Ever since she was a child, Clarice had a deathly fear of floating away. Her specific fear wasn't rooted in the fear of heights or rogue hot air balloons or faulty single-engine planes losing their grace in the air and coming crashing to the ground. No. What she was afraid of, what the specific fear that if she still stood for too long that the atoms or the angels would suddenly take notice and would band together to create a raft to hoist her closer to the sun than she'd ever want to be. Clarice didn't know where it had come from, but she knew how she was going to stop it. She was five when she made her first ankle bracelet, not an ankle bracelet that you'd find in the standard itinerary at some day camp for kids. No. The ankle bracelet that Clarice had made for herself consisted of heavy-duty duct tape, several zip ties, and a collection of five-pound weights stolen from her mother's trainer. But Clarice, people would exclaim, you live next to the water, aren't you afraid of falling in? Wouldn't you drown? But Clarice knew that if she was ever to start sinking, all she'd have to do is unstrap her bracelets and let the angels pluck her from whatever depths she'd sank to. She was so sure of this notion, this unflappable idea that she'd never fall for too long before her angels would pull her back up that Clarice had absolutely no fear living on the tiny rocky island of territory of Candy Main.  These are two important things you should remember about the territory of Northern Candy Main. One, it was practically a jump hop and skip away from the Nova Scotian border. The isolation was pervasive. The old mining town had been long abandoned by the majority of its populace after the coal ran out, and only a few had returned to mill the salmon creeks and run the little logging they eked out through the strict EPA regulations. Two, people visited, sure, it was a beautiful area with untouched spruce fir forest that spanned for miles. But no one knew had moved to the island in over 30 years. The citizens who lived there did because they had been born enraised in the wilderness of Candy. So when Clarice's mother, still bleeding from the birth and clutching the squaling shrieking newborn, showed up on the doorstep of the local doomsday prepper in the middle of the worst storm they'd had since the bastard of 53 without any jacket or even any indication of how she'd gotten there. It was highly unusual, extremely, incredibly unusual. The fog hung heavy over the beach this morning, Clarice had been out collecting seashells for the past several hours, and she'd been the first to witness the shades of blue softly fade from the sharpened flint to the milky hue that stretched out over the island. One more seashell. The BNB was falling into significant disrepair, even with all the manpower her and her mother had been putting into it recently, and Clarice could just picture the list her mother would have waiting for her, even if it was her 18th birthday. And even though the BNB was just steps down the beach, Clarice could see it now even through the dense fog. The 10 pound weight she had strapped to her ankles always doubled, tripled the time it took her to get anywhere. Clarice bent down to collect the pretty seashell. It was drifting in the low tide, and the salt made it capture the hazy light like crystals. It drifted out further. Clarice put a gentle step into the frothing tide, the water lapping at the weights and at the hem of her tan corduroy pants. But the shell was pulled out further frowning Clarice took another step in and then another and then another. The weights hit the sandbar and sank in before Clarice could realize what was happening. It was the same sandbar that she'd been dared to swim out to back when she was still little and only strapping five pounds to each foot. She could still remember how terrified she was feeling the collective power of the group of taunting kids swelling like an undercurrent and dragging her down under. It had been fine though. After all, she was a strong swimmer and while the sandbar was far out, she was able to make it there without any issues, which is where she stood watching now as the pretty pink and white seashell was pulled out farther as the tide continued to recede. And as the realization hit her like an incoming train, just as the sirens started to wail. The swinging door bounced back hard into Clarice's face. Mother, she screamed clutching her nose. Blood was pouring down her face, mixing with the bubbles of snot and tears. The front door opened onto a tiled foyer, which acted as the house's central point. The kitchen branched off in one direction, the living room and dining room, another and with the sunroom and bedrooms in the back. Everything was decorated in shades of white, black and robin's egg blue, which lit up beautifully underneath the skylight that stretched across. But the sun was gone now. The sunroof only showing the rumblings of dark clouds pressing ominously close to shore. Mother, where are you? Clarice said again, rushing into the kitchen.  She started throwing cans of food into her bag. The setup of the house was quaint. Its layout reminiscent of grandmother's cottage, filled with hidden treasures and bowls of healing crystals. The sirens shrieked again, the sound resounding thickly through the smog. Clarice's heart jumped, and so did the footsteps of thousands of others as the town began to spill into the street. It was a fear they all shared, but dared not speak of, for risk of waking the sleeping giant. A giant wave. A freaking tsunami. She'd heard the recent warnings and reports, sure. Her hometown teacher at the nearby Candy High School had played the CNN news report for them, reviewing the island's safety training in case of emergencies. There'd been a level five earthquake off the coast of Spain. But still, the last time this area had a tsunami was almost 18 years ago, around the time of her birth. Even then, it had been completely unexpected, giving the populace no time to escape and wiping out the entire area of Clarice's birthplace. Everyone had been killed, except Clarice and her mother. She was the only one who'd gotten enough of a head start to be able to outrun the wave. But the territory of Candy has had hurricanes before. Sure, monsoons had swept through here. Pretty horrible ones a few years back.  A wind tornado sweep through. That particular storm had raged for almost 72 hours, flooding the street and causing significant damage to the church and primary school. It was after that that the town council had implemented the siren system, low blast for hurricanes, high blast for severe storms, and a shrieking whistle for everything else. Clarice winced as the siren let out another shriek. They needed to go now if they wanted to get on the ferry to safety. Mother, where are you? Clarice with her tote full of canned goods stumbled into the living room to find her mother, sitting genially at the table. Mother, what are you doing? Didn't you hear the siren? Oh, I heard it. Well, what are you waiting for?  Her mother's calmness was unnerving. Clarice's hysteria, on the other hand, was flaying her nerves one siren blast at a time. We have to warn everyone, where are Richard and Thomas? A gay couple from New Mexico had been staying with them for the week. Being distinctly landlocked, Clarice figured that they wouldn't have the slightest clue in what to do in case of a tsunami emergency. They didn't go over that during the B&B check-in orientation. Her mother didn't even look up. There was something nestled in her hands and her attention was fixed on it. In the back, she was referring to the bedrooms in the back of the B&B. Clarice and her mother had it set up with the bedrooms being an almost completely functional unit by themselves. They'd added a little working kitchen, complete with a brick outdoor pizza oven, a bathroom and its own entrance that opened into the backyard, which had a direct road to the rest of the town. Clarice tore back her tote smashing into the pictures on the walls and causing them to fall in her haste, only to find that the bedrooms were empty. She whipped open the door to the backyard, thinking that maybe they'd stepped outside in the growing confusion. But there was nothing. They were gone. But a blazing fire had sprung up in town and was devouring homes and chasing people into the street. Clarice gasped in horror. There are two more things that you should know about the town of Territory of Candy Main. One, people didn't live in candy. People survived or you died. There was no pansy, wishy-washy smiles and butterflies flitting about in candy. The emptiness and the savagery of the wilderness that surrounded the town of candy bred a certain type of person, someone who could look into the beast's eye and not be afraid of the barbarism they saw within. It was cold. So the people were cold. The local doomsday prepper, the same one that Clarice's mother had stumbled on to during that first night, was the most social of the bunch. And this is the one who was convinced that humanity and the government was out to get him. Candy tough is what they call themselves. With skins of flint and hearts of stone, this was not the place for the weak willed or pansy hearted. Two, so it wouldn't surprise anyone that the thing that Candy was best known for, besides their surprisingly good maple syrup, was the 30 foot tall wall that surrounded the main town. It had been around for as long as Clarice could remember. And one of her favorite childhood memories was walking along the edge and checking for weak spots with a doomsday prepper. He'd never talked much, especially not to a rambunctious 8 year old who liked to do tag along, but Clarice never minded. He would tell her about the JFK assassination and the United States role in the Colombian drug wars and how entire cities could be boarded up and the entire populace disappearing in black CIA vans. One thing he never told her, however, was why the walls were built. Sure, he alluded to the government in tinfoil hats and that they're watching, they're always watching, but he never said specifically why and who had built them. She also never got a straight answer on why the giant hairpin lock, the one that kept the giant swinging doors closed and kept the city of Candy firmly ensconced in the giant concrete walls, was on the outside of the walls. It was a rainy night, much like the one that Clarice's mother had arrived to the island in when she asked him once, and only once, about the lock. It was right then and there that he shoved her unceremoniously from the ramshackle shed on the edge of Candy and out into the cold, which was really too bad, because he was her only friend growing up. If the adults of Candy were deemed cruel and jaded, then their children were ten times worse. The restrain and civility instilled in them by society, the children swarmed her, attracted by her differentness. Like a pack, they moved together to take down the weakest. Clarice the Beast was her nickname growing up. They taunted her daily, saying that she was going to transform at the first full moon and eat everyone. That she had another thing trapped inside her and that all she needed was a little smacking around to let it out. That she wasn't special. That she was weird and different and smack her around. They certainly did. Even when it was frankly obvious that she wasn't a werewolf and that nothing was ever going to happen. When the moon shone full and bright above the towering spruce fur pines, that didn't stop the kids. Clarice could remember a particularly bad incident and the reason for the scar that stretched across her brow that started when she dared to jump from the tallest tree to the low wall that ran across the edge of the B&B property. It wasn't so much of a dare because Clarice knew that if she refused, that Johnny boy, the mean neighbor kid, would climb up and push her off anyways, which is what happened anyways. She missed, of course, but her forehead still managed to smash into it on the way down. Clarice for the life of her couldn't really remember what happened next with the pain blurring everything out. All she could remember is her mother rushing to her and her mother's friend, the doomsday prepper, throwing himself in between her and the rest of the towering kids. The kids never really messed with her after that. The cracking of glass accompanied Clarice's rush back into the kitchen. Richard and Thomas, they're gone. I'm assuming they heard the sirens and figured to head to the main port. Clarice said in a rush, we're gonna have to hurry if we want to meet them there. Her mother was standing in the kitchen with her back to Clarice. Her face was illuminated by the fires, engorging on the belly of the town. She spoke so quietly that Clarice didn't even hear her the first time. There isn't going to be a fairy out. Clarice's stomach dropped to her knees. She felt the ground rumble as if something heavy suddenly dropped far off in the distance. The lights flickered in the kitchen. Her throat went dry.  We're just following procedure much like last time. We made it fine during the last hurricane and we'll be fine now. Her heavy tote slipped on her shoulder and a can of peas jumped out, hitting the limestone hard. Look, I even got your ID. That's all you need to get on the ferry. Let's go, mom. The desperation felt like a kitchen blade wrapped in velvet. She could feel it too, dancing on the edge of her nerves like it was tap dancing on a telephone wire. Her mom didn't move. The red flames staining the edges of her white blonde hair like blood. I can't leave without you. She sobbed. I said, Clarice, stop. Listen to me.  But I don't understand. The ferry's always gone out. We just need to make it to the port. The ferry isn't going to be there. Her mother interrupted. What are you talking about? Clarice's voice cracked. Tears gathered in the corners of her eyes. Something rumbled again, but it was harder this time. Like whatever it was, it was moving closer. Why are you doing this? What's happening?  This isn't like the last time. We're not gonna outrun the wave. She was holding Clarice's old baby blanket. Clarice, her head pounding, sat down hard at the living room table. Her tote clanked heavily and she dropped it on the limestone floor. The cans rolled everywhere, sliding underneath the table and far into the kitchen. There was something else on the table too, something she had missed earlier in her panic. It was a piece of paper, but such an old piece of paper, so worn down from the millions of fingerprints pressed upon it like the weight of time and history had hardened it. That it looked like cloth. It was about an inch wide and several inches long and something was written on it with cramped, rushed handwriting. When the red from the east meets the rushing blue from the west, what is this? Clarice asked, her voice cracking from the tears. Her mother forced a sad smile as she touched the key she'd worn around her neck for as long as Clarice could remember. It's a prediction, sweetie. A prediction of how we're going to die.


Hi there. Welcome back to my YouTube channel. This is Daniel Roestel here. I want to do a video today about load balancers or load balancing riders and why they can be fantastic additions to your home networking setup. Now, the first thing to say about load balancers is that they are definitely not standard pieces of home networking gear. If you're running a data center or an on-premises data center, load balancers are extremely commonplace and they're used to basically take incoming traffic and distribute that intelligently among a pool of servers on the other side of the load balancer. But in the realm of home networking, most people don't have them. Now, the reason for that is pretty simple. If you're watching this video from your home network, then there's a very good chance you have a router on your home network. The router actually contains two pieces of distinct networking gear.  Now, what that device is doing is it's connecting to your internet source, whether that is DSL internet or even let's say fiber optic internet. And then it's distributing that between the wired and wireless devices on your network. Now, if you're just a regular internet user, then that's more than enough for your needs. It's great. Why you might want to use a load balancing router is you're looking at stepping things up a little bit and getting more than one internet connection around your house. Now, there's other reasons why you might want to have a load balancing router running on your network. You might want to, for instance, enforce bandwidth controls on certain devices running on your network. You might want to group certain local area devices into groups and add different properties to them. And these are all things that when you have that device running between your router and the device is being connected to the internet, it's really helpful. So a load balancer is basically like a conductor in an orchestra. If you're using multiple white area networks, and this is the use case I'm going to get onto, then it's the orchestra conductor that's going to be listening in on the traffic sources, bringing internet into your house, home office or just your office, and then distributing that among your local area devices. Now there's a few different things that your average load balancer can do. One of those is failover. So failover is basically where you have those multiple WAN connections.  Now a WAN port is connecting internet from an external source. And when you're connecting your internet devices into your load balancer, you're going to be sticking those into the WAN ports. Now once you have multiple WANs, that's why you'll often find load balancing routers called VPN routers or wired broadband routers or multi WAN routers. That's because your average home internet router only has one LAN port.  Now a load balancer has multi WANs. That allows you to connect multiple internet connectivity sources. So if you want to connect your ISP and you want to connect a cellular router or you want to connect two ISP lines plus satellite, well if you have a load balancing router that supports enough WAN ports, you can do all this. Once you have multiple WANs connected, you can do things as I said, like failover. Failover means that if you lose one connection, the internet's going to flip over to a second connection. So you're going to get no loss in connectivity. The second really nice thing about load balancers is that this will all work automatically. So you can set up in TP-Link load balancers backup rules that if you lose one connection, it'll go to connection two, or you'll have to lose connections one and two in order to get to connection three. And there's different manufacturers of load balancing routers out there. There's load balancers by MeakyTruck, there's load balancers by TP-Link, and there's load balancing routers by Ubiquity among others. One common area of confusion even among home network people is the difference between load balancing and bonding. Now in general load balancing routers can't do bonding. Bonding is a different thing. Bonding involves basically aggregating the bandwidth available from multiple connection sources so that everything connected to the network can avail of faster internet connectivity. Now there's one kind of tiny exception to that rule and that's if you're using something, an application that has multi-threading like you might have seen those connection tools or those download managing clients. And those have the functionality to draw in internet connectivity from multiple sources. So if you have a load balancer that supports that you might get a speed increase versus just having that application drawing internet from one connection, but it's still not the same thing as channel bonding and channel bonding requires that that is configured on the networking site as well, on the internet side, on the ISP side. So you can either get yourself something like a software solution like Speedify or you can use something like OpenMPTCPRouter and that's another solution for setting that up. But if you just have a load balancer running on your network out of the box, it's not going to be able to do channel bonding. Load balancing riders are generally speaking not super expensive. I picked up my TP-Link one for in the region of $100. Why might you want one on your network? Well, if you have a second connectivity source, whether you've got your two ISPs or you've got a cellular line in addition to your ISP or a satellite line, then you probably already heard about load balancing riders or you might already have one.  Final thing I want to say about load balancing riders, you can add gear on the local area network site of the rider. The way I have mine set up is that my ISP and cellular riders are connecting to load balancing rider. That's managing the failover, as I said, the bandwidth control, et cetera. And then on the other side, I have an ethernet switch and I have a Wi-Fi rider configured as an access point so that the wireless devices on my network and the wire devices both avail of improved connectivity. That's going to have that backup bandwidth control, et cetera. All those things automatically built into it. Hope this video is useful about load balancing riders. They're a great addition to home networks, especially if you're setting up multiple wide area network connectivity sources and you want to have really, really solid uninterrupted home internet connectivity. For instance, if you're running a business from home, great investments. Thank you for watching. And if you want to get more videos about everything related to technology, home networking, et cetera, please feel free to subscribe to this YouTube channel.


This place wants to thank you for your support. She just collected $220, so thank you. Very pleased to introduce one of the few friends of mine who she's a deaf woman who has incredible energy. She just blows me out of the water. So I'm going to let her show this for herself. I'm not going to explain it because I just can't do it justice. Okay? Now help me. Welcome Debbie Rennie. Debbie, all right. Thank you, thank you. Funny, I just finished going to the bathroom and now I have to go again. Why is that happening? What's going on inside my body? Oh well. I wanted to show as many films as possible, but I had to guess so what I'll have to do is just shut up and start showing you them. And this is called Black Hole, the colors of ASL. A ladder reaching to the sky. At the top paint cans red, yellow, blue, green. Brilliant blue sky canvas. Red, yellow, blue, green, black. Hands are the brushes for the colors of ASL. The ladder is shaken. Down below it's a language tyrant. Get down, get down from there or I'll force you down. No, no, stop it, stop it. The red is the first to go down. Yellow, green, blue, tumbling, tumbling. Black, black, the black hole. Language tyrant disappears into the black hole. The ladder is consumed round by round. No, no, I won't be sucked down. I won't, I won't be sucked down. I won't, I will fly back up. I will fly back, back to the colors, to the colors. Wow, I feel like I was flying off the ground or something here. I travel a lot and I've seen some really fine things. This is called Nature's Metaphors. The mountain side takes the form of a Renoir woman in a petticoat lined between the pines. Looks like the part in a young boy's crew cut. Trees flow into yellow corn fields. The wind playing with the tops of corn stalks is like the hand musting a child's head. Leaves flutter about on birches like a young girl's tresses about her face in the wind. Which blows puffy white faces across the sky. Sunset is like the sleepy invitation of a woman's eyes. Okay, sometimes, you know, I'll see something happening. I won't understand it. I get frustrated with it.  I'm sure you've all experienced that sort of thing. So that's what that was all about. One night I was reading, and I remember today when I was a young girl, little Debbie, had phones on, wired into jarring mechanical, garbled decimals. I looked to my teacher standing beside me. Suddenly, she grabbed the headphones from me. The headphones. The headphones. The headphones. She grabbed them. What is it I said? What? A tear slid down her face. The physical speed. The physical speed. The physical speed. I couldn't understand her words. The line I was reading in the book said, on November 23rd, 1963, it's possible that the CIA assassinated John F. Kennedy. Shot. This is called the void. Do you know what the void means? It's like total space. As far as you can possibly imagine, all the way far out into the universe.  And it's just blackness. That scares me so. The void. Can't fire dies down. I kick the last of the glowing embers to ashes. And the darkness encloses like a shroud. I make my way blindly. I am at the mercy of this blackness. Losing the path to find myself prey to the nameless talents of the night. They claw and clutch at my hair. I push on. The path. I sense a clearing. And to the left of me, the forest continues on, off until it fades in the distance. A silhouette.  A reflection. Looking up, I see a universe of light. And I am released. Okay. Some of you may have already seen this poem. It's an old one. So I had to find a replacement for it. But I think you'll love to see it again. At least I hope so. I'm sure you've all had something you can't resist. This is called I RAPED CHOCOLATE LAST NIGHT. Walking through the streets of the city, jostled by a businessman. An old woman. Buildings up to the sky. Car fumes choke me. Into the subway. And over by the newsstand. There it was. Chocolate. Swiss chocolate. With hazelnut cream filling. Only 39 cents. No, I mustn't. Okay, I went over to the magazine rack. Play girl, play boy. Play Chuck. A Hershey's bar. With a foil undone. Nestle's crunch bar. And then special dark chocolate. Completely naked. I put the magazine aside. No, no, no, no. Get my newspaper and get in line. Chocolate. Chocolate, chocolate. Chocolate, chocolate, chocolate, chocolate. I couldn't resist anymore. I grabbed a piece, set it on the counter. No bag, thanks. Grab my things. The train pulls out. I get in. Door's ladder shut. And we're off. Chocolate. Chocolate. I couldn't take any more. I devoured it. Yes, that's what I did. I went to the library. I was doing some research. I was looking up consumer reports. Checking out video cameras. Let me tell you, it was a completely worthless venture. Because the magazine was from 1985. And now the technology of cameras is way past what it was then. Man, life really goes by fast. Cultures change, fashion changes. Everything changes so quickly these days. So I'll present this poem called The Fast Pace of Life. How many of you have seen Get Up to See the Sun Rise in the morning? I know, Rochester, it never rises. It rains continuously. But any of you get up to see the sunrise? California, right? You must be from there. You're from California. Because that's the problem. Never get everybody. Yeah. Not many of you, it seems like a few. Okay. This is called sunrise. Late evening. Sunset. Red, yellow, blue, pink. Another day. The sun sets. Colors, orange, pink, gold. Yet another setting sun. Pink, orange. Sweet sleep. Early morning light. Brilliant, magical colors of the sun. Pure inspiration. I tell you, I don't catch many of these. I love to play with hand shapes. You know, I have to have a hand shape poem in here. And, you know, I try to find a challenge for myself. And so I used a three hand shape. This is called frog. By the side of a pond. A frog. Catches sight of a moth. The frog and his reflection. Splat. The next poem is in honor of Susan Chapel. You know, to get a green card means that you have permission to live in the United States. It's for, you know, illegal aliens. They need to get permission to be able to live and work in America. You know, they can become a U.S. citizen. In order to do that, you must get a green card first and the process goes on from there. This is called alien. The projector starts. And on the screen. Ow. Through star-spangled space. An egg. Green and throbbing. Throbbing and green. A bee approaches the egg. Ah! Where's your green card? A peasant scrambles for safety in her war-torn land. She makes her way to a train. A train heading north, heading north, heading north, a train leaving her terror-stricken land. She alights in a northern country. America. Freedom. And the star- Where's your green card? Okay, now we're going to change systems. Sound systems. And the reason for that is, I don't want you all to be suing me when these loud voices come through the headphones. You need to take them off. I don't want you to become deaf. Kenny Loner is going to join in with the voicing I must thank Donna for translating all my work. Can everyone hear? Except for the deaf people of course. I already know you can't hear. I'm sorry about that. Can the hearing people hear? Yes? Okay. This is a finger-spelt poem and it's the word calf. It's really important for me to share this with you because I've been pretty involved with animal rights. It's not real active, but I've done a lot of reading of books and the vegetarian times, various sorts of things. I'm a member of P-E-T-A, People for the Ethical Treatment of Animals. So I read this one thing that really touched me and I thought I would share this with you. It's a letter C-A-L-F. It's called Voicot C-A-L-F. C-A-L-F. C-A-F. C-A-L-F. It's to premium milk that deal, for your gourmet dining pleasure. A handshake poem, a five handshake, and it's four plus five equals nine. The title is peace. Russians come on four by four. Americans say that they've got more. We've got to keep an even score, both sides aimed and ready for war. If we all meditated on world harmony and peace was known in the spirits of all, the souls of all could be entwined, unwinding silver cords to rise above bodies and minds. Okay, this next poem in my last one is called Willi. It's a man who was a patient in a psychiatric hospital where Kenny Lerner worked. And we developed this poem together. It's dedicated to my landlord who unfortunately experienced this. And wow, unfortunately it's important that we express this to people over and over again. Willi, the doors swing open and there he is. Six foot eight, 275 pounds, suspenders and jeans, unshaven and unkempt. The world is in a box, but the trains and all those people and the picture left there and the earth is in a box and I don't understand how the earth is in a box. Yeah, earth rotating on its axis, the earth and the box revolving around the sun. And on the walls of the box are 400 foot wide shower nozzles and a huge pipe that leads to a plane. The pilot takes his plane off, up into the pipe heading up towards the shower nozzle. The plane sprays out into the box over the earth and the train pouted with people, a woman holding onto her son as the train stops. Cattle doors open and the people scramble out. She struggles to get to her father who collapses on the other side of the train car dead, stepping out of the train and into the line her son is taken away, dripped off naked and shaved and the line nears the door which cracks open and mist comes out. She enters a box like room with shower nozzles all around. And on the wall are one, two, three, five lines that you could almost put your finger. This shower spray on and mist fills the room and the planes fly into the box dropping mushroom bombs on the earth. A woman walks down the street, leaving only her picture in the sidewalk. A man runs screaming, skin peeling and the mist in the box as the woman screams and tears her fingers at the cement. And the door to the chamber cracks open and mist comes out. And the earth in its box, the lid cracks open and mist comes out.  And I'd like to thank Kenny Lerner and Donna for voicing you so that you could understand me. Really the shaking of the hands and the air and I'm doing it too is because I want to thank you. So we go back and forth thanking each other. We'll do that forever and ever in infinity like mirrors. I went to the library looking through the book stacks, pretty dusty, cobwebs, a totally vacant spot. I saw this book written by a hearing person, something was missing, so I decided I would make a book. A book for you all today. Here is the first page. Okay, first of all I have to thank everyone. I would like to give many thanks to Jim Cohn who has made this conference possible. And thank the Liberal Arts Department for funding the project. And thank you to all of you who have come here to the conference and made this a historic event. Without you it couldn't happen. So thank you all for coming. And I'd like to say thank you to my good friend Donna Kachidis who has been translating my work for me for a long time.  And I'd like to say thank you to my love Kenny Lerner for his continual support of my work and my art. Who keeps me going and keeps me doing new things. Not for him I might sit home and be bored and have cobwebs growing off my head and neck. Okay, the preface. How I became a poet. Okay, first let me explain something to all of you. You know a long time back I was a young innocent girl and I fell madly in love with a man. I was so crazy about him. And he just shunned me away. And the reason he did that was because I was deaf. I was devastating. I got really bitter and angry. And bitter about my deafness and I didn't want to take it out on him. He was a friend and I wanted to keep that friendship. I cherished it. And so instead I wrote poems to express my feelings about that and kept him in private. Never showed anyone. And later on in life I met another man and we had a good relationship. But he said to me you'll never be able to understand music. And I said yes, yes I can. I can understand music you know. I can relate it to the colors that I have in my artwork. And he said no, no. We had total communication breakdown. I was really frustrated. And again really torn apart. And so I wrote about that. And again I kept it to myself. It was personal writing and I couldn't show it to anyone else. And later on I became involved with Sunshine too. And I found a poem written by a deaf woman, Dorothy Miles. And I loved it. I translated the poem and it's called Skunk. I can't remember the translation now. I don't have that poem with me. I guess I'm not organized. You see I don't forget things anyway. I enjoyed the work so much. Stein went on. I got involved with FTD, the Fairmont Theatre of the Deaf. I worked with them for two years. And they gave me different poems to translate. Oh you might be wondering why I'm signing poetry the way I am. First let me explain it to you. I went to DAA, the Deaf Artists of America. They had a conference. And we were sitting around having discussion about deaf art. There were all kinds of opinions being thrown in. People are saying what is deaf art? What does deaf art mean? Is deaf art a genre? A style? A movement? What is it? People said maybe we should sign deaf art like this. Someone came up to the stage and said today deaf people are signing ASL. It's really beautiful language and it's growing so much. In the past we had to write and use the English language but now we're free. And we're spiritually more free because of that. And so I'm signing poetry like the same sign for spirit except with a P because of that. So, anyway, back to my original thought. I've been signing translating poems a lot and I've really enjoyed that. And I came to RIT to study graphic design. I was studying because I decided that the theatre market wasn't very good and I might not have a job and I wanted to have something I could depend on, you know. I need something to make a living by, get some food with. So I came here to study. And while I was studying, who else but Jim Cohen came up to me and said, would you like to perform in the Birds Brain Society? What? Tell me. Let me tell you. My knees were shaking. And I said, well, I guess I'll try and present my poetry to people. And during that time I got so much feedback. There was so much interaction with other people. Howie Sego came up to me and he explained to me about Ella's work. He talked about timing and rhythm and hand shapes being the focus of her work. I thought about that and I realized, oh, translation isn't what I need to be doing. I can focus on ASL as the source. And so when I graduated from RIT, I really wanted to work with Patrick Grable. So I got a theatre internship here at NTID. I learned from the different teachers in the department. I learned about acting. I learned the principles of acting. And I learned so much. I saw so many people's different styles. And also I was involved with Patrick Grable's translation into sign. And that's the time when I learned about ASL Grounder. That ASL had a structure of its own. And I was so thrilled. And it was such an exciting process working with him. It was a real inspiration. And I was also involved with Howie Sego's Sign Mime class. And he talked about hand shapes. And I thought, wow, what a challenge. I was finding all these new tools to work with. So then I also learned about fingerspelling programs. Hand shape and fingerspelling are two different entities. And I'd like to talk about them each. Fingerspelling, there's two methods that you can use. One is to be descriptive and the other is to be used outline. For example, this is calf. C-C-A-L. That's a finger spelled pawn. The other thing you can do is outline. Mountain. That's outlining.   This is one hand shape. A five hand shape. This is an S, a D. I'd like to show your hand shape poem. And it's called swan. A solitary tree whispers its reflection in the calmly rippling pond. A majestic swan flies through the air, swoops down, skims the surface, splashes, then settles herself. In her comforting water nest, she regally glides. Also, another challenge for me is to take hand shapes and fingerspelling poems and have them not be the emphasis. I don't want that to stand out. I want it to flow. That's something I like to challenge myself with. It's important in my poetry to do that. For example, that sign and create with a W would never work because the hand shape isn't correct. They have to make sense. Everything has to flow together. It's very important. That's an important aspect of my poetry. So I do get a lot from doing hand shape poems. I like to do them. I always include them in my poetry sets. Now I'm more and more involved with poetry. It seems like it's my life right now. My total focus is on poetry. I'm lucky, but I'm poor. Poor but lucky. It's definitely a priority of my poetry. Oh, I love it so much. Coming up with ideas, traveling, getting new experiences. It's all an inspiration for me to create. I feel like I've grown so much in my lifetime and there have been so many changes and so many different experiences. Things that I've seen. And my poetry seems to be growing parallel with my life. It's really amazing. My poetry has definitely changed. When I look back, I have to laugh at myself. When I see videos of my first poetry, I think I fell in love. And I'm really awkward with what I'm doing. It's not smooth. So it's interesting to see with hindsight now. I also perform stories and I'm a clown. My clown before I was so successful with that. But now it seems to be frozen in a static position. I can just look at it and say, oh, that's my clowning, but I don't really do it. Storytelling I do do still from time to time. And it's important because it's how I earn my living. I freelance for young audiences. They book me all around in the area schools in Rochester. That's my source of income. Now, how do I decide what the difference is between my poetry and my stories? Chapter one. I don't want you to have to look at that. That light is bothering me too. First of all, I'd like to show you. I'd like to show you a poem. And I'd like to share the technical words that I use with poetry. This is called Missing Children. You know those white cards you get sometimes in the mail? Pictures on them of little children and they say, have you seen me with a number underneath them? You know, on the reverse side, there's an advertisement. I hate to get them. It just tears me apart. You know, I'll go through my mail and bills, bills, more bills, and then I'll see one of these cards. It just kills me. I can imagine a woman, a mother and father, brothers and sisters sitting around feeling lost without their dear one, their dear one gone. And it goes on for years and years. I can't really imagine it. I can't imagine a child of mine that happening. And all over the world, there's so many people missing, so many children missing in wars, children of all ages, young to adults. That's really touching. So this poem, Missing Children, was written by me. Well, written isn't really the right word created by. I don't have a printed version of it, but it was created by me and Kenny Lerner. We worked together on that. I work with Kenny because he knows so much about politics. And I know a lot about children, so we're putting the two together. We came up with this. A passerby takes the card and on it, a picture. Under it says, have you seen me, a cute little girl? No, I haven't. Paper flies through the air and lands on the ground, face down, Nicaragua. Cute little boy, dark brown hair, dark brown eyes, dark brown complexion, working in the coffee fields alongside his father, the father and his son. Throughout the land, a similar scene, the father and his son. And through the thick, hot jungles, tens upon 20s of freedom fighters, ammo belts. People fall down to the ground dead, and the boy sees his father shot and killed. Freedom fighter grabs him, throws on helmet, and the boy continues planting seeds into the barrel of the gun. A funeral march in South Africa. The father and in the casket, his son. The father mourners proceed. The father and in the casket, his son. The mourners recoil from the approaching danger. It's both his boys. And in the casket, his son. Cute little boy, red hair, freckled face, blue eyes, looks to his father, the father and his son. Father down's bottle, gasoline, lights it across the way. A cute little girl with bow ties and her hair looks to her father and his gun. Collects them a picture of a cute little girl. Have you seen me? So I'd like to apply that to the technical aspects of my poetry.  They're not yet law. No, no laws have been made. They're my personal rules. What I feel from the inside and what I've figured out about myself. I'm not a linguist. I'll tell you that. Okay, I'm really famous for repetition. And I usually repeat three times. That's my tendency. Every poem of mine tends to have that. For example, the boy planting seeds. Do you remember that? In the coffee fields, there was a small boy planting seeds three times. Then he's putting the seeds into the barrel of the gun and the freedom fighter shoots three times. In South Africa in the funeral march, the mourners, he noticed that my work tend to have that repetition. But if it's fast, can I have a repetition of twos? And I said yes, that is very much true. Sometimes the transition happens and it goes instead of threes to twos. I might count something, a certain movement, as one of the times. And it looks like two, but it's three. It depends on what feels right for me. If I feel like it's too overdone, it's taking up too much time. I think three times people will be really bored with that. So I'll just do it once. I have to feel what's right and what fits the energy and the emotion of the poem. Okay, frozen images. Oh, I love to work with them. I think they're the most powerful for me. And I think that's because I love photography. It's so moving to me. It's so powerful. You see, I just saw a picture of myself in the newspaper like that. I thought, wow, I loved it. I love the idea of a frozen image. And so I like to have that in my poems. A lot of my poems have frozen images. For example, the pictures in missing children. For me, it just sends chills up my spine. I like to end with frozen images. I always tend to do that. Like the papers falling on the ground, stiff. Okay, hand shapes. I always like to play with hand shapes and have them alternate with each other. Most of the time, sometimes I focus on that. Sometimes I don't. Even if I don't focus on hand shapes, somehow they tend to come up in my poems. It's just inside me. I've been working on that for three years, you know. I just knew with this little three-year-old poet. But in South Africa, you see the five hand shapes holding the coffin and the mourners.  Hand shapes are such amazing things to me. Transformation of signs. Like the paper flies through the air. And then when it turns over, it's the same as the sign for dead. The paper becomes death. I have another poem where I'm thinking about my complaints and I say, my complaints, my complaints. I'm through with them.  That kind of idea. I tend to play with abstract ideas in that manner. For example, that when the bomb goes off and I cover my ears. My ears are covered with the five hand shapes and I'm holding the coffin. But I've changed from one place to another and that transformation happens smoothly. He asked about transforming images from image to image. Concept to concept or sign to sign. Well, the paper is an example of that. It flies through the air and then it becomes death. It has two meanings in one. And the sign travels. It flows. Valley is a good example of that. He's really beautiful choreography in his language. He traveled from place to place until he would arrive in another place. Choreography of language. I've been involved in taking dance classes and so I know a little bit about choreography. And I'll use things, my body, movement and play with the trees. These signs for trees in the jungle. I feel like I'm choreographing the language because this is the sign for tree. But for me, I choreograph it and emphasize the dance of it and emphasize that it's a jungle to show that. So choreography is a part of my work. Okay, speed. I like to change speeds. And why I make things slow at one time and fast in another is, let's see, for example, the car pulls up and I want that to be smooth and fast so I do it fast. But it just goes fast but I want the feeling of smoothness. Then the sirens are a real interruption and so I sign them really fast. The car comes up rather slow. It's important to emphasize that.  What the sign is isn't that important but the speed of it is. The contrast between the fast and the slow and I want people to see the emotion and the expression on my face when I am one of both those boys. Most of my poetry stays in one place. Now, I don't mean I nail my future to ground. I do move around a bit and I move my body a lot but I try to stay in the same place to keep the same placement and challenge myself with that. Most of it is in one space. There's a few poems where I move around a lot. Maybe I'm experimenting, seeing how they work. If it'll work or if it won't. I missed facial expression. That's true, I did. The answer is yes, I did miss facial expression. Okay, facial expression. It's very important. Number one. Number one in sign language. If I sign with a blank face the meaning will get across. The movement is not half as important as the facial expression in conveying meaning. For example, I have one short haiku I'll do for you. Butting from the earth. One flowing movement but the expression gives most of the meaning. Expression on my face. Can I... Can I jump on? Can I go on now? Okay, other concerns or considerations. Emotions. I'm a very emotional person. Maybe that's why I do really belong in the theater world. You know, reality is really important and for me, I have to really feel it. I have to feel the emotion that I'm trying to convey. So when I'm holding up the casket in South Africa I think of that child and that he's gone. Feelings are so important to me. Very, very important. The next thing is puns. I'm famous for using puns. Yes. I guess, it's strange. I don't even think of English in my mind. I'm not thinking that. But I always tend to play with puns. I love idioms. I gotta tell you.  Oh, I love it. I love it. First I say, hey, what does it mean?  Then people sign me. They show me the meaning in sign language. They'll say what deaf people tend to sign.  So I learned that a few days ago I was teasing my roommate.   Those kinds of puns I didn't make. Okay, I'd like to apply to one of my puns from last night, alien. I did have a pun in that. I don't know how many of you have seen it, but when I read the newspaper about illegal aliens, people from El Salvador who are refugees have left from there. And I saw this one article in the picture of a woman holding her little boy. And they had to get out. They had to get out of America. They live in Buffalo. They've been there for five years. A woman had been working, going along fine. Till the boss came up to her and said, where's your green card? And a green card permits aliens to live in this country. So alien is a strange word and it means that you're strange to this country. And I thought of the movie Alien. It was first in 1978, I think I saw it. The first version of it. With that explosive egg. I hated the movie so much. I really, really hated it. It was so bloody. It was awful. So I took the concept of alien from the movie and my disgust at the situation of aliens in this country. I feel like we should be helping them instead of throwing them out. Parents and their children have to be kicked out. If they went back to where they lived originally, they would die. What's that all about? It's too much. I applied that and came up with my interpretation of it. Combining the two. That was inside of me. I didn't realize it. I didn't even realize it was upon until I started playing with it. So I put the two cultures together. And once I found that in the newspaper, I played this poem. Now the next area is Haiku. I think Haikus are the most beautiful poems. They're images. I just love them. I've been influenced by a few for sure. Peter Cook was really influenced by the beats. But I've been influenced by Haiku a lot. A little bit from Peter. He's my roommate of course. He's gonna influence me a bit. I have to put up with that. So I'd like to show you Haiku. First a Japanese one. I can see Donna's reaction. I didn't tell her I was gonna do this. Funny, cute, sitting there. But I trust her, no problem. This is the sign for Japan. Sorry, that's how they sign it over there, Japan. Is that right, Patrick? Is that the right sign for Japan? The outline of it? The outline of the island? Okay, Japan. Because it's an island. This is a Haiku. Lour is blossom on the hill. Okay, well I try to think how I could create a Haiku. I just thought I'd pick two natural images. I tend to collect Haikus in my poetry. Okay, it's an interesting thing. What does poetry mean? Well, I looked it up in the dictionary and I tell you I was blown away. Wow, that really struck me. I kissed the dictionary after I read it. It's so beautiful and so simple. Now I'd like to show you a story. Show you the differences. I don't really focus on the terminology that I talked to you about earlier for my poetry. Or the techniques of that. It seems like you need to go. Go ahead and go if you need to. Feel free to leave. You seem hesitating. I have class. You seem really drawn, split in the middle. Sorry, that's the sign for you. Oh, really? Really? It's interesting. You gotta tell the performer first, oh, I'm going to the bathroom first. Or not the performer, so I didn't mean that teacher.  Oh, wow. Okay, that's nice. I like that. Less paranoid on my part. Let me show you a story now. Something that really happened in my own life. My roommate, his name is Debbie Awesome. She and I were sitting down to dinner. We talked and ate until we had our fill. And then Debbie had to go out and do something. So she left and I cleaned up the kitchen, putting away the dishes and straightening up. I thought I would read a book. And so I opened it up and started reading. You know, it's a story about a witch. Black pointed hat, frizzy brown hair, green face, and a green long nose with a wart on it. And fingernails like claws. Oh, but don't get me wrong. I wasn't afraid. After a while, I got tired and I set the book down. You know, I'm deaf. So I didn't know if my roommate had come in or not. So I had to check. I went over to her bedroom, cracked the door open, and I could see her bed was pretty lumpy under the covers. Oh, yeah, she's in. I wanted to obviously sleep. And so I went to the door. And I locked it. I was afraid. But oh, no, no, I mean, I wasn't afraid. Don't get me wrong. No, no, I wasn't scared. There's nothing to be afraid of. And it's time for bed. And so I went into my bedroom, pulled down the covers. Five, of course. Is that five? Yeah, yeah. So cozy and toasty, warm. I fell asleep and immediately began to dream. It was the witch with her pointed cat and frizzy hair, green face and a warded nose in her claws. And she was after me. I woke up. Oh, okay. It's just a dream. And I went back to sleep. And again, I dreamed of a thunder and lightning storm. I woke up so frightened that I could see out the window. It was a full moon. Right. I went back to sleep again. And the next thing I knew, the whole house was shaking from side to side, the walls. And I looked out the window, and there was the light going round and round and round. And the witches boom, banging on the window. She wanted me. She was there. She wanted me. I pulled back my covers as quick as I could. One, two, three, four, five. And I ran, ran to the window. And there she was, the walls shaking. Her light going round and round and round and her boom, banging on the window. I got closer. My heart was pounding closer and closer and closer. And there she was, her light, banging.  With her frizzy hair, long and the broom. What's wrong? What's wrong with you? What's wrong? You lacked me out. I'm your roommate. Oh, it was Debbie with her long hair. I ran to the door and bolted it. I'm so sorry. I thought you weren't bent. I had no idea. I'm so sorry. Your hair and I thought you were, no. Oh, I'm sorry. I should have bought that flashing light for the door. There was something about deafness because a lot of kids just don't know.  So I wanted to find a deaf story that hearing culture, the hearing children could relate to and I developed that one. Okay. Okay, first of all I'd like to talk about the storyline. I was practicing my lecture with Donna signing to her and she put down some comments and one thing she put down was storyline. The next day I was going to practice and I signed storyline and she, Donna said to me, well, what were you signing before? You weren't signing storyline. You signed it in ASL a lot more clearly. And so I saw that I looked at the English and it affected me and I was signing English. So I tried to keep away from the stuff. But anyway, the story I just showed you you could feel the events building upon one another. One thing led into the next. But in poetry I don't focus on that so much. I might take short images, concise images and put them out. You know, I might take the witch and exaggerate her and show her her nose with a ward on it and have that be a frozen image. I don't know, I haven't developed a poem about that yet. It's possible. Plenty of the expectations of the audience. So they can get a sense of feeling what's going to be next, what's going to happen next. Character development. I didn't show that too much in the story I just did for you.  I was being Debbie, not another character. I have a really long story that I took a segment from to show you about character development. It's called The Elephant's Child. You might know that. It's written by Kipling. I forget how you spell it. Oh, he's famous for his just so stories. He has a lot of different ones. Like this. Baby Elephant her plunked along and he went up to his uncle the giraffe and he said to me, excuse me, but would you mind telling me what do crocodiles eat? And with that his uncle the giraffe kicked him with his hind leg and he went flying through the air and landed on the ground on his buns and it hurt. Then he ran into his uncle, the monkey and the baby elephant said, excuse me, but would you tell me what do crocodiles eat? And with that the monkey took him and threw him and he went flying through the air and landed on the ground on his buns and it hurt. But nevertheless he had an insatiable curiosity and went up to his aunt the hippopotamus and said excuse me but could you tell me what do crocodiles eat? And with that the hippo kicked him and he went flying through the air and landed on the ground but still he was curious. Sorry I can't tell you the whole story. It's about 15 minutes long but come watch me perform a story sometime and you're more than welcome. I always like to have the audience involved when I tell stories. I like them to get involved. So in that story for example I have them sign with me, what do crocodiles eat? I teach all the kids that what do crocodiles eat? What? I teach them that and then every time it comes up in the story, excuse me, what would you mind telling me? What do crocodiles eat? And I get them to sign with me and they're the kids signing. The aspect of it. Okay. So what does a story mean? A definition of a story. This is a test. Is that right? That's a good definition for stories. All the rooms on the same level of a building. 10 stories.  That's the pun for you. That's me with the puns. This is wrong. Definitely wrong. Found it. This is the dictionary definition. I love this definition. A series of related events are happenings. Could be true or not true. I like that. I have stories myself that I tell are true and ones that are fictitious. And sometimes I put them together. Okay, so I just label my poems for you and my storytelling for you. Showed you how I label. Chapter two. I ask you. Do we have the right to label others' works? I think I have the right to label my own work. I can say this is ASL poetry. And if you disagree with me and you say no, that's not ASL poetry. All right, you have the right to do that. Because there are so many different ideas. So many different life experiences and perceptions and perspectives. Okay, let me explain something about art. Okay, one time I mail ordered something. A skirt. And it said that it would be aqua. I was thrilled. I had this picture in my head of what that aqua skirt was going to be like, like the ocean, green and blue. I couldn't wait to get it. It was so disgusting when I found it. This is it. Is that right? Is that aqua? Not to me. Maybe to some of you. Maybe you think it's aqua. Doesn't look like it to me. Looks like light blue. It's pretty anyway. So I kept it and want to send it back, you know. Probably send me back the wrong color again. I don't want to do that. So I'd like to ask you what color are my tights? Are they aqua? Are they aqua? What color do you think? Turquoise. The tights are turquoise. Teal. Teal. Teal. Green. Red. Green. Green. Green. Blue. Green. Red. Green. See? Everyone has different perspectives on the same color. Interesting. We can take that and relate it to art also. There have been so many arguments about what is art. I'd like to show you some slides. Lights down please. House lights down. Can you put down the house lights? Okay. I'd like to ask you do you think that these two works are the same style or the same? Can you see me? I want you to be able to see me. Okay good. You see these works. They clearly look the same. Do you think they're the same genre? Which means the same style or part of the same movement? See people saying no. Blood. And then there's people saying yes too that they're the same. Nose and yeses. All through the house. Okay. They're considered completely different forms. To the right is Cubism. To the left is Orphism. Cubism focuses on one object, takes all the perspectives of it and sets it out. Orphism on the other hand focuses purely on circles. While Cubism again focuses on the different perspectives of one three-dimensional object. This is Delaney's work and Picasso's work. Okay. Next class now. Okay. Are these the same? Yes. A lot of people say yes. Yes. One no. Yes, yes, yes. Well, most people are saying yes. Completely different. Completely different again. Why? This is called Synchronomy and it works with a blending and bleeding over of colors. It's very musical. It's like an interpretation of music into color. Again, this is Orphism focusing on the circles. Are they the same? What do you think? A lot of people say no. Oh, there's some yeses. Yes, yes, yes. No, no, no, yes. They're completely different. This is Cubism, Picasso and Orphism. Again, the circular emphasis. Picasso, the different perspectives. Are these the same genre? Everyone's been saying no, no, no, no. You think? No, again? Again, they're completely the same. Completely the same. It's Impressionism. This is the work of Van Gogh and this is the work of Monet. I have a story to tell. Something that happened. It's a sad story. Van Gogh, which we sign with a V by the ear because he cut off his ear, you know, to give to a prostitute, believe it or not. During that time in life he saw Monet's style and he showed him his work and he said, see, I do Impressionism too. Monet said, no, no, no. No, no, that's not. Van Gogh's work is not Impressionism. No, it's not, it's not. So all through his life he was so frustrated by this. He did all his work, showed his paintings one after another to various Impressionists. Then he died. No recognition for his work. After he died, people said, oh yeah, his work's Impressionism. So. Okay, House Life, please. So my point is what? About labeling. You see Van Gogh's situation. He's put into the category he wanted to be and after he was dead. The point is not what you label something but that it is art and that it's expression. And artists have the right to label their own work but not the right to label other people's work. That's a personal decision to be made. Okay? So the epilogue thought it's very important to support your community and all the different perspectives and all the different art forms within your community. That support will help the growth and help all of us grow together instead of bitter discussions and arguments about who's doing what and why they're doing it. Okay, for example, you think in ballet or gay are they professional ballet artists?  So the important thing is if a person says I'm gay but claims himself gay that's fine. You can support that and people in the community whether they're hearing or deaf need to support each other. They will learn from that person. When you see lectures about poetry and all the various styles you get ideas from those things. It's very important to support poetry in the community, especially interpreted poetry. It's really blossoming and it's really a bridge between two cultures. Of course deaf culture is very precious and needs to continue. It's like a diamond. You don't want to break it apart. You need to preserve it. Thank you. Okay, we have some questions. Can you repeat your question please? What about labeling relating to poetry itself? In the world of poetry? Okay. He asked could you explain more about poetry and labeling in the world of poetry? Okay, what I'm saying is that if a person thinks that labels themselves as a person playing with language of poet than they are. I might look at someone and say oh that's poetry and say to them you know I go up to them and say you know I think what you're doing is poetry and not label it myself and say that's poetry and walk away. It's important to have interaction with each other. You know some people in the deaf community might prefer seeing stories rather than poetry that's fine, it's up to them. But it's good to communicate with people and find out what they call themselves what they think their art form is whether it's poetry or not. Any other questions? How do you label yourself? He asked how I label my work is it ASL poetry or deaf poetry and I say that it's ASL poetry because I focus on playing with the language. That's my own interpretation of what poetry is playing with language choreographing it. People have a right to disagree with that if they like. But I like to think that my work is ASL poetry because I'm not talking about deafness in my poems particularly deafness isn't a major theme. What's the difference between what's the difference between deaf poetry and ASL poetry? What's the difference? I'm telling you this is Debbie's interpretation. ASL poetry focuses on ASL as the medium. Deaf poetry focuses on it could be any deaf person writing English any deaf person creating poetry and possibly talking about deaf themes or issues. I have one poem related to deafness I guess I would call that a deaf poetry. My poem JFK I remember where that was all about now. Just that one I did it last night it was deaf with a deaf issue. Just one in my whole set. I'm also the college of ASL but that's also ASL poetry. I have one poet that talks about ASL but it's also ASL poetry because it's playing with language.   You express your feelings that way and that's your interpretation and that's your art you have a right to label yourself that way. Whatever you decide to label your art that's what it is. Okay that's a good question. Just trying to challenge me. Throw me off my feet here.


What's happening all my YouTube peeps? Thanks for tuning back into the channel today. We've got some really cool stuff going on We've got some Milwaukee High-grade impacts to be able to show you guys and do some inspecting and some torque testing on today We've also got some snap-on tools to do some comparison reviews with on how great they hold up compared to the snap-on and the Milwaukee's it's gonna be some pretty awesome stuff. Make sure you stay tuned So in the tool world specifically the automotive one here recently There's been quite a big quarrel when it comes to electric impact tools So I got my hands on a couple of the newer Milwaukee impacts I've got a couple of my snap-on ones to be able to kind of compare with that and show you guys the differences Torque power in actual hands-on capabilities we've got a head over here on a Diesel that we're gonna be trying to take off and a couple of other lug nuts and stuff We're gonna be going through the Milwaukee's one key that I've got here. That's a really cool system I really like that one. We're gonna go into some of the specs on that one as well So first one that we come to is our Milwaukee half-inch drive Model number two eight six three dash two zero. This is the half-inch drive one key with the snap ring anvil on the front runs in m18 so as normal with the Milwaukee tools they run so many tool options with them. It's a pretty awesome system Fuel brushless this thing is pretty sweet pretty sexy and it is an absolute hammer As you can see here on the battery. It's got a level Showing you how much battery power is there and the one key selection has different Settings that you can choose and to connect to a mobile smartphone app as well. That's going to allow you to Differentiate and adjust some of your torque and rpm levels that this thing outputs as well all in all a very very high-grade tool Spec wise it is the half-inch. It has roughly 1,000 foot pounds of on-power and 1,400 foot pounds of off Running the 18 volt m18 This specific one is a five amp hour battery that we're going to be doing our testing with Then we've got our Milwaukee three-eighths drive stubby impact It's going to be part number two five five four dash two zero In the m12 12 volt got a three amp hour battery that we're going to be testing it with the stubby version three-eighths reversible With a light battery indicator is going to be on the tool and not the battery on this one This one's going to be about 150 foot pounds on torque and about 300 250 to 300 foot pounds off torque Pretty nice compact size I really do like the design and how this one feels it's a lot lighter and a lot more compact This one also does have the selectable setting range as well here. We've got our different settings that we just push We've got our breakaway or on torque So whenever you pull the trigger the first hammer that it hits it stops So if you need to torque something down to a specific torque with a torque wrench afterwards You're able to spin this on and as soon as that hammer hits once it absolutely stops the anvil And then we're going to go through settings one two and three is Respective to rpm and torque as well for off-power So to get you guys a little bit of reference on how powerful these impacts are going to be we have an engine here from a 2016 Dodge Ram Pro Master three liter VM diesel. We're going to be taking out these M 15 with an e-torx 18 millimeter head on them these head bolts are on there a hundred foot pounds plus a hundred and eighty degrees of Torque so they're going to be really really on there. So we're not going to be really kind of explaining and comparing this one to any of the snap-on electrics because Honestly, the monster lithium snap on half inch gun is kind of a wuss when it comes to this So we've got the snap-on Latest and greatest pt-850 air impact to compare and see how this one is going to take out the head bolts as compared to the Milwaukee So first up on our lifts is going to be the snap-on pt-850. It's hooked up to shop air We're running right around a hundred and forty hundred and forty five psi of shop air Let's see what this thing can do After about ten seconds of hammering it was able to take it out All right, so let's compare that over to the Milwaukee So here with the Milwaukee we're running three-fourths of our battery power right now. Got a five amp hour battery same exact hookup and We're going to see what this one can do After about literally one and a half seconds it busts them loose. We'll do another one It definitely just snapped our snap-on bit off Look at that one. So it's got the torque Enough to bust your tools in half. Thanks snap-on Next up to test we're going to be testing the snap-on 14.4 volt three-eighths Electric impact and we've got here a 2016 Ram 1500 this thing has 22 millimeter head Lugnuts torque to one hundred and forty foot-pounds of torque Will the snap-on one be able to take these lug nuts off? After about five seconds of impact it did see will it take a second one off? Yep, about after five seconds of impact. It's able to take it off Now let's switch it over to the Milwaukee and see what that does Here's our Milwaukee stubby. Does it have a full battery? M12 as compared to the snap-on 14 volt. Okay, let's see if this one will take off our others About a second and a half About the same So this thing takes off lug nuts with about half as much effort as the snap-on So now we're going to step it up a little bit for these three-eighths guys We're going to move it up to the 21 millimeter Stud lug of this pro master diesel and see if these things will take this one off first up the snap-on Big ol bucket of nope All right, switch it over To the stubby Okay Go over to a fresh one One out do another one that one must That one must just be way over torqued from somebody prior to this But as you can see the Milwaukee the little stubby is a beast She's able to break off a lot more than what the snap-on can get a hold of So one of the coolest things that these tools have to offer is the one key setup And I do have that in the half inch version here The one key setup allows you to have selectable functions Program them in with your cell phone and you're actually able to change and adjust different rpm and torque value outputs I'm going to show you guys I programmed one in already here ahead of time We're going to show you exactly what that can do also with the one key app all open her up here And we'll see what else so you can do with it So once we open our one key app you can see right here the tool that already have programmed in We're able to select that and then it also has something really awesome It's able to connect to the Wi-Fi in there on your phone and see where it's last seen So if you're one key enabled tool leaves your designated area It actually has the capability to let you know When your tool has left so right now we're going to connect in to our tool Make sure the tool is on We put it over here on to the Wi-Fi Section right here and then we can do a couple different functions. You can turn the tool lock on so right now the tool Works just fine If we turn our tool lock on go to hit the trigger Absolutely nothing so those guys with sticky fingers coming over to your box They won't be able to use your expensive tools that you just bought Turn the tool lock off the tool controls is probably the best function They have you're able to go into it and as you can see over here on the tool There are four different settings that you can choose from pushing the selector button It will then go through the different settings so you can put four different custom settings in one two three or four individually set them two Three and then I've got number four set at all the balls out So it has the full amount of rpm torque removal So here on custom number one is what I set it up to and I actually had it set very nicely for 19 millimeter standard size lug nuts on Torquing them on to right around a hundred to a hundred and ten foot-pounds It's not dead on exact but in that realm of hundred to a hundred and ten That's 90% of the cars that we work on nowadays. I was able to set the max speed rpm Then on when we're talking about the bolt removal the removal speed And then we can put in a custom torque level when we're on on to on position So I have it set at level two level two with that rpm setting is set perfectly for 19 millimeter bolts So right now I can go over here to my tool So we can go over here We've got a Chrysler 200 here with some lug nuts we're able to work on and the off power is going to work Just normally just like every other one would It's able to take them off and then when we go back to the on setting I Gotta make sure I'm on number one on the tool number one Go on And it will stop I didn't even have to take my finger off the trigger you want to take the bolt off hit the off key Takes it off. Just normally full all out and then when we go to back on It stops right where it needs to and that one we've tested multiple times It will be between a hundred and a hundred and ten foot-pounds So if you guys are able to do that and in that function that works great for what you have I'm going to be selecting this and making it a couple more custom selections on my Smartphone in the app for the other numbers there on the tool so I can do a custom Selection for some larger lug nuts. I just kind of haven't gotten around to it. So back to the app here We've got your tool information where it was last seen and everything You can manage your profile and you can actually have People set up to where they can check this tool in and out So for you guys who have contractors who have a whole bunch of these tools you guys can tell guys You know when you check this tool out, you've got to make sure you check it out You can turn the tool lock off and it tells you who actually did it so you can give different access to different people for these So that would be in managing the profiles identify your tool Not exactly sure what that one is Oh It's over here Flashing so it can tell you which one you're working on this specific one like if you're If your model number or your serial number was worn off on the actual gun So you couldn't tell which one you were working at you hit the identify tool button and It sits there and just flashes at you so you know which tool you're working with pretty cool And then you're able to go to a factory reset All in all this is one of the reasons I bought this specific impact because of the functionality of this app With the Milwaukee half inch impact It makes it something that is top of the line here on the market And there's not really anything else that you can compare it to these things are just plain badass One last thing that I would recommend getting to anybody. I have not gotten one yet for my half inch But for my three eighths. I did get one in today. It is a for the stubby one It is a nice boot cover. These things are pretty thick. They fit fantastically well I didn't have to fight with this thing forever and it fits absolutely perfect to all the the vent holes for the motor The selector switch on top all the way around all the edges and it's got bolstered corners that are nice and protective So if you drop this thing, I'm not going to be worrying about this thing cracking and breaking all the time So we've got that and I'm got one on order for this. It just has not yet Come out yet. So or I had just haven't gotten it yet. So that will be coming soon as well So the biggest thing that everybody really wants to hear about is the prices for these things the half inch impact with one key with the Friction ring on there just for the tool alone is going to cost right around 259 To three hundred dollars depending on where you get it from and then the three eight stubby in the M12 version That one's going to run you about a hundred and eighty dollars So your batteries and everything are going to be separate usually if you get the kit on the half inch one with the Battery and the charger everything with it. That's going to end up running you right around five hundred dollars So you're doing pretty good there because the snap-on version of the monster lithium Is it going to be running you about seven hundred and forty nine to eight hundred dollars right now in that comparison in the Pt850 that's going to run you about five hundred plus Then over here at the three eighths that one compared to the snap-on version the snap-on with the tool only of the CT version the three eighths impact that one's going to run you right around 260 bucks 250 260 for the tool only add batteries you're well over the 300 350 dollar range. So these things kill them on price kill them on how they work They're just killer tools all the way around All right guys well that's about all I've got for you today in comparing these tools I hope you guys enjoyed it and actually we're able to take some of this information to Take forth and hopefully get some of these really awesome tools Make sure you keep track of the channel coming up here. I've got some really neat content coming up I've got a nice track Hawk here in the shop. We're going to be doing some Engine work on and that's going to be some neat stuff. Make sure you go check out My channel over on Instagram at the Rust Belt mechanic Make sure you stay tuned in for cool stuff like that I post stuff to keep you guys up to date all the time So thank you again. I appreciate all your support and you guys stay awesome You