with me that I took that class and gotten a I mean he'll brag about that, although I always remind him it was an a minus. Anyhow, so I was excited to be able to use my writing skills and my research skills to write this blog, and I'm very conscious of how I write and the word it the words that I use to talk about these topics. Okay, let me see. So, I, as I said I love doing this blog, our marketing department posts it on Facebook and Instagram every month. And I have a pretty good readership numbers some some months are higher than others, depending on my topic. And I was excited because the University of Phoenix librarian asked if my tribal sovereignty post could be linked as a learning resource for one of their courses so I mean I was honored to be asked that so you know. Yeah, okay. So next slide please. So this here is our vertical files. These are newspaper articles from about the 1970s on across a range of topics from, you know, archaeology, education, sports, different sports, water. So this picture of the files on the right is shown by Pueblo. So we have one of every Pueblo, and the topics just depend on how much of each topic we have so some might be tribal government. Some might be gaming some might be on water. It just depends. But one of the things we have to to I guess we have to we need to do more assessment of these, because as I said, the library was run by managed and volunteers helped run it for a lawn for so long. That some of these topics aren't necessarily appropriate to have in these file cabinets. And I, you know, I don't know of them until somebody comes in to do research. I had a homeschooled. There were some homeschooled middle schoolers I believe that they had to pick a Pueblo and do a report on and so they were so excited to come here. You know, we had this material for them but one of the kids, you know, the folder he pulled out, it had. Gosh, I think it was newspaper articles on somebody in the tribal government that was accused of embezzlement or something. You know, I mean I know these things happen all across and every city and town and people, but you know that's not something we should really be providing access to that, you know, somebody can read and learn about, you know, well this Pueblo had this happen to them. So there's things like that, that need to be taken out of. And we also have some federal documents in the archives room that, that you know, can go a little too far and I as I said I don't know about them until a researcher brings them to me and this guy said, Hey, I'd love to have a copy of this it was of something at Laguna Pueblo, somebody had visited there and they were writing of what the dances they saw there and I thought no, I'm sorry, I will cannot copy this for you so, you know, it's little things like that that we need to be able to take care of and make sure that they're not used for, you know, wrong purposes or what have you. Okay, next picture. So this one here is our archives the top left picture is looking south. And this one, this part of the archives room are what is processed and what has been done. So the second part of my student internship. I worked on archives, and I did a preliminary assessment of Joe Sandow's papers, as I mentioned he was an author and researcher. So a lot of the articles he looked up and his, his manuscripts the drafts are in there. So I did that and then I did the Friends of the Cultural Center and the Friends Collection. There, there as I mentioned they're the non native people they helped a lot helped with building the cultural center there was a fundraising committee, different committees nominating committee education committee that did lectures to the public. And I'm forgetting the other committees that they had docent docent training. So I did their papers and oh my gosh that must have been, I didn't count, and I didn't take pictures 3040 boxes of papers that you know I saw the same paper, 3456 times and you just, you know, find the best copy and get rid of everything else and I got it down to I think there's eight of those archive boxes there so we have maps on the right side, just different maps, nothing old that that's one issue is we get a lot of questions from researchers wanting materials from, especially the Pueblo revolts I mean that was 1680. We don't have, you know, part of me wants to make a joke and say well here are petroglyphs you know that's our written written material for that time. But they want the voice of the Pueblo people from you know the 1700s 1800s and it's just not there. So, and there's 19 Pueblo so you know that's a lot of material for even if we were to even hold that we, it's a lot of material. So, you know, most of our stuff is contemporary I think the oldest is 1970s and there's there are a few donated books that come from the 30s 40s and 50s. On that back shelf there on the picture on the left, those are the Bureau of ethnology reports and those do go back to I think the late 1800s. Okay, so the picture on the right with all the shelves that is all our unprocessed material. Because the, the library side is kind of like the front piece of both library and archives. It's, we don't have an archivist, you know, I had to learn how to be a librarian, because that was more visible than the archives so there's a lot of material here that hasn't been processed we don't have deeds for so even if we did process it, you know, we need to get permissions to be able to provide access to this material or does it go back to that institution if they exist, you know, or the people that collected this material so there's you know there's a lot of work to be done there. On the bottom left, those are our VHS and there's even some beta cassettes further down. We were picked to be part of the community archives workshop where we would learn about audio visual materials and how to digitize them, how to take care of them. And so that that has been really helpful. We also had were given funds to be able to digitize some of these items so I was excited I picked 20 videos. The videos here are both commercial and non commercial titles. For a long time we had a theater in the, in the basement that was part of the museum, as well as in the bookshop we used to run on a continuous loop. I read about Maria Martinez who was a famous potter from San Aldefonso, and probably to the lord who was a Santa Clara artist. So one of her murals is on the wall there at the center. So, so there's some of those tapes in there. There's also events that happened at the cultural center which is exciting to see from like the early 90s. Lectures that they had meetings every April during Gathering of Nations, we have an American Indian week that for the whole week, where we have different dancers and arts and crafts booths and whatnot so those tapes were in there. So that's exciting to see. And then on the bottom right that's our photo collection so those we have IPCC through the year so there's, you know, pictures of the 1970s before the building, breaking ground of the building through the different additions that have happened to it. And then there's some Smithsonian photos. We have a 1930 Bradley R Curry photos, which are the intertribal ceremonials in ceremonies in Gallup. There's also a First Nation pageant photos. The thing with the oh and a Lee Marmon who's Laguna, a famous photographer. But some of these we don't necessarily have the rights for so like the Smithsonian. So, you know, to a point we can't share them. Okay, so next slide. So this is the project I said I was in before I came on as the librarian. So for this oral history project, we picked 20 women, we tried to get one woman from each of the 19 pueblos, but sometimes their time when they were available didn't fit our timeline, and how it and how we needed to how quickly we had things done. So we settled for 14 of the pueblos are represented here. And so we settled for a range of occupations. So here we have like the lady who's the director of the Miss Indian World at the United Nations we have a tribal historic preservation officer we have a journalist, of course, Dr. Debbie Reese, and me as the intern library intern, we have a couple of business women and educator, a director of education for her as well, an artist. So it was really, it was, it was, it was really fun, and maybe to a point emotional, doing the interviews with these ladies. We would try to research them as much as we could. There are maybe four questions that each one was repeat was asked that was repeated with all the other women. But the other questions came just all dependent on their history their work, what their background was. So all of these videos are online at the link at the bottom. So it was fun to learn from them and it, and I kind of could hear my story in a little bit of my life in each of these women for the different, you know, paths to life that they got. So one of the things we focused on was mentorship, and who they saw as their mentor, and how the mentorships help get them to where they are now. Let's see, looking at my notes here. So I, okay, yeah, I think that's it on this next video slide please. So I show the door. This is right next to the photo collection, because there's a sign on this door that says restricted access. The collection that you see on the right has been behind that door locked I don't even have the key, because it was. It's deals with water rights. And so the four these four pueblos and San Aldefonso they're all up north, San Aldefonso, to Suki Pawaki and non Bay had litigation about their water rights. And they were in dispute and I think the and appeals which the case finally settled in 2017, and the cultural center have had these records for, I think since the early 90s or so and they've been moved from room to room. But as I said they've been under lock and key. So we finally signed an agreement with the four governors and they're going to let us, meaning me process these records and make them accessible to the public, at least those records that can be accessible. They've been kind of locked, because there's information that shouldn't be shared, not just with the public, but people outside of that Pueblo. And so, some of the things that might be in these records are boundary lines that that the pueblos don't want known. There might be locations of sacred sites and such and so those records will still continue to be kept restricted. So we're going to provide access, some finding guides and an establishment of an advisory committee, so that if a researcher because they are very aware the four governors are very aware that these record that these records are going to be. There's going to be people that will really want to know what are in these records. Some of them are held in other places. I hear there's things in here like where they had to get the Spanish records that had to be translated. So that's in the public domain but you know, I guess you kind of have to know where to find these. So in order to take the pressure off of me to tell people know you can't read these records, they're going to create an advisory committee so that I can tell them will you take your case to the advisory committee. You present to them what you want to do with these records, what you want to access, and as the advisory committee that will decide whether or not a person is can see these records. I'm excited for this because you know this is what I went to school for and you know this is the kind of, you know, this is just what I went to school for and this is what I want to do. So, okay, last slide, which is I think just my contact information. So other jobs that I've held in between those years when I wasn't at the cultural center. In 2016 or 17. I was at the Sky City Cultural Center and Haku Haku Museum, my, my home cultural center. And I was, I think the museum assistant. So I didn't do too much with libraries and archives. However, I was also a consultant as a student on a map project that they had. And I also who collected a lot of maps of the land base of Acoma Pueblo. So we helped the museum. I don't remember what his title is exactly the museum guy. We helped him put all of those maps into a database that can be searchable really just an Excel sheet, but understanding what information to take off of those maps. To help find them. And we helped with preservation. So they can encapsulate the maps, so that people, you know, when they touch them. It protects the, the integrity of the map. I was also a consultant at the Pueblo of San Felipe Community Library. I help them with their books. So at a lot of these tribal libraries here in New Mexico, there aren't to degrade librarians. A lot of them have decades of experience, but they don't hold a degree in libraries. I went there and I helped them with their collection. I did a quick lesson for them on they use Dewey decimal system. So what that meant. I showed them like I did with the colored tabs in the library, how to make their books more visible to I helped them designate which were children's books which were juvenile books which were young adult books. And gosh what else did I do over there. I think I helped clean up their database a little bit so that was fun and exciting. And in between I'm sure I've done other minor little consulting jobs and such or, you know, like the SAR collaboration guides. So I think that's it so I'm ready for questions. Brandon, is that you putting your hand Brandon just clapping. Thank you. Well for those of you who haven't read the blog yet I encourage you to do so. When that blog came out I distinctly remember it during COVID and it's such a wonderful blog it really has a lot of good content. I'm not surprised that University in Phoenix reached out about that. I'm glad to hear that. Yeah, I was just said hey somebody recognize it. Yeah, it takes you know time to do the research but I enjoy it so who knew. I mean in high school I was like research what, you know, but I find I like research so. Well you sure shared a lot of information with us. I love that world history project as well. There's a few familiar faces on there that I recognize. Oh yeah. She was really strong and a la and she's retired now so I miss her at our meetings. Yeah she was my mentor for San Jose before the circle of learning program. So she was really helpful to she was a good mentor to me.  Yeah. Oh yeah I miss her. Yeah I've had quite a few mentors in my in my schooling you know just, I think it's important I mean.  I had no I was nervous about it because I thought, you know as I said I don't have a lot of experience in library and archives.  So I always kind of feel, you know a little bit nervous like well what can I teach somebody who's been doing this for 10 years. I went and spoke to one of my mentors and he's like you know we all can learn something. And I find that now to that you know I get reminded of things that you know I sure I was taught but you know you can't keep everything in your head so it's great when you can get refresher, refreshers from people. Donna, I was going to ask do you want to tell the students about your study abroad that you did when you were in MLIS. You know we don't have much time. Yeah, yeah I was so excited through the University of Wisconsin, and I always forget if it's Madison or Milwaukee. I took a study abroad class in the summer to Melbourne, Australia. I mean, I've been a love of Australia since I was a little girl, you know and so I was so excited to go. We got to visit. It was for archives but we got to visit 14 different institutions, anywhere from a university library to Bunjalaka in the Melbourne Museum which is centered on aboriginal people, Kuri heritage which is also another Indigenous aboriginal institution to, what else did we go, gay and lesbian archives, Melbourne Cricket Ground which they play cricket down there, we went there to a sporting place, with just 14, oh a hospital, the Royal Children's Hospital, so it was really nice to see the different ways, because I think here in Albuquerque we could probably do something like that too, but I had never thought of that, that all the different types of archive places that you could go and see and work at so it was so wonderful to go to go do that if you ever get a chance to do something like that, do it. Well that's great, Jenna, we thank you so much you shared so much information tonight and we all learned something from you. Awesome, happy to be here. Well, we appreciate it. So, students, please send questions and we can keep everyone connected. And until next time I hope you are enjoying your studies, and we'll see you again soon. Awesome, thank you all for coming. Thank you, take care.


Have you ever dreamt of starting your own food truck business? Well buckle up because we're taking a ride to Flavortown. The journey begins with a unique concept. Maybe it's tacos with a twist or the creamiest ice cream this side of the Milky Way. But hey, why not sprinkle some humor on top? A dash of laughter can turn your food truck from a simple eatery on wheels into a memorable experience. Remember, the best food trucks serve a side of laughter with their tacos or ice cream. Now that we've got a tasty concept, let's dive into the juicy world of market research. Market research, my friends, is like the secret sauce of your food truck business. It's where you uncover the flavors and tastes that your customers crave. But while it's important to know what's hot in the food truck world, our aim here is not to follow trends, but to set them. Think about it. Would you rather be the one chasing the latest food fad, or the one creating the next big thing in street food? That's right, we're talking about being a trendsetter. Maybe your truck serves retro snacks with a modern twist or dishes that make people chuckle while they chow down. The key is to stand out in a crowded food truck park. So do your market research, understand your customers, but don't forget to add your unique flavor to the mix. So forget about being trendy, let's create the trends. Time to cook up a business plan, but don't forget the secret ingredient, a dash of humor. You see a business plan, folks, is your roadmap. It's your recipe. It's your secret sauce. It's where you jot down your goals, strategies, and the steps to make your food truck dream a reality. But here's the twist. Don't just stick to the boring old facts and figures. Sprinkle in some humor, some wit, some fun. Why, you ask? Because humor is memorable, it's engaging, it's the cherry on top of your food truck sundae. It gives your business personality, makes it stand out in the crowd. So go on, add a section for delicious shenanigans.  Make people laugh, make them curious, make them hungry for more. Remember, every successful food truck has a recipe for laughter. All right, let's bite into the not so tasty part of this journey. Legal requirements. Just as a food truck can't run without fuel, your business can't operate without the proper permits and licenses. As much as we'd love to skip this step and dive straight into the delicious shenanigans, it's as vital as the veggies in your gourmet salad. Think of it like this. You wouldn't serve a burger without the pickles, would you? Even if they're not the star of the show, they're still necessary. The same goes for your licenses. They might not be as exciting as naming your signature dishes or designing your food truck wrap, but they're just as important. So roll up your sleeves and start the paperwork. It might be a bit of a slog, but remember, every successful food truck has been through this process. And once it's done, you're one step closer to serving up smiles and scrumptious bites. Think of it as the necessary veggies on your food truck buffet. Not fun, but essential. Now let's whip up some signature dishes with quirky names. In the bustling world of food trucks, your menu is your calling card, and humor can be a powerful ingredient. It's not just about tantalizing taste buds, but also tickling funny bones. Imagine the scene, a customer glancing at your menu and chuckling at the sight of not your grandma's meatloaf surprise. Suddenly, their interest is piqued, their curiosity aroused. What could this dish be? They're compelled to find out. This is the power of a unique selling point, spiced up with humor. It's about more than just a delicious meal. It's about a memorable experience. It's about creating a connection, a story, a moment of joy that keeps customers coming back for more. So don't be afraid to get creative with your dish names. Infuse your menu with your personality, your humor, your unique spin. Who could resist ordering not your grandma's meatloaf surprise? The surprise is that it's not meatloaf at all. Next, we're scouting for the perfect spot for our food truck sitcom. You might be thinking, it's a food truck, I can park it anywhere. But oh, how the location can make or break your business. It's like picking the perfect stage for a comedy show. You want an audience, right?  Maybe a park with an army of hungry joggers or a downtown street teeming with busy bees in need of a quick lunch. Even better, find a place where food trucks are already part of the landscape. These spots are food truck friendly, with a crowd that appreciates a good meal on wheels. Crucial to remember though, is to obey the local laws and regulations about where you can set up shop. After all, you don't want your food truck sitcom to turn into a courtroom drama. Remember the best locations come with a cameo by a friendly neighborhood dog. It's time to get your culinary spaceship, your food truck. Now this is not about just getting a vehicle with four wheels and a stove. This is about finding the perfect vessel to carry your delicious dreams to the farthest corners of the foodie galaxy. Consider the size and layout of your truck carefully. You need enough space to whip up your gastronomic wonders, but also remember, this is a mobile kitchen, so efficiency is key. Think about the equipment you'll need. Everything from your griddles to your refrigeration units should fit seamlessly into your space. And don't forget about power. You'll need a reliable source to keep your culinary spaceship humming along.  Because remember, your food truck isn't just a truck. It's a culinary spaceship ready to take taste buds on an intergalactic journey. Now let's wrap it up, literally. You've got your concept, your menu, and your food truck. But what about the visual feast? That's where design and branding come in. Think of your food truck as a blank canvas, ready to tell your brand's story. The design should reflect your concept and cuisine, but also your unique personality. It should be a magnet for the eyes, enticing people to come over and discover what's cooking. And let's not forget about your logo. This is your visual signature, your calling card. It should be memorable and fun, reflecting the spirit of your food truck. Remember, branding goes beyond the visuals. It's about the experience you offer your customers, from the moment they spot your truck to the last bite of their meal. So get creative, be bold, and make a statement. Your food truck wrap should be like the punchline of a good joke unexpected, attention grabbing, and leaving customers hungry for more. Time to equip your kitchen, but remember, it's not just for making pancakes. That's right. Your cooking equipment is the heart and soul of your food truck. The magic wand in your culinary spaceship. It's where all the delicious shenanigans happen. Having the right tools is not just about making it easier to cook, but also about ensuring the quality of food you serve. Whether it's a high performance griddle for those perfect grill marks on your burgers or a reliable oven for your gourmet pizzas, the right equipment can make all the difference. But let's not forget, it's also about creating those signature dishes that will make your food truck stand out.  It's where you create those pancake masterpieces, those not your grandma's meatloaf surprises, and those retro snacks that will have customers lining up for more. Your cooking equipment is for creating pancake masterpieces that will have customers flipping for joy. Finally, let's create a strong online presence because we can't smell the tacos through the screen yet. In the digital age, visibility on the internet is as crucial as visibility on the streets.  It's not just about posting pictures of your mouthwatering tacos or your quirky food truck.  Share behind the scenes shenanigans, your special recipe of the day, or just a simple hello from your team. Social media platforms are your virtual food truck festivals, where you can interact with your customers, get feedback, and even take orders. A well-maintained website can serve as your online menu and a space to tell your food truck story. So whether it's Instagram, Facebook, or a personal blog, make sure your digital footprint is as delightful as your dishes. Remember, a strong online presence is essential. After all, we can't smell the sizzling tacos through the screen, yet.


This is the home to men's volleyball, women's volleyball, men's basketball, and women's basketball.  Follow me, come on. We have all our coaches' offices in Lapland, we've got men's basketball here at the school, a couple of championship teams, women's programs on the wall, you can see we're very rich here, so we've got athletics, athletic offices, swimming, all of the crossings, we've got sports medicine down there, we have weight room for the students, and this weight room for the general students, we've got a big weight room upstairs in the stadium, it's got everything you need, benches, dumbbells, machines, treadmill, cardio equipment, it's pretty much it for in here. So that's like 2014, these are the current inductees, move along down here, we have some of the national championship, President Sima found his trophies from the cross, volleyball, we have the 98, 89 for the goal, both 10 million hearts, and also Patrick Watson was the division 3 cross-country stability champion. And to move along down here, we have our AD, Brett Adams, 25th anniversary of Steeves and athletics, and you can see part of that, you know, it's in 2019 class, that's the thing. And he summed things up, this is the one we're going to name here, that's pretty much it. Thanks for signing off.


Health and Peer is about teaching students to lead healthy, active and safe lives now and into their futures. We're now in a position for the first time in our history where we have a nationally agreed framework for what health and physical education, what quality health and physical education can look like. The curriculum really acknowledges the diversity of students in the classroom, the diversity of relationships that they will have and the diversity of families and cultures that they come from. So this area of the curriculum aims to give them a toolkit that they can pick and choose from at different aspects whether they're struggling with tough times or their friends are struggling through to everyday things around how do I be resilient and how do I improve my already great mental health. I think it'll be an opportunity for teachers to do things differently, to do things that really connect with students in contemporary Australia. So the new curriculum will actually help young people to have respectful relationships when they're older, safe relationships, informed relationships and relationships that they feel happy about. To have a young person who knows themselves best around their own mental health and their own well-being is vital for a good and happy life. It's quite exciting that it will allow teachers and students to be able to explore the issues that are important to them in a safe way. There will be a range of health issues to do with the individual and community, so those health issues will be around alcohol and other drugs, sexuality and relationships, food and nutrition for example. Just like it's important for us to teach students to read and write and to build those foundations in the early years, so it is for us to build those foundations of movement for students in the early years. Most parents and carers are really concerned about the messages that their children receive from the media and the outside world. The approach that we have woven across health and PE is to make sure all students engage. We don't want to have students sitting on the margins of good health decisions or become it or engaging in physical activity. The world we live in is amazing because it is now online and offline and because of that we also need to have the skills that young people need to develop relationships that are positive online, that brings them a sense of community as well as online and offline, so you have a sense of community that is both in both worlds. Children and young people are learning about relationships all of the time. It's teaching things like decision making, being assertive, how to be a good friend, knowing about what do I do if I do think I've got a crush on somebody, is that safe or isn't it? We can talk about movement skills in relation to local motor and non-local motor movement skills, so providing opportunities where students can develop running, jumping, striking, leaping, bounding type activity in a variety of contexts in which they have the opportunity to do those. There's going to be something in it for everyone. If a child is interested in sport and competitive sport there will be an opportunity to engage with that and hopefully develop their skills in that. But if the student has interests in more individual sports or more aesthetic there's also an opportunity for them to excel in that area. I know a lot of parents get quite concerned about hearing that relationships and sexuality is taught in primary school. I think the thing to remember is that it's done age appropriately. They're just learning about their bodies and being safe, the feelings that they have and how to have friendships. Every young person will learn how they feel, how others feel and actually how to seek help and break stigma. It's really important to give people opportunities to find ways to move in a lifestyle that's becoming increasingly sedentary.


We need to talk, because there is something that people aren't talking about enough. Gas. Some people call it natural gas, but gas is about 95% methane, which is a greenhouse gas and a fossil fuel. So we call it fossil gas. Gas comes from drilling deep into the ground and sometimes requires fracking to get it out. As gas is extracted, infrastructure is required to move it around the world, which is connected to environmental destruction, political corruption, land grabs, state violence and water pollution, as exporters need to send fossil gas around the world. And this is what we need to talk about, because methane is a slippery gas and all across these infrastructures, it is leaking into our atmosphere. People talk about gases clean, because when it is burned, it produces only half the CO2 emissions as coal. But when methane isn't burned and escapes into our atmosphere, it is a greenhouse gas over a hundred times more dangerous than CO2. Now listen carefully, because this has to do with all of our common interest. The European Union is currently planning on using public money to subsidize and prioritize more than 93 new gas infrastructure projects that they are calling projects of common interest. This would lock us into another generation of fossil fuels at precisely the moment when we should be breaking our addiction to them. Europe imports almost half of global fossil gas imports. So any decision here has effects around the entire world and on all of our atmosphere. This is why we made this video, because each of us has our piece to play in the resistance to this fossil fuel lock-in. This isn't just a question of energy, it's a question of justice. Because while all this gas is welcomed into Europe, the people who are displaced from its extraction and its climate impacts aren't. But here is the crucial question. Demand for fossil gas is going down all across Europe. So why would Europe decide to invest billions of euros of public money in building 93 new gas infrastructure projects? Well, the answer might just have less to do with energy infrastructures than with global financial markets. It's about keeping the economic bubble based on cheap fossil fuels growing. And people are losing faith that coal and oil are good long-term investments. So the fossil fuel industry is spending billions on advertising and lobbying to sell the idea that gas is a clean, green transition fuel to keep the economic bubble and their share prices growing. But bubbles burst sooner or later. And an economy built upon the idea that all known fossil fuels will be burnt is incompatible with life as we know it. The fossil fuel industry wants us to think that fossil gas is a bridge fuel to a renewable energy future. Fossil gas is not a bridge to renewables, but rather competition. Every euro spent on new fossil fuel infrastructure is a euro not spent on renewables and a bridge to lock us in to another generation of fossil fuels. But all across the world, communities are rising up to stop this dangerous lock from closing and claim their crucial part in a global resistance. Not only to gas or to fossil fuels, but to the entire unsustainable, extractivist world view it is based upon. Maybe, just maybe. As we stop fossil gas, we can also stop the economic model it is maintaining and instead build a decentralized renewable and democratic energy future. This is where you come in. We are building a movement of gastivists who are organizing to stop fossil gas, fossil fuels, and who knows, maybe even the entire economic system it maintains. We have a choice to make, fossil fuels or a livable planet. It's now or never. Will you join us?


Freedom. What if I told you freedom is going to VidCon 2017? Excited? Are you going? Let us know in the comment section down below. As you can see behind me, well, at least for a moment ago, and even here, that we have some footage on our website from when we went to VidCon last year. Let us know in the comment section down below if you remember seeing this footage this time last year, when we went to VidCon. Have you seen those videos? Were you here? Were you around and watching the channel? 12 months, well, maybe 10 months ago. Let us know in the comment section down below if you have and also I'm going to link in a card over there. I believe over there? Yes. We're going to link to a card showing some of the stuff we got up to at VidCon last year. We're going to do it again this year, hopefully bigger and better than last year. If you're going to go to VidCon, let us know in the comment section down below. We'll see if we can meet up. Maybe we'll do a physical meet up, or maybe you just got to be in the Anaheim area. Because VidCon is held in Anaheim, California every year. So if you're going to be in the general Anaheim, California area, towards the end of June when VidCon is, let us know. Maybe we can meet up. We'll just all go to Denny's and have a good old time because, you know, Denny's man, right? I know, I know Californians now have this whole like stigma of being super health conscious, but like Denny's dude. I don't know. Anyways, let us know in the comment section down below if you're excited about this. I know I am. I got to meet a lot of really cool people last year, including some of the people from the dreaded YouTube Content ID team. But they were really cool people and they helped shed some light on the way certain fringe cases work, which helped us help a lot of you throughout the year. Anyways, let us know in the comment section down below if you've ever gone to an event such as VidCon or any convention of the sort, whether you've ever done any collaborations at something like that, whether you would like to and all that stuff. Um, sort of just wanted to do this as sort of a discussion video. I want to have a conversation with you. I also want to know if you see the benefit of doing collaborations at events like this. Um, I hope you do and if you don't, maybe we can make a few videos about the subject and maybe we can change your mind or at least show you how these things can help benefit you as a channel and your online presence in general. Anyways, I think this video is going on just about long enough. Till next time, don't forget to like, subscribe and do all those things that make us love our jobs. Also, be awesome to yourself and amazing to each other. Bye Freedom Family.


With the release of Hyrule Warriors Age of Calamity, Nintendo fans are seeing a new side of the Legend of Zelda Breath of the Wild. This game world was not easy to design. The process of breaking many of the established Zelda rules, while conforming to others, proved difficult for developers. So, in order to plan out how Breath of the Wild would work, they did something unusual. They made an NES-style prototype. In speaking about the game before its release, the team that worked on Breath of the Wild described their job as telling lies. Physics in games, they claim, always boils down to, quote, telling clever lies with a simplified game world that's fun to play without feeling too realistic. Similarly, the team described their process of choosing an art style as creating, quote, art that makes it easy to lie. Said art director Satoru Takizawa, as you move away from realness, both tempo and visibility improve, and the level of pleasantness increases, but the reality of the world is actively lost. That being said, if you place too much importance on the realness of behaviour and presentation, you can damage a pleasant game cycle and responsiveness. The goal with Breath of the Wild was to use what the team called multiplicative gameplay, or a game world where elements interact with each other in a natural way to provide multiple solutions to problems. While many games have physics engines, the Breath of the Wild team also set out to develop what they called a chemistry engine. Elements like fire, water, wind, and electricity could all interact with materials in the game world in different ways. Said technical director Takuhiro Dota, one convention we broke with in Breath of the Wild was to create a world where fun occurs through multiplication, as opposed to one in which fun elements are simply added together in a sum total. All of this sounded very fun, but the team didn't have a way to truly visualise how all these elements would multiply together. So they built a prototype, but they wanted to keep things as simple as possible. To do this, they recreated the basic gameplay from the original Legend of Zelda game on the Nintendo Entertainment System, and used sprites from this game. But they added in their rudimentary chemistry engine, so that the player could set fire to trees, float logs in a river, and interact with the environment in new and interesting ways. According to Dota, 2D prototyping is handy in that allows you to reduce the game to a set of symbols and clearly display the logic behind an idea. There were no puzzles in this NES Breath of the Wild prototype, simply a few different types of materials that could be combined in any way the player could imagine. The results set the course for the game, helping the team to figure out how their chemistry system would work. To make all this fit together though, they needed the right art style. If things looked too realistic, then the strange shortcuts in the chemistry engine, such as felled trees immediately turning into neatly cut logs, wouldn't make sense. It would expose the lie at the centre of the game's design. The team pulled out all of their old character models and art assets, models from Twilight Princess, Skyward Sword, and The Wind Waker, to see what would work best in their initial 3D experiments. Everyone agreed that the Wind Waker art had aged the best. In fact, it looked so good that, based on these early Breath of the Wild experiments, Nintendo decided to re-release the game in HD. This project in turn cemented the art style for Breath of the Wild. Takizawa recalls how, while still trying to nail down the look of Breath of the Wild, he was called in to look at a screenshot of Wind Waker HD. He said, One day, during the final stages of the Wind Waker HD development process, I was summoned by Breath of the Wild director, Mr Fujibayashi, and producer, Mr Aonuma. Mr Fujibayashi pointed to a Wind Waker HD screen and said, This, right here, right? I replied. The other artists and I were in complete agreement, so I did not hesitate to speak up. Mr Aonuma said, I agree, and with that it was decided. The whole thing took less than a minute. So that was that. Breath of the Wild was created by experimenting with the original NES Zelda gameplay and combining it with the Wind Waker art style. The moral of the story? Sometimes, innovation is as simple as combining the work that you already know you're good at.


By nature, us too, the helpers, feel all the time. So when natural disasters strike, like Hurricane Sandy, we organize. When a friend has an emergency, we show up. We feel, we are generous, we are sentimental. We, as Anne Lamott says, are the overly sensitive child. But here's what I'm learning when I take those quiet moments and meditate and ask God and the universe to guide where I go, what I say, and who I interact with each day. It's important to remember myself in that moment and ask for my own blessings of health, peace, and happiness. It's a self-care piece. If I don't help and bless myself, how will I continue to help and bless others?


The Aikido State Commissioner of Police, Tunde Mobayo, has paid an on-the-sport assessment to the bank and police division headquarter station in Aramoku Aikido, which was attacked by armed robbers on Monday evening. Two people, including the police officer and road safety special Marshal, were shot dead when armed robbers invaded a new generation bank in the area. The armed robbers reportedly came into the town around 5.30 in the evening and operated for about an hour, escaped through a new constructed Aramoku and regional road, also speaking the lore of Aramoku Oba Adegokia DME and said residents camped for safety during the incident, however two people died. They started throwing in dynamites. That one caught my people unaware. So the few of my men that were armed, the station guards, they tried their best by repelling them. So that was why they couldn't, because the intention was to even bond down the station and cut away some arms from the armory, but we have our own system.  We actually pursued them yesterday. Due to the hot poison, they abandoned one bus and one golf cart that they robbed from the passers-by. So they abandoned those ones and they ran to the bush. They were strikes the community, directly or indirectly, strikes the Oba. He panics, he's in trouble, he finds himself difficult to take decisions, he cannot meet his people. He doesn't make the decision. That's confusion. That was confusion. We can't do anything. We can't do anything.


OTF deck, on-the-fly decryption. PURPOSE is to encrypt and decrypt with low latency code data stored within external flash. It's an external OctoSpeak memory used in memory map mode. The encryption scheme we use will be the HOS in control mode with a 128-bit key. You can define up to four regions with a granularity of 4096 bytes. And for each region, you've got one secret key, a firmware version, and an application-defined nonce. We recommend to change one of those parameters for each encryption. This IP is secure-only programming if the trust zone securities enable on your device. Regarding the encryption key, the registers are right only, and there is a software-locking mechanism associated to them. There is also the availability of a 8-bit CRC of this key. Then on the decryption, we've got four operation modes, instruction fetch only, data read access only, code or data access, and an instruction fetch only with NN's encryption. The NN's encryption is a proprietary layer of protection on top of the iOS stream cipher. This is a block diagram of the OTF deck. Here, we've got the master of the bus and our OctoSpy. On this side, everything will be encrypted. On this side, you can see everything in clear. The different iOS operation mode you can encrypt and decrypt. We've got the mechanism of key lock and config lock to ensure it's not modified until the next reset of the IP for the config and the key. And for the decryption mode, we've got the code, code with enhancement of the iOS algorithm, data or code plus data. I will say quite simple. Then we've got here three error events that is possible. We've got the security error. So this one result from an illegal read or write access to the key registers or an illegal write access to a region configuration where the config is locked. Now we've got also the execute only and execute wide encryption error. This is due to a read access to an execute only region. Or if you try to execute a region while encryption is enabled. On the last one is the key error. And when you try to encrypt or decrypt while the key register are not properly set. Then we've got some flag for this event and it will generate an interrupt. Regarding the availability across STM32 family, it's only available on the STM32 L5.