Okay, welcome to Philip B. Williams and to all of you. I can't wait to get started. We're here to hear Philip Reed from Mutiny, second book by this amazing poet. I'm just gonna speak a little bit about the book and then quickly pass it off to Philip so we can hear some of the constructions that are made within. So the title Mutiny, obviously we hear insurrection uprising, both past and present, the leveling of social orders, the counter-programming of the social that happens in that swift way during physical, political mutiny. But this is a book so full of incredibly tight forms, about the commercial strictness in the service of a kind of glorious anger against anti-blackness and all its forms. So much so that I hear other things in the word mutiny. I hear mute and I hear mute passing into litany. I hear the shift from silence to sound and to soundings. And I think it's a wonderful title precisely because it makes you rehear and re-see rather than only seeing something like rising up against or limiting yourself to a flat or singular sense of what uprising or responding can be. This is a book that is constantly searching for the forms that will constitute a necessary and temporarily sufficient response to the world that we've inherited and live in and the way it hits us unevenly.  But this is a book that will rhyme loudly, adjacently at length again and again and again. And it neither feels like it's embarrassed or ironic. It feels like it's attempting to produce a refreshment of that ancient verse capacity on the grounds of current pain, joy, and the struggle that oscillates between, maybe, those affects of pain and joy. There's an amazing poem in the book, Amazing Among All the Other Good Ones, that involves, I mean, Al Broughwaite's concept of tytolectics, right? This sort of anti-settler colonialist idea that you do not just fix and establish, but instead things are always in flux and reciprocally constituting each other. And the poem works by proceeding through these cursits of intense rhyme then it has a prose interlude and then all the words and cursits reverse and the rhymes along with them all the way to the end, which is also the beginning. Obviously it's memetic of tides coming in and going out and of all the political purposes, we could put that material flow too, but it's also just an incredible self-tasking with multiple structures, rhyme, the mirror poem, the invitation of another genre completely, that prose interlude into the midst. One of them is a poet who's not afraid to mar things with other things and not afraid to be tidy and not afraid to have tidiness and mess, constitute or scale up into a higher order. These are gorgeous-sounded poems. We will recognize our present in them and the past, the multiple paths that led to them. And without further ado, let's hear that. Thank you so much for being here, Phillip. Thank you for having me. That was a beautiful introduction. I want a recording of it. It's the understanding of the book that touches me, Jeffrey. So thank you very much. I've not decided how I will do banter yet. The book is still, it's just a month old. So I typically just start reading and keep going. I may or may not say things in between. Final first poem. In the beginning, I suspect my index is on fire. Days start spasmodic with hunger, my dull teeth catch on pale figures, vowing from an empty heaven. God been left, bored too with ransom for art, illusion stacked like reluctant saints on a pyre. Elliot, allegory, Homer. The sun's glossy odyssey traces half moon above the horizon, clefts these Alexandrian hours into shoddy boats. I'm tired of drifting toward nothing on. There was once a sea I began, having never seen a sea nor been able to seem any time to once. Now I sleep and avoid documenting my rhyme-sourced wet dreams. And who would collect these metered christenings? I want to know what you must know. I own nothing impressive. No noctuaries of gallivanting seeds, no beloveds creeping from sun-bloodied water, and a salt-stained stolen dress. No oceans from which she stole her voice to give to me to offer you, slow blinkingly, awaiting genius. And a circle of rooks, all the crows have gone, my love. And all shovels cradling yarrow in jewels of beetles have rusted away, revealing my face all along held these things and unrequited climax to crown me king. The book is burning. Come, sit at my bedside. Let ash fill the fugue that was your need. Now, open your hands. Reader, read to me what you have stolen and called your life, order of events. First, he taught us to use the dead as shawls and the viscous winter escorting his arrival.  Third, he delivered on promises that blew off the tops of homes and places whose names he could not pronounce.  The drones meant for war, prepared for war. We dusted our shoulders of shadows silent reconnaissance surveilled as practice for a massacre we did not consent to. The royal parade prized melody stuck its sequence through, be drums of human skin from which emanated a rhythm impossible to decipher.  Under eroding circumstances, this kingdom could become home. Under eroding circumstances, my gas has become home enough. Love not consented to yet detected from beneath my mindless right hand, pressing its devotion to ritual over my heart, flag above waving heaven and blood into the smoke-diffused sky. I quake my way through anthems beneath. Rockets glaring off my breath, forced to evidence I belong. The crown is crooked. We straighten it with a vote of vapid hands. The crown sits too heavy for the king to carry on his own. When it falls, oh, say can you see strikes its inquisition. My knees summon to straighten at the hinges permission most questionably opens from spiked the earth with a kiss. Could I kneel my way to revolution? Would that goad the king to unzip and now upon my head the crown? In the first place, I wanted him and said so when I had only meant to say. His eyes opened beyond open as if such force would unlock me to the other side where daylight gave reason for him to redress. When he put on his shirt after I asked him to keep it off to keep putting off the night's usual end, his face changed beneath the shirt, surprised to grin, to how even the body of another's desire can be a cloak behind which to change one's power, to find it. In the first place he slept, he opened the tight heat of me that had been the only haven he thought to give a name. Is it mine? Why are you running? Don't run from it. As though through questions, doubt would find its way away from me. As though telling me what to do told me who I was. Final poem for the famous poet. Wound wondered, they circle you. Headless monument erosion had before they thought they knew you though did not, claimed.  They loud wrath where loud finds no place to enter you and enter their own unthought. Rage bright beacon to nowhere that hath they unfollowed, hath they retraced their steps away from their own unimagining. Ozone settles your barren shoulders that are more like than unlike there. Our mouths open, our heads mourning ourselves. In the book there are poems that use the image, the symbol of a king or the crown in order to not only make an argument against that kind of hierarchy, but to also lay an ironic claim to that hierarchy. Mush mouths may be crowned. One, medical man mangled more overmade menace masks, may be moded moribund, mostly manipulated, magnanimously marred, mired, mushed out. More, moored, more. Medical man meanly measured man monkey mixed myths, murky mirrors, America's man man, menstrual married mop head, magnum man, mama's mine. Might munched, medical man mimics martyr movements, moshes minus music, muses, murder made manifestations, may be madness my master. Two, my madness my master. Many mistake my mood, man handling my mode. Maybe me making minimalist mumblings means my matriculation, man made monster, moves merrily, mystifying monogamy. Mainly me, my monsters, malice municipalities, me make maintainable moans, me menu, me metaphor, me mad men's monitored mission, merchants masturbate midst my mouth, me might munch, might men make men make mugs my molars, my mausoleum multiplies. Three, my mausoleum multiplies immemorial, me misery, impossible emperor, and maybe me mid-moonlights improvisations, me immediate, might's emissary. May him manes my museum. Me improvise minutes, masticate memory, mortuary mammal, mythic, melisma-minded, memory makes me meet myself minus mink, mirth, magic. Myself's mess makes me member muzzle, mincing mouth. Maybe murder make my mouth mine. Four, maybe murder make my mouth mine. Me embellish mercy, mercy mid-morning. Morning masquerades mercy, imposter. Mercy mouths impaled miracles, miracles midwife my mind. My mind implies miracles emancipating me. Impressive, me embroider impeccable embellishments. Maybe murder make my mouth mine. Me impress embroidered emblems mucks my muscles. Me emaciated emergency, am embargoed myth. My embargoed myth emaciated imagined emergencies, implicated empty embraces. Emotions imitate monsters. Emotions must make music. Me, my monster, am mine, mine, mine. Implosive, me emperor, am imprecise empire. Maybe murder make my mouth's mines. There's not enough water in the world after reading that poem, just not enough water. So after that, I think I'll read, eventually I'll read Final Poem as Tidelectric Elegy, the one that Jeffrey described. But for now I'll do Final Poem for the crow. One, dear crow, you owed an apology from the state of poetry.  Poor thing, you must be exhausted notating power lines with your negressive wings. You've been jigaboo and negrous, coon, croon and ace, boon, coon and a slave woman's womb. Little you can do, do, do. You pogems last name for the last time, punctuating coffers, prescribing collards while coughing up 4D hair from church pews. Shea butter make you shine like so.  Your shadow agate the hail and I'm about to hop on through, just to get my pen far on way from you.  Enough brilliance to distinguish your foes and the parallax of trees, phone poles and a child waiting near his tomb home for the poet to stop killing him in the name of protest in the name of Palestine, of Syria, of too many bombs dropped without the country that dropped them being named. It's real how the poet rushes us into calamity.   To repeal your calamus pelting the window. Hicks bird hoodlum, woke face minstrel. You know who built the wall but only caught at the doll caught in the barbed wires reaping. May we feast on you as you pace our eyes, foot in our mouths, a choir of greedy tenors with no way to escape. Final poem for war, during war. Questions for the war poem to host. Who among us could weave one ghost into another? Where find water hosted but in the tulips snapped back and tilted cup? How counted the escaped speed by silt dragged from one ruin to another? Wilt sings the sky's day fabric unwoven into grayscale as though night could coax from a star a paler face. But when night arrives on the failed back of a mule winged on either side by baskets of water and rotten grapes. What verb is tasked with this weight? How many missiles cast their light above a child's gate? When do lions banish to the hills water their hunger? Lie on their roars till the vultures pile on. How many ways can I write exile having never myself been exiled? What is the face of exile besides the one hidden beneath the pyre of music peeling from a liar's head? Bless the mine ads that they retire only after this laughable poet is dead. You're reading that poem aloud. All the rhymes are just like it's fun though. Final poem for the field of poetry. In the grip of a nor'easter you come bearing grief having pieces not come in peace. You arrive bladed with certainty. You slam shut the car door and smolder before the locked cabin rough trip up the Hudson as you distracted yourself with a list of flowers awaiting depth penmanship to groom them tight and bloom them clean.  Fellowship among the crude Madonna's of empty mailboxes draped in robes of days old ice. You have not written about the passing of family before their antagonistic absences. Intrusive, they're teething tombstones in the brain. Pill after pill to sleep, to create, to erase. You swallow and scratch into a notepad what the frozen earth refuses. Bogenvea, lilac, burning bush. Another close kin added to the Bible's kept obituaries. You hated your brother's left eye unruly wanderer settling away from you and observing a world you could not sense. Glossy ivy in all its tenure, the tender fingers of buckeye, the white page frozen before you like rhyme. You dig and discover what you already knew became kin meandering roots, catching his beautiful ankles. You were looking for a way through beauty but beauty only goes where needed. On the pad you write enough, what you've had, how much more of you there is, how much of you will be left when you're gone. Final poem as titlelectic elegy, the middle passage rather than haunting us is still open with water flowing forth in a constant violent rush. In the wake of departure and salt spray, who looks back? In the wake of Atlantic afflictions of this liminal black and the wake of the taken in of ruptures in the track of a sea being entered and what entered ever swallowed. The wake unseals epitaphs from throat salt fallow. The wake spits up familiars flesh and splinter alloy. The wake blamed for the neglect fed nations that sculpt indifference, fluent disdain. Sunken Africans will give aids to the sharks spoke of failed civilization. Dear wake, if my body is 70% water how many likenesses have I imbibed? What shrouds prepare to disclose their semblances within me bountiful with the sweat of the throne overboard that jumped into freedom before the Lord could be given like a disease. Freedom bored with freedom's language, the necessary revision, meanings umbilicus severed, dull pageantry, cloud shadow and the water, black and dingy, ephemera over ephemera, legalese of ghosts and eroded investment, cargo seized up in the ship's wake, a recapturing, a chronic disease, an annotation, sharp asterisk, perpetual annexation. The ways repeat their inexact canon, their mimetic self mastery painting a scene of endless transposition. What is the within? What is in the shipping news? The marine list, La Amistad, Aurora, Duke de Main, Truvedor, Emmanuella, Britannia 1783, Britannia 1788, Wanderer, HMS Monkey, Enterprise, Alexander, Sugarcane, Henrietta Marie, Othello 1781, Othello 1786, Antelope, Queen Anne's Revenge, Robert, Hope, Angola, Thomas Hunter, Nightingale, the HMS Black Joke. In the Mediterranean Sea over which a French warship, like a squall gasps and freezes at the vista, darkening with hunger. It's sailors taking pictures of Nigerians, Ethiopians, Eritreans, Sudanese as their dinghies lose their utterances in the sea. The Mediterranean glances at itself in migrants' eyes, unbalances the boat for a closer look while Europeans burn history from their books and use migrant hair to bait their hooks. I had a dream, you were the ocean. I touch each ship and hear their sun scream back, Big Spring, Cannon, Florence, Hazelton, Mariana, Terrahat, Angola, both prison and not yet, both slave ship and not yet mahogany mutilated into float violence, both nation and vulgar coloniality. Present past self and past present self-detector, mighty chocolate and grandma's quilt. Map to the door of here to four, quillumbo's unhide from dark lines of millinated nail beds and grown pikes that sprout buckra heads and toto.  The weather in the flowering mountains shakes like the birth of a new nation. Old dude watching the gate, the clouds make at the peak ain't a legba, though his show smell like funeral flowers, a wild unslocked cupboard rum wasted and doused with pennies.  Oh, nostalgia, clemerdum muse, known silhouettes darken the water overhead. I look where one should not look in the heat of a threat. Mone summoned, I look up. In the wake, the past that is not past reappears always to rupture the present and uses migrant hair to bait its hooks while Europeans burn history from their books. Unbalancing the boat for a closer look, the Mediterranean glances at itself in migrants' eyes as their dinghies lose their utterances in the sea of Nigerians, Ethiopians, Eritreans, Sudanese, darkening with hunger. Sailors taking pictures like a squall gas and freezes at the vista. And the Mediterranean over with your French warship, Angola, Thomas Hunter, Nightingale, the HMSS black joke, Queen Anne's revenge. Robert, Hope, Othello 1781, Othello 1786, Antelope, Enterprise, Alexander, Sugarcane, Henrietta Marie, Britannia 1788, Wanderer, HMS monkey, Truvedor, Emmanuella, Britannia 1783, La Amastar, Aurora, Duke Domaine. What is in the shipping news? The marine list as endless transposition. What is the within? My medic self mastery paints a scene. The waves repeat their inexact cannon and annotation sharp asterisk, perpetual annexation up in the ship's wake, a recapturing, a chronic disease of ghosts, and eroded investment cargo sees ephemera over ephemera. Ligolese cloud shadow in the water, black and dingy, revision, meanings umbilicus severed, dull pageantry with freedoms language the necessary could be given like a disease. Freedom bored into the jumped into freedom before the Lord with a sweat of the throne overboard, prepared to disclose their semblances within me, bountiful. Many likenesses I have imbibed. What shrouds, dear wake, if my body is 70% water? How will I give age to the sharks? Speak, failed civilization. Sculpt indifference, fluent disdain, sunken Africans the wake blamed for the neglect fed nations, the wake spits of familiars, flesh and splinter alloy, the wake unseals epitaphs from throat-stalked fallow of a sea being entered and what entered ever swallowed, in the wake of the taken in of ruptures in the track, in the wake of Atlantic afflictions, in this limino black, in the wake of departure and soft spray, who looks back? For my final poem, I will read, oh, I haven't decided yet. I mean, let's see. Yeah, my last poem will be final poem for my father misnamed in my mouth. Sunlight still holds you and gives your shapelessness to every room. By noon, the kitchen catches your hands, misshapen sun rays. The windows have your eyes taken from me, your body. I reorder my life with absence. You are everywhere now, where once I could not find you even in your own body. Death means everything has become possible. I've been told I have your ways, your laughter haunts my mother from my throat. Everything is possible. Father light washes over the kitchen floor. I try to hold a bit of kindness for the dead and make of memory a sponge to wash your corpse. Your name is not addict or sir. This is not a dream. You died and were buried three times.  The final time you beneath my feet. Was I buried with you then? I will not call what you had left anything other than gone and sweet perhaps. I am not your junior, but I fail in love with being your son. Now what? Possibility was a bird I once knew. It had one wing. Thank you. Thank you, Phillip. Wow, those are poems of extraordinary intelligence and moral force. And I think the way you embodied your breath meets the kind of oceanic rhythm of those poems. We'll stay with me for a long time. I wanna thank everyone for joining us today and to invite you to sign up for our email list at lunchpoms.berkeley.edu if you aren't on it, all ready to stay up to date with the latest updates and to invite you to join us on November 4th when we'll invite, we'll welcome our next reader in the series, Kava Akbar. Our past readings as this reading will be are archived on YouTube. So you can review if the wave of Phillips poems can be slowed down and revisited there. And I wanna thank finally the library on whose support this depends. We're grateful as we are grateful for you, our audience. Thank you.


It's so emotional. Oh, well that's okay. Oh my god. Keep the tissues close. So, yeah, you go. You take it away. Yeah, okay. Welcome back to Spoonsville. We're covering the farewell Netflix movie. It's not a Netflix movie. Not a Netflix movie. I don't think. No. I think it's just on Netflix. Yeah. 2019, correct me if I'm wrong. Yeah, it is a 2019. Yeah. I wish I could just sit with my knees up like this. That's tough. I really liked it. I never tried trying not to talk to you. Talk for you. But I really like it. I think we both really liked it. Yeah, we did. The movie in the movie is that the grandmother. Yeah. It's a Chinese immigrant family that's living in America. And the grandmother who's living in China apparently has cancer. And so the family decides that they shouldn't tell the grandmother about the cancer, which is customary to do apparently in China. Well, at least probably within certain cultures in China. I don't know if that is prevalent all over, but the family decides not to tell the grandmother and then they just throw a wedding. Really, it's just for the family to come together. They need an excuse for the family to come together. And for everybody who's living outside of China to go there and for everybody who knows her to basically say their last goodbyes without actually saying their last goodbyes. The younger people. To have a mock wedding. Yeah, they have a mock wedding. So they have a mock wedding where, so that as an excuse to have people to come together and then the grandmother doesn't know the whole time. So Billie is the main character. Yeah. Yeah, and she... Played by Aquafina. Yeah, and she grew up in America. Well, they moved when she was really young. Yeah. Two, I think. And so she's very, very much Americanized. Yeah. Yeah. And yeah, so they tell her that the grandmother is sick, they're going to go... And they don't want her to go. They don't want her to go because she's super emotional and can't hold her feelings back and they're worried that she's going to basically blow everybody's cover. Yeah. And so they didn't want... The parents go without her, but then she ends up going afterwards. Yeah. And maybe it's also because she wasn't as tied culturally to that culture in China of not telling elderly people of their sickness. So when she's there, she's bringing it up, they're getting a massage other times. She's like, so are we really not going to tell the grandmother about her cancer? And then, you know, so she all... I think they also knew that she'd have the moral quandaries, the struggles, as well as struggling emotionally. They just... They also knew that I think she would just struggle more with that dilemma. Yeah. Yeah. Because she is obviously... She's a split between two cultures. So there is that. And so it was really hard for her. She wanted them to tell her, but the family didn't want to. Yeah. I don't know. It was just a really... I don't know. There was a lot of soul in that movie. Oh man. I love this movie so much. I... We watched it last night. Yeah. And I'm still crying. Yeah. Just thinking about it. I was making those. I like making them. What was it that you were thinking about that was getting you back? I know it was something for me that really sticks out that I love when movies do this, that separates I Find Great Movies from good or mediocre movies. We tried to watch one earlier, at some point yesterday too, I think. And it felt very lifeless and just uninspired. And then this movie, The Farewell, there's these great, not even montage, but great scenes where they... There's a lot of great dialogue and a lot of character scenes. And then they'll have a scene that's just music. Yeah. And the music's great, but it's like, I don't know, it's not even original. It's classical music, but there's a scene where for instance, they get a call, I think, so the family has to rush to see the grandmother. Like maybe there's a call from the hospital and then they're not really sure which way to go during what's going on in the scene. I don't know. For me, it's those little touches. I think that doesn't take a lot. They're just, why don't we put some music as well? It's not like there's no audio. You can hear the characters running around, but they just put some music in here just to intersperse it in an interesting way, I think. And that to me shows just a little bit of really wanting to make this something special, at least for the people working on it. For me, that's a big thing for me. The whole movie obviously is... It's centered around someone, the grandmother, Nainai, her passing, possibly.  She has three months as far as everybody knows. And it was really hard for me to see that because there was, of course, so much pain and very well depicted by the actors. Oh my God. The acting was fantastic. There was just so much pain and everybody was just trying to cover it all with smiles and humor. And it was just, no matter how hard they tried, it was really just, it was just tough and obviously Billy struggled a lot with that and the dad actually struggled with that too because the mother, the grandmother, kept pointing it out. You know, with Billy and the dad, right? Yeah. I think I was just really sad for everyone to know that someone who you love, I think that must be, that's obviously a hard thing to know that someone you love is going to die soon. And we all know we're going to die but if you have, if you know that, okay, there's a finite time within which this person's going to not be here anymore, then it gets harder and I think it gets even harder because when you do know that, you just want to say everything that's in your heart. All the things that you feel for them, the regrets you might have, you want to air them all out but because everybody was pretending that they were there for a wedding, they weren't able to actually just let these things, their feelings out and express themselves in the way that they want, they would want to. One of the things that I really love about the movie is that, is how well it depicts minorities as well as minorities and immigrants and how you live between two different cultures or two different cultures live within you and how difficult that can be and I think the movie, throughout the movie, that was so well depicted and I think, even if you move to one country at a very young age, if you ever, and even if, I think even if you never lived in your own country, you still have this connection to the place that even though you don't have anything tangible to give or to, that draws you back to your country of origin and so the movie for me did that so well. Things like when Billy was talking to the mom at the end about how hard it was for her and how she felt that the parents didn't explain or help her transition to America well enough and also help her to support her through the transition from leaving, from living in China and then living in America. That was, I think a lot of immigrants could identify with that. I think the thing that people don't really realize is that especially for people who are very visibly, if you move to a place like the US where the dominant culture is well, people of European descent, right?  Or you look like you're Asian, right? And so that's outwardly you are automatically different and there is, you'll always get questions. A lot of the times you'll get questions like where are you originally from? And so even though you are very much American, you could have been born in America but you're never fully allowed to be an American because of that and you always have to grapple with those two identities.  And I really like Billy, right? And I liked her a lot because in this entire movie it represented so many things that happened within minority families or their experiences. It represented them so very well because Billy is you know, because she grew up in the U.S. she's more Americanized than everybody and there's this expectation that by the people by her family that she's going to be more aligned with the U.S. and she's going to live much more her life much more according to American culture but as much as she doesn't agree with what the family is doing in terms of keeping the secret she's also respectful of her own culture and doesn't end up doing that. She never goes against the family and tells the grandmother and for me that was really accurate because I think I've seen a lot of movies where they depict minorities or immigrants or kids who grew up in the U.S. and they depict them as though oh well they're so Americanized they totally do not live by their culture anymore. That is very much more further from the truth than the reality. If you're an immigrant child out there you're living like everybody else but in the house you're not living it's very hard to do to live like how other people so I think they just did that so so well every single thing was just really beautifully done A lot of great scenes the one where Billy first visits her parents home at the beginning before she hears the news that her grandmother has got cancer and the mother is judging her on things and she's like if you're going to just give me a guff every time I'm not going to come over which is a very relatable thing it's kind of that weird why do you do this shouldn't you just be happy that I'm here why is the first initial thing that she feels judged a lot herself because just a lot of people have that self-judgment and then when someone comes in that's what they've been doing the whole time they were alone cutting vegetables so when their kid comes in they can just kind of do the same thing on them or something it's just a relatable scene I liked when they were playing the game at the wedding and it was just shot well it was just cool how they they spin around just the husband who kept screwing up but it was just a fun scene mixed in with all that everyone has this beautifully done I'm just really great find honestly 10 out of 10 I think anybody who wants to get some insight into what it's like to be an immigrant I think that would be the best movie ever especially when you come from a collectivist society which this represented that so well so many things about collectivism that that movie represents like the good and the bad it does that really nicely because every single culture individualistic cultures too there's good and bad and I think part of the hardships of being from a collectivist society is that you're not your own person you are an extension of your family and so whatever you do feels like there's more pressure there's always a lot more pressure because you know that what you do goes back to how people view your family and so you see those little things like okay well are you still playing the piano Billy or are you making money over there in America where that's the end sure Billy you're making a whole lot of money in the US that's why the US is so great so what did we say battery died what did we say I forget good points were made lost forever in collectivist societies you are an extension of your family yeah and so everybody has a say in what you do and you're much more aware of there's much more pressure there's much more reprimand when you make mistakes so there is that feeling constantly where you have to or you feel that you have to do things absolutely right there's no room for failure because everyone has a right to an opinion when it comes to your life and you see that a lot on the dinner with the aunt talking about what Billy is doing oh yeah for sure Billy is doing great over there in the US what are you doing Billy are you still playing the piano what's going on with that and so it's very I think that movie depicted that very well those hardships of coming from a collectivist society although I did feel as well that they depicted the great parts of collectivism with regard to community and family and having that what no what is it honey you're so annoying with the lighting so the movie also depicted the beautiful side of collectivist societies which is having that community to rely on it is really it just feels really good to know that your family is always there and you know you're never alone in life and you just you know that you can you have people to fall back on and people that actually really truly love you and so there is always that back and forth I don't know it's hard but at times it's a positive at times it's a negative a lot more individualistic cultures suffer from that feeling of say you're not able to get help or maybe your parents are very busy working everything and you're kind of on your own but if you had more collectivist family situation you could have grandparents aunts and uncles that could get you a job to get you out of a rut or you could get kind of that support a lot easier at times trying to figure out the different stages of life there's more people to give advice more people with different experiences you know frozen cons but then yeah it can also be that you're always under a magnifying glass so I don't remember what else we said I really forgot 10 out of 10 10 out of 10 perfect perfect movie I don't know if we if we captured the watching in Mandarin watch the movie in Mandarin as hard as it may be to be focusing on subtitles or don't use subtitles and then you can slowly learn Mandarin I'm so tired I'm super blue on my fingertips alright guys thank you so much for watching for the privilege of your time that's from a movie goodbye sorry I'm too tired


Are you a parent that thinks that cross-marking of cartoons and movies in the food sections at the supermarket should be outlawed? Well join the club. NJRoot22.com here with another vlog about ridiculous food items. Last week we talked about the plant-based gluten-free, paleo-free, common sense-free pockets that were ridiculously expensive, $7 for two 4-ounce pockets. Today we're talking about something a little bit different. I'll try and make it quick. It's cross-marketing of common products, kids products in the supermarket section. I found this stuff at the same time I found those Mikey's pockets. There's a bumblebee in here, but I'm not afraid of them. Paw Patrol Cheese Chunks. I mean, it's a Nickelodeon product. They obviously got some other company to make it and brand it for them. I like taking my kids shopping because I like to explain to them the whole process of getting food and we don't just go supermarket shopping, we also go to the farmers markets and we plant our own things as well to show kids that we haven't slaughtered an animal yet. That'll be in a few years. We let our kids watch Paw Patrol. Yeah, I shouldn't be doing that, but that's one of the bad things we do. We let them watch a couple episodes of Paw Patrol. The problem is that no matter where you go, there's Paw Patrol everything. There's Paw Patrol toys, there's Paw Patrol clothes, there's Paw Patrol books, coloring implements, and so on. I never thought I would see Paw Patrol Cheese Chunks. They're not a good value. They cost more than the store brand and you get less in the product. I'm sure that the product is fine and it's probably harmless, but each time you buy a product that supports your kid's addiction, it's your fault. My fault for getting the kids on this. I can't think of any other way. By the way, it's our fault for continuing. We weren't the first ones to show Paw Patrol to our children. It was somebody else in the family. Let's just put it that way. You can't undo it. They love it. I see princess and Frozen and all this other stuff. You can't hide it and I think there ought to be, I know they have candy-free checkout lanes at places like Wegmans, but having these branded, very visible kid's products on food that you normally buy, it's tough. I don't have to buy it. I didn't buy the Paw Patrol Cheese, but it creates an interpersonal battle between family members. I can go to Aldi and they do have Paw Patrol stuff in their toy aisle and I bought things from there, but at least the food products aren't branded with cartoonish figures. There has to be a better way. I know avoiding the supermarkets entirely or not bringing the kids to the supermarket is a way of fixing that, but I do like bringing my kids wherever we go and I like to explain everything I see. Every square inch of territory you cover is a learning opportunity. This is just one of the things that get to us after a while and I wonder if anybody else shares those opinions. Have a good rest of your week.


This is stock number 9J389A. We are here at Summit Automotive in Fond du Lac, Wisconsin. You're new and use Jeep headquarters today We are checking out this super clean 2018 Jeep Grand Cherokee limited. This vehicle has the award-winning 3.6 liter Pentastar V6 motor. From this HD video, you will be able to tell that this Jeep is extremely clean all the way around Red Velvet Pearl Coat is the color. We shoot all of our videos in 1080p So if you have HD capabilities on your computer tablet or smartphone device Turn them on right now because it is like you're right here looking at the vehicle with me And definitely your best way to check out The Jeep before seeing it in person comes with the 18 inch painted and polished aluminum rims Michelin premier LTX 265 60 r 18 tires with about three quarters of the tread left Didn't see any denser dings on that front fender projector lamp headlamps projector lamp Fog lights No major dense dings or cracks on the front bumper passenger side fender is an excellent condition as well passenger side rim No scuffs or scrapes on that and as you go down this side of the vehicle You can see just how clean the body is how reflective and mirror like that paint is We take these HD videos So if you are far away or even if you're close by and just cannot make the trip down You can still see the vehicle hear the vehicle and have confidence in what you're looking at before you even get here So that when you do get here, there's absolutely no surprises And you'll be 100% ready to go Back rim excellent condition as well No scuffs or scrapes and the back tires have just as much tread as those front tires as We come around to the back of the vehicle You'll notice the chrome tipped exhaust the backup sensors How nice and clean that rear bumper is no denser dings on that and the rear gate is just as clean as the bumper This is a power lift gate Just got to press the button and she opens up like so very clean back here Those seats do fold down for extra storage and it does have a full-size spare tire and jack tools To get this gate down you press this button. It'll beep at you three times the nails start its descent Notice it also has LED running lamps and the tail lamps there and on this side of the Jeep Just as clean as that passenger side No denser dings on the rear quarter. This back rim is an excellent shape as well. No scuffs or scrapes This is a one owner local trade Heated mirrors built-in directional signals inside the limited package gives you the black leather interior There are no rips or tears on these seats. They are an excellent condition Power driver seat factory floor mats throughout and this one does have auto headlamps Memory driver seat that's what those buttons are right there and of course the power windows power locks and power mirrors As we hop inside the vehicle here, you can see that this one only has 10,034 miles You get the seven inch LCD display digital speedometer outside temperature and compass display You get the heated leather-wrapped steering wheel Really nice shape. No scuffs or scrapes on that cruise controls on the right Bluetooth and information center controls on the left and on the back of the steering wheel. There are Audio controls Speaking of audio. This is your seven inch radio You can see you can do your heated seats and heated steering buttons there as well as your backup camera Don't even have to be in reverse to do that AM FM and Sirius XM Radio capabilities down here. You have your more tactile climate control With the actual buttons dual climate control backup sensors start stop technology you can turn that on on or off Eco mode sport mode and stability control eight speed automatic transmission You have your keyless entering go system with the remote start And down here you have the quadra track to system which gives you four-wheel drive low as well as hill descent control As well as the select terrain with the snow sand auto mud and rock capabilities This one also has a neutral setting for flat towing Passenger format and seat are in excellent condition. No rips or tears on that This vehicle has never been smoked in smells very clean inside Headliner is an excellent condition and it does have the home link buttons for your garage door security systems and lighting systems And map lights up there We'll take a quick look at the back seats and then we will check out under the hood The back seats are just as clean as those front seats no rips no tears back here It does have the latch child safety system for your child car seats These backs eats are heated on the upward side. You have a hundred fifteen volt hundred fifty watt plug-in and two USB jacks These seats fold down like I said For extra storage and they go down almost completely flat, which is nice if you have to haul a bunch of extra stuff We will take a quick look under the hood I would personally like to thank you for checking out the video today Hopefully from this HD video you will have been able to tell just how clean this Jeep is inside and out under the hood We have the three point six liter pentastar v6 motor engine bay is very clean runs very smooth This Jeep has been fully safety and inspected by our service shop has a fresh oil and filter change all the fluids have Been checked and topped off and This one is 100% ready to go Very very nice highly recommended from a quality and condition standpoint and to see more pictures of this Jeep or one of our other 450 new and used cars trucks SUVs minivans Wranglers Union when we got it go to our website www.SummitAuto.com full pictures and descriptions of every single vehicle from two locations All at Summit Auto.com and if you'd like to check out more HD videos You can go to youtube.com slash Summit Auto Remember to like subscribe and share on this video and all the videos that you see there in fact in a second You will see a link to subscribe to our youtube channel on your left a link to more Used inventory videos like this one on your right if you have not been to our website on the bottom link to this vehicle on our Website click those check us out and we really look forward to helping with this super clean 2018 Jeep Grand Cherokee limited 4x4 Thanks again


In Dodge City and in the territory on West, there's just one way to handle the killers and the spoilers, and that's with the U.S. Marshal and the smell of gun smoke. The story of a man who married States Marshal. The first man they look for and the last they want to meet. It's a chancey job, and it makes a man watchful, and a little lonely. At least it doesn't seem to be any infection, no longer this happen. On the contrary, Doc. That's good to do when you're remembering. Honestly, Matt, sometimes you make as much sense as Chester. I've got enough sense to know that you've poked around long enough. Well, that bullet's got to come out, Matt. But you said it was healing. I did, but it's still got to come out. The bullet could move around in there and cause trouble. Maybe next week sometime. Come to think of it, you're worse than Chester. Next week. All right. By then you'll probably have some more lead that I can dig out anyway. That's what I like, a nice triple position. Hello, man. What can I do for you? I want you to have a look at my arm. Oh, I sure, yes. Uh, sit right down. That's Manny Higgins. He can call me Manny. Oh, all right, Manny. Yeah, just what's wrong with your arm? I fell off the horse. Look at this. Ain't nothing bad, but there's some proud flesh developing there. I already put some turpentine on it. Well, that helps, yes. It still needs cleaning out, even if the bullet did pass clean through. Bullet? Dog gone, dog. What's this about a bullet? I just told the dog what happened. There weren't no bullet about it. I fell off the horse. I hit a stick and it run clean through my arm, see? Yes, I see. Don't you believe me? No, and I don't think the dog does either. Man. You live around here, Manny? I don't live nowhere in particular, but I'll tell you one thing.  I'm leaving at dawn. You're welcome to stay as long as you like. I'm still leaving at dawn. You're going to tell me how you got shot? It was an accident. Cleaning the rifle. An accident, huh? An accident. Okay. Still nosy. That's not too bad. It's just that he likes to know why when people take a bullet, whether it's serious or not. Real nosy. Manny, Manny, I'm going to be as gentle as I can. Oh, I can take it. Go ahead, doc. Dark cotton. All right, to death waiting for his coffee in a restaurant before. Sometimes it beats a lot of that. Yeah, you'd be married, Chester. You wouldn't have these problems. Yeah, this is Chester Prodfoot. How do, ma'am? Well, I didn't hear anything. Oh, well, would you like to sit down here anyway? I think I'm a new hat. That's mighty impressive. Oh, I thought it was pretty. Oh, it is. Yes, it is indeed married. Here's your coffee, gentlemen. Come to the kitchen. Sure. Well, girls got to keep up our strength, don't you? A good meal once in a while, doc. No, no, no, no. You ain't asking me about my arm, doc. Oh, no. Well, see, how is it? Oh, it hurt during the night. A lot. I thought maybe I ought to stay over so you could take another look at it today or tomorrow. Oh, well, it'll help to be right now after dinner. I'm driving out into the country this afternoon.  Oh, come on, Chester. We got work to do. Oh, but I ain't finished with coffee. You can get some later. So long, doc. So long. I'll see you here. See you later, Manny. Sure, Marcia. So long. What's gotten into you, anyway? I was thinking you might like a little company this afternoon when you drive out into the country. Oh, no, no. No, you don't. No, absolutely not. Oh, doc? No. I mean it, Lennie. Well, you'll be back. Well, not till tonight. Late. I'll have a very late. Okay, doc. I'll see you then. I'll be waiting for you. I have, didn't you? Long enough. You need a drink. Take the chill out of your bones. I'll buy you one. Now look, how?  Well, as a matter of fact, I do. I'm going to get one right now.  You come see me about that iron tomorrow, huh? Well, goodnight. Doc.  There's one thing I can't stand. It's a doctor feeling sorry for him. It had nothing to do with what sympathies I expect from you. I'm jealous, that's all. Oh, you ought to take it easy on me, Matt. Doc's got real trouble from what I do. No, I haven't got real trouble. Doc, got it? No woman can force herself on me. That's the spirit, doc. It's yourself. She's in. Now look here. Now, women are welcome here anytime, Minnie. It's just that most ladies don't approve.  I'm staying. That's the spirit, Matt. Is that Minnie? You don't understand, kid. He works here. She owns the place. What's the difference? Well, the men, they wouldn't understand them, Minnie. They might get the wrong idea about you. You think so? I'll say one thing. Hiding from the outside at El Monaco's. She said she was going to have breakfast with me. Well, now, Doc, like she said, her girl has got to keep her strength. And she did. She had an order of steak and eggs that had found her a draft horse with potatoes and pie on the side. She's going to be an awful big... Oh, big eggs, man. Oh, I'm going back up to my... Hey, Doc. She'll find you. That lady is awful. No, it's on purpose. And Minnie, is this your husband? No, no.  Now, Jake, there's your husband. And you've got no right to be running around chasing other men. Doc is right. Minnie had eaten. Once a lady's been churched in wedlock, she's got a duty to her husband. Wait together, Doc. Right? It's as simple as I can make it. No. Come on, Chester. I'm going up to my office. I think I'd better fix myself. How she bought drinks for the house and all. How she's in love with Doc Adams. Where's he at now? I left him standing at the bar. Sam's keeping an eye on things. I slipped out the back wind, come over here. That don't sound too good, does it? Right. Is he the husband of that Minnie that Doc's been sporting around? Doc ain't been sporting nobody around. It's all her doing. Anyway, he's sure in trouble. Yeah. You get yourself killed. Yeah. You ought to your mind. We're not going to be shooting over this month.  And besides, he's a buffalo hunter. Well, they ain't a buffalo hunter alive. You could call even a little bit civilized. Well, you better start. Nothing, Jake. It was me. Well, you sure guess. Chester told me a while ago to horses and rides.


All right, thanks, everyone. I'm Patrick Tucker. I'm technology editor for Defense One, and I'm the author of The Naked Future. So kick things off here really quickly. This is sort of unusual.  Everyone turn off your phones. You're going to do something unusual here.  Take a look at these guys. Raise your hand if you've got a smart phone. It's everyone. It's everyone in the room. It was weird. Pew has a survey where they measure smartphone penetration in the United States. The last time they did it, I think it was up to 70%. In every woman washing DC, smartphone penetration is 100%. Which just lets you know how that's going for Pew. I've got one as well. I'm going to do something unusual here. I'm going to ask you all, instead of turning it off, to turn it on. Just turn it on for a second. Actually do it. And see if you hear anything unusual. Nothing, right? No. I mean either. Every time you do that, though, your phone is contacted by a cell-based station. We all know this, but more and more, that cell-based station is contacted by another cell-based station, another cell-based station, and an extremely wide group of systems that are having a conversation about you in a language that you cannot hear. What they're trying to do is figure out how to vend service to your phone. Now, the next thing that's going to happen is at some point during the next eight minutes, someone's phone is going to ring. And that person either has to get up and awkwardly walk through all of you to answer their phone as we look at them, or hang up on someone, and that will be delightful to us all. But if you have GPS on your phone, go ahead and keep it up. And I'm going to keep my GPS. I usually keep it off. I'm going to turn it on real quickly. And again, I just want you to pay attention and listen and see if you hear anything unusual. Actually, I'm turning on the GPS on my phone now. It's nothing, right? Every time you activate your phone's GPS, it starts to receive signals from the global positioning system. It's a system of satellites that tell us where we are. The military created this system originally so that it could help find nuclear submarines. We use it now to get everywhere that we're going. And this, in part, is how you get this figure up here. This is how we get 1.8 million megabytes of data that we create on a yearly basis. The vast majority of it is not collected permanently. Only about 10% of it. And most of it is streamed. But all of it says something about you. This is your metadata. This is the stuff that we were just hearing about from Michael Rogers. Go ahead, next slide, please. I'm not sure how to. There we go. So you are big data. This is you. It's 65 billion location tag payments that happen annually in the United States. Next. It's 154 billion emails per day. Next. And it is the reason why 90% of all of the data in the world was generated in just the last two years. This is you. This is what happens when you turn on your phone in a room full of other people. And when you activate GPS. This is what you create. Here's the weird part. Next slide. This is a very small fraction of the amount of data that's going to exist in the digital universe in the very near future. These numbers are from Cisco. And Ericsson has slightly different numbers. I think that they're both good. Cisco wants to make money off of this. 50 billion interconnected devices by the year 2020. That's all of the cell towers that we were just talking about and the satellites in space and all of your cell phones and your smartphones and all of that. What strikes me as sort of remarkable is that when you get to write about 2008, you notice something happened to the global population. We lost the war. We are now outnumbered by the number of interconnected devices. And we're going to get to 2020. And you get to 50 billion of these machines, cell towers, smartphones, satellites, pacemakers, all having a conversation about us, where we're going, and why. Now, earlier we heard from Michael Rogers. And it's his job to turn all of that into legally useful signals intelligence collection for the future. It's also the job of telephone and providers and service providers and internet providers to turn that into revenue. And it's our job just to use it. So what I think is this, that the conversation we're having right now about privacy reflects something that's really unfortunate, but it's also temporary. We just feel all the time that we're constantly surrounded by an ever exponentially growing number of devices that are communicating about us in a language we can't hear to parties we can't see. And there's just going to be much more of that. Next slide. That's why there's going to be 44 times as much digital information in the year 2020 as there was in 2009. If anything, this is an underestimation of the amount of digital information that's going to exist. Now, here's what I think. We have reached a really remarkable point in human history where we now create information about everything that we do, but we don't feel empowered by it because we can't see how we're creating that information. And we don't feel like we're entitled to use it. We kind of feel like Mike Rogers gets to use it, but we're not sure how. And he says, I only use it. And the law says I can use it. We don't know exactly what he uses it for. We kind of feel like A&T uses it. We kind of feel like Verizon uses it. We don't feel like we use it even though we make it. And that's what's going to change. That's what I'm here to say. I think that it is inevitable that that begins to change this century. We are going to begin to feel empowered by the data that we create all of the time, but it won't happen automatically. It has to be as a result of a shift in priorities. There has to be a legal change. There has to be a cultural change. And there has to be technology changes. All of those are in the book. Next slide. So to give you a sense of what that actually looks like, though, to give you a sense of what I think personal data used for personal good actually looks like, consider this. I talked to two researchers. 2012, Adam Sadelic and John Crum. And John Crum was at Microsoft. Adam Sadelic at the time was at the University of Rochester. Now he's with Google. And they set out on a really remarkable experiment. Who here knows where they're going to be in about a year and a half from right now? Raise your hand if you know. Within a five-block radius, within a five-minute time window where you are going to be one year and a half from today, there's nobody. Nobody knows this. We're carrying around a device that's working in concert with all the other devices in this room to know where we are and which cell phone tower is going to lend service to us. But no one knows where they're going to be a year and half in the future. If you've got where you live and you've got where you work, you've got two data points, it's not enough to draw statistically significant inference. That's all we've got. So these two researchers, John Crum and Adam Sadelic, they went out to prove that with a large enough data set, you can actually figure this out. And they took some Microsoft money because John Crum worked at Microsoft, and so he had Microsoft money. And he stuck GPS receivers on a pretty wide group of subjects, and he just watched them go around and just followed them for a long period of time. Some of them were trucks. Some of them were individuals just walking around. And some of them were delivery folks. And they observed that with 3,200 days of GPS readings, it's a lot. It's like five years. They could predict with higher than 80% accuracy where someone was going to be like a year and a half into the future. Now, that 80% speaks to, as opposed to 100%, speaks to the uncertainty that just pervades modern life. Not everyone is perfectly predictable, where a lot more predictable than we actually think we are, and that opens up when we begin to see what our data actually looks like for us. So I think that this is incredible. This is pretty much what the entire book is about, is how you would use this type of information that is generated by you in order to achieve what really can only be called superpowers. I mean, the ability to know where you are going to be a year and a half in the future is a superpower. This is why we're also worried about who has that power on us. We never stop to think, well, maybe soon it will be me. In order for us to really take advantage of this, I just argue three things. Number one, we have to create new legal tools to help people share information. I think that that's the next step in the privacy debate. And it's one that has to happen, has to happen legally. So that when you share information, you are legally protected from being a false positive in some sort of like law enforcement type situation. You're legally protected from any sort of discrimination. This is something that has to happen. The 2009 Genetic Non-Discrimination Act is a great example of that. We have to create technological tools that allow people to see their data exhaust, to see where all their data goes that actually starts with encryption in many ways. The black phone from Phil Zimmerman allows you to do that. It's an encrypted phone. But you can see exactly what all of your apps are doing, where they're getting data and where they're sending that data. I think that's one piece of it. And lastly, we all have to decide that we want to take a part of this, that we want the superpowers that our data actually unleashes. Because, I mean, you've seen the numbers 44 times as much digital information in the year 2020 as we had in 2009. We can all get up and take our smartphones and throw them into the sea and that number won't change. We're just going to be creating infinitely more data than we were at the dawn of history. We're going to be creating several factors more in just a couple years than we were. There's no law that's going to stop that or protect it or change that at all. It's something that's going to happen. And it can yield a lot of good. So we create information, everything that we do. All of it is useful. And that's all I would ask for you to consider today. Thanks.


Kierji ni upkaming na, amegu upkaming for some time, lakibu ajori ni akuna do, ni upkaming akuna tu chapa. Mention, I have to ask you, bifu ya kuna Kierji li kwa kusuneni, milukum nulizani anini? Kierji ni beste hangu, lakini sasa Kierji li kwa nashina gani kimoambia, pesa ina kelele, chapa ina kelele, Use ina bangu kasi kia una chesangoma?  Kini umekubali akuna pesa? Ayubadu zya kubali. Pesama akuna do? Akuna tu do, tu pe ni akuna do, lakini akuna do. Aku zya tu pimanenguvu, tu pimanenguvu, tu juna ni akuna chapa. My name is Ndanya and welcome to S-Piembas. As you can see, leo, tu kwa different location, ni me kuja all the way to Kiambu Road. Tu kwa palika house, kutafutabusi flani. I'm sure you've seen his face so many places. How are you, sir? Ndanya, niko salama, karibu ni sana Kiambu Road. Thank you. Tumbe, juna yako, please? Wanyaku juhi? Ha, juna yako ni samke. Na, wanyana juhi, mutani juhatu. Ningo juhi ni tuapo. Samke I've seen you in several music videos, Kenyan music videos. And I'd like to know how you support the Kenyan artists. Adakabla tundiaapo. Let me first commend you for the job you're doing. I have seen in so many interviews. Ndanya wana jubun di opera liyanzai. Yubo yubo tu so, very soon. Ya, so job well done, I like what you're doing. Ya, when you talk about music videos, I've always said it before. I have a passion for Kenyan content creators. Music particularly. I mean I appreciate comedy, I appreciate everything. All the arts, but I have a passion for music. Because I love seeing how this is vijana. Wana chikua words, wana mix na beat. Mazi na trokaki twingine. Safi sana. And I feel so proud when I'm associated with a jam that has taken off. Ya, ya, ya. I've seen in so many. Please tell us some of the projects you've worked on. Some of the projects have been, I've been in so many projects, I've been involved and I've supported. And I think what comes to the top of my mind are the biggest hits. You remember Shamra Shamra? Kisham sham, kisham, kisham sham. That was a major hit. And I was very proud to be there. Part of it. You all remember Shadai. Shadai. I love it. Even my kids loved it. Ya, that one gave me too much pride there. Then there's, I've worked with so many artists. I've worked with PUnits. I don't know if you remember a song called Miay. Then there's Chacha by PUnits. And there's... PUnits are still boys. Ya, PUnits have been friends from day one. We are still friends. We work together in so many other sectors. And we do so many things together. How many years have you known PUnits? PUnits, I would say. I know they've been in industry for about 13 years. Going to 14, I've known them about half that period. Ya, about 8 years. 7, 8 years. So we've been able to do quite a few projects with them. Since you've been in the game for a while, kama tumiko kwa industry, I'd like you to tell me your thoughts on the future of entertainment in a kaji, according to you? Future of entertainment. I mean, every day we have new talent cropping up. Every day people have been discovered, people discovering themselves, but mazi gava etu, it does not support. Apokwans is due to taxation, whatever percentage on content creation. That's bulls**t, akia mungu. Ya, miya can look to the camera and say, that's bulls**t, gava. Think about that s**t game. Because how are you supporting us? You're going to talk to someone before they even do what they want to do, you know? Ya, kusayin do ime anza, you know? There's a different level of taxation. Say mamutu akshafi kapa leju. Taxi ni kiyariji. Ocha din na watu na anza, unona. Kiyariji, kiyariji anza, kiyariji. Kiyariji ni up-coming na, amiku up-coming for some time. Lakibwa jori ni akuna do, ni up-coming akuna tu chapa. Ya. Raza jubi mention, I have to ask you, bifu akuna kiyariji li kwa kusuneni? Mulkum nulizani anini? Kiyariji? Kiyariji ni besti angu. Nakini sasa kiyariji nil kwa nashinaga ni kimoambia. Pesa ina kelele. Chapa ina kelele. Ose enda banku kasi kiyona cheza angoma? Eh? Use inga KCB palekwa, unona tailor tii, kuna angoma na cheza. Pesa ina kelele. Kamu kuna pesa ni ako, kula pole pole. Ya. Kini umekubali akuna pesa? Ayubadu zia kubali. Akuna do. Akuna tu do. Tupeni akuna tu lakini. Tu do. Aku zia tu pimanenguvu. Ya. Tu pimanenguvu. Tujuna ni akuna chapa. Use kwa kiiira. Tumiwa na juzi kunaerme ahaperia Sama nubeshne ako. 카메�oy ku... Uwala yo uchinidu kmooth saying kyari NGM provide new night in handa kiyariri. Itidim bro menda lakiu pueden go. K שהon yama ni bonds yae Softwa. Atu kiyariji ku 11-years, ilu sa boi huya, it does not make sense. Nuwu di majusima kiyariji kwa 11-years. Kiyariji henda wa na se maa. Ni kiyariji ni ibo? Kiyariji henda Ibo? Kiyariji henda kwa 11-years. Uel, to mi, Iusa boi fan it doesn't makes a lot of sense. Jota wo ki u angali ya tuyuja appearance. Okei, always kwa na mutu yimku, boi wona ukona miyaka kiyariji. Miyaka kiyariji ninga fi kwae ni? Disha manga ni 32 laki ni yende wa jyoku weh. Kwae moe funa unam support? Viliye story na henda? Yo unam support sabo boe piga 32, umenazo de mani se makona 20. Umtoi? Umtoi. 19. So 32 menas 19. Sin ni 13. Ni 13. Umna zapa temtoi kiwa 13. Simi na ona chale kiwa 13 eza peyana bozama? Yo na pegini akuna enjotrigi na normal. Sasa ni kiarji. Sasa tuong ele kiarji anaka kiwa 13 anaka. Sada kiwa 13. Sada kiwa 13. Masinema diyo mingi kusinda ukweli sasa. Atuwezi juwa. Yungi kumikia sirias. Tungi yem tetea. Okay. Samu also in the club business. And every day we swing new clubs, new clubs. Ki lasiku inaka club business in Atrauewe? E maze club business. Kusimu ukweli nika kuna dem supu. Akuna garanti atikesho. Ani wei tuta kuna e. Kilam tu na nga nga niya yo space. Ani kilam tu. New club comes. Kenyans. Wana divert. Wana ina to the other club. Right now, when we began Ken to the address, were they only club? This is during COVID. Were they only club in about what? Maybe 15 kilomkes radius. Right now, in the last three months, seven new buzz have just come. Seven new buzz in the last three months. So that space is clearly has no guarantee. That's the thing. Right. When did you start Kentred? Kentred began in the mid of 2020. It was born by the new COVID-19 patterns, where people are looking for somewhere when it's in the kujificha. Because there's no doubt there. Kentred address was a hotel, it was a boutique hotel. So we had rooms that were supposed to serve people who know, spend the night. So slowly people would just come, take up a room, a group of 12 people come, sit on the bed and ask for drinks. And because the rooms have TVs, they put music, and they just jam and do their thing. Shortly we removed the beds and put seats. Watua kaja. And they said asking for more. So of course, the next room was converted. Me being a businessman, I was quick to convert the other room. Ika ja. Ii wengine ika ja. What did I do? Sa nika bomo ukuta, za the rooms. Nika bomo ukuta, kama ni club. And that's how Kentred was born. But it's doing well. Ya, right now it's doing well. We cannot complain. We appreciate. In fact, I'm very thankful to our clients. And I'm very happy, I'm always very happy to see them when they're working there. We now have a question. Kila mkenya na tete ekonomi ekonomi. But clubs ime ja. Clubs ime ja. Atas ni na kama badu zina ja. Udeza se ma ni nu na zambia wa kenya. Ni na ma doe ya kukunya wa iko. Ya bi tu zingina ndo wa iko. Tadi kumia, you ni fenomenon mo ja nomazana ku understand. Because I also hear it. Even ma onfaza na sima ga maze ikonomi ni mbaya, gava ime tumes, ni ni. Laki ni jama kingia palikwa club, glenetin ni oio. Siji ju ni wokagol ni oio. Ni ni ni ni oio. The same guy who's been complaining. So I feel like alcohol is what a normal Kenyan, an average usual Kenyan will turn to whether good times, bad times, economic hard times, there's always room for alcohol. And there's always some budget set for alcohol. Dikus palia Kenwood, ama palia Likaoz, atu dumtiyo tu katakulipabil, everybody pays for what they consume. Which is amazing. Ya. Chafse mi na tolewa kenya stress kidugo basi. Adi? Se metu na tolewa kenya, it's a way of relaxing. Kupunguza pressure. Sendo. I guess na relax. Atu ru di kwa music kidugo. I'd like to know your favorite Kenyan artist, Trandi Apo. Eh, ita kwangumu kusema. You see, wezi, because I have so many people in my phone book. Two boys. Two boys, you clearly genuinely, whose music do you enjoy the most? I would say, it depends on my mood. It depends on my mood. There are times when you don't listen to gangiton. There are times when you don't listen to prezo. There are times when you don't listen to prezo.  Kuna temada kuskima, old school ma piyunit, ma major, all those old school names. And then there are times you don't listen to the new hip-hop, you switch to Kali. You don't listen to, maybe in a slow, nice, just mudtu ya kuchil, uta uta uta skiza, come out dem this. What's his talent? He was talented like crazy. No, no, no, it's Stella. And I told her, this kachik, this kachik, she's 20 years. Nikita. Nikita Kering. She's Kali, right? I love Nikita's music. So there are times when we'll go home or even come to the lounge here and just put Nikita Kering. So, a boku wa favorite Kenyan artist apo kuna. It depends on the mood. It depends on the mood. Do you think that Kenyan artists have the discipline wa sanewi ngina wa majutun rangau kuna yo? Ya. Kune le discipline yam sani, kune le ano join im sani, su na jaka evena, evena, evena. Do you think Kenyan artists do that? Well, kusimukweli, there's some artists who've got it. I see it. Kamayo kitu onekani kila maali, so that when you fans see you, they're excited to see you. Misani kama nyash. Always ingi ya bahu kute nyash. Always ingi ya ba randomly. Ukutem tukama kali kama. Haji invite you wa. Aki nisho ya ke. Is that the kind of discipline you're talking about? Ya, ya. Kuna wa sanewa kuna yo? I can mention 2, 3, 4, 5, which clearly works for them. Then again, kuna wa sanewa of the people. Tukama major je fungi yangi. Lakin ni brandia ke ba riko.  Na brandia ke I dissolve. So, when it comes to kujifungi ya, kuna wile 2 works differently for different artists. Now tell us about Lika House. Do you distribute Lika how many places to your workings muna chikuwa pombi? Tell us about Lika House. Lika House is a... I'm proud to call it my baby. This is where we are right now. Do you come in as a focus who could down money arrangement in wile 2 me pangu? Ya, so Lika House, we like to call ourselves the first Lika supermarket because the kind of commitment we are given to retail is above average. Not only on Kiamburod, not only in Nairobi, but it cut across the nation. There's no store that's bigger than this for dance is dedicated to retail, retailing alcohol. Yes, so that's why we call ourselves the first Lika supermarket. And if you look at our variety, we try to avail every single alcoholic brand known in the country. Yes, we don't choose Sijuwata Taosail at a level nini. We sell from the cheapest to the most expensive. We've got drinks for 420,000 right here and we've got drinks for 800 shillings all in one store. So that tells you that we're trying to cut across the entire market. What are the challenges of running Lika House? To be honest, they are quite minimal except if it's a corridor pilfridge, maybe by clients who want to pick something and not pay for it. That's generally it. Lika House has been a smooth sailing and I'm thankful. We're happy for you to know Job New Pwasana. As you tell you, as you tell you how Lika House was born, the idea was born because of course kuna mtotapita atjuli this entire building jyokuzapomba see when the spirit badu in a huza let me tell you it happened in 2018 I had a chance to travel to Australia because my sister was getting married my only sister kuna jipe na kwamzungu eka bidi mazetu en doko kuhitnesu So it's 2018 we've landed in Sydney and of course the wedding went on Kila Kitu then came the time for the after party. The after party was in a different work and I said mibia different region nivilu nezatukane robi mwende naivasha ya for the after party So now either the guys now the Australians they are advised that we pass through a Lika store and buy some booze but still we understood ingine where my mouth was open the whole time to me it looked like a mall I thought it was a mall like we're going to a shop inside a mall it's huge it's called the Dan Muffins ya you guys can google Dan Muffins Lika store it's huge the dedication to alcohol is on our level ya so I walked in there nikangalia maze like why wouldn't this work in Kenya why the hell would it not because to kuna walevid kuna tuakuna do it's just strides and for me I'm a guy of appetite for risk I tried something if it didn't work I move on yes so we came here with my brother to cut after after space we were lucky to get a space here and of course we signed the lease and everything and Lika was born just like that again which year was that this was in when we travelled till still when when you started when you when Lika that was in 2020 so it was we're building for a better part of 2019 then in 2020 it went up and it got a lot of support from local manufacturers ya and distributors eabl eabl really came through ya that kind of thing so it was a joint effort thing very so nice hiya tukimalizia do you into business as soon as I tell you very business minded what's your next project my next project let me tell you as I said I'm a guy of appetite for risk so what happens is I think of something I do it right now I'm sleeping what I'm running I don't have any new projects right now but of course by the end of the year uta nita futa uta nita futa something big has to come ya I'm hoping you're creating employment for young people ya what are the people for family only and actually we also run samsung brand shops amongst other businesses where we are running about 11 stores no actually not 11 now in some of them are not exclusively samsung but in total ya so we've been able we've been lucky enough to create employment in the country I've got over probably 200 employees ya and I'm happy that I can actually support 200 families ya thank you so much Sam I've enjoyed your company here I've enjoyed yours more oh really if someone wants to if an artist upcoming artist kakufikiya namuongi biashara how can they reach you eh the last time I did an interview and gave her a transfer diya miyangili kwenali puka kwevo hiyo misanituwa wem janja tukutana last time wam bia the last time I did it tukutumi wongi nanani tumbili hei hei wasa mbaka my house I was living in the house in the morning na kutahasa niwa willi hapo so niwa promise ni ni niwa mbia tuwa ntafute eh kutafute it's okay let me see your home bro hei kwevo hiya that's it from me I hope you've enjoyed this conversation with Sam K till next time my name is Ndanya


Now, we are going to look at some other specifications, which come in voiceover IP, which in effect determine the mobility scenarios and the handover latencies in broadband networks. The voice specifications, which start off from the overall data rate per user, the minimum is 12.2 kilobits per second Kodak. This can go higher, but it is the typical recommendation in 4G networks. And the voiceover IP connection has a 50% duty cycle or activity factor. It means 50% of the time is an active talk interval where the talk spurts actually take place and then there is some silence interval. Now the ratio of it is around 50%. The overall packets, which carry voice, the outage or the packet loss probability is around 2%. It means within a duration of 50 milliseconds, up to 2% of the total number of packets is allowed to be dropped or corrupted or even the transmission unsuccessful is permissible. Having this flexible model allows us to have a more adaptable and flexible architecture for providing voice. Now, with these specifications and in order to not exceed the 150 milliseconds desirable end-to-end latency, whenever a mobile user leaves the jurisdiction of a certain base station or a certain tower and enters into the other, the handover has to take place quickly and smoothly. So the handover latencies actually refers to the total time that is consumed in making this handover successful. Now, there are different requirements which come for different scenarios in 4G recommendations. The first one is if two different spectrum bands are utilized. For instance, if you're talking about the 4G spectrum in 800 to 900 megahertz, 1800 to 1900 megahertz, the 5 gigahertz band, the 2.4 gigahertz band, then if it is inter-spectrum handover, it is going to take the maximum amount of time, but it should still not exceed 60 milliseconds. If it is within the same spectrum, but the overall choice of frequencies is limited, so the frequency has to switch over. Even within the same spectrum, 40 milliseconds latency is the upper bound. Whereas for intra-frequency, that is the same frequency was available in the cell to which the mobile belonged to earlier and now it is moving to another cell with the same frequency. Now, it means the handover would be rather quickest, but still it should not exceed more than 27.5 milliseconds. It means that for all these scenarios, the latencies have been adjusted in such a way that the overall latencies should not exceed 150 milliseconds and should never exceed 400 milliseconds because if it exceeds 400 milliseconds, the user would have a jittery and unpleasant wipe experience.


Why the narcissist never wins in the end? It may seem like they're winning right now After everything they did to you They lied to you Maybe they cheated on you they stole from you and Then they discarded you They just got rid of you like you never meant anything to them and you've got to think Why did they do that? Why did they treat you like that? Why did they do all of those things to you and to put it simply the reason why They treated you like that The reason why They were never happy with you. They were never satisfied with anything you did for them. It was never enough They were never grateful They never appreciated anything you did The reason for all of that It's because despite the arrogance and grandiosity Underneath all of that They know that they don't deserve it That's really what it is. That's what it all comes down to they know They don't deserve you They don't deserve all of the things you're doing for them and That is why they can't even acknowledge it They can't even give you any recognition because once they start talking about it and you'll see it when you talk about it then They just don't want to hear it Because it makes them feel bad They know that they don't deserve you They know they don't deserve anything you're doing for them. And that's how In the end they just end up sabotaging it.  They will do something to destroy it I mean just look at it like this. They had you They had this wonderful person who was there for them You were loyal and committed Many of you wanted to marry the narcissist and have children with them You took them into your home you took care of them you gave them money You did all of these things for them So you were obviously a really good thing for the narcissist and yet they still managed to screw it up So you see how they never win at the end Because even if they do find someone else like you Someone who is there for them and takes care of them Deep down they know they don't deserve that after everything they've done in their lives All of the problems they've caused for people all of the lies and After everything they did to you So even if they do find a good person they're gonna mess it up because they know they don't deserve it And it would only be occasionally that they might find that and it won't last for long Even if they do and that's why You've just got to look at their social circle Look at their family and friends look at the people that they surround themselves with Because that's a reflection of what they think they deserve and this is for anyone You can look at this in your own life Remember when you were with the narcissist and you were there for them It's because deep down you thought you deserved that you got a reflection of what you thought you deserve If you didn't think that you deserved that You would have walked away a long time ago. You wouldn't have put up with that and that's why After some time We do realize that we deserve better And that's what causes us to leave to go no contact and to not respond to the Hoover attempts So you see that everything in our lives is a reflection of what we think we deserve Because if we really believe that we don't deserve something we're gonna take action. We're gonna change it And we're not gonna rest until it's done and it's the same for these narcissists everything they're gonna get in their lives It's a reflection of what they think they deserve.  They're like in denial and They tell themselves that they deserve an amazing person like you But then after some time They realize That no They don't deserve you They don't deserve all of these things that you were doing for them. And that's why they sabotage it That's why they mess it up.   You will know that you deserve better than that Because you do deserve better than that. We all do After everything we've been through we deserve Far better things than someone who lies to us someone who manipulates us Someone who abuses us Of course we deserve better than that But after everything they've done And with no remorse They didn't even try and fix things. They just ran away They moved on with someone else People like that don't deserve anything They're gonna get what they deserve You can be sure of that So yeah, this is it. This is why they never win in the end And there's really no way for them to get around it deep down.  It's their fate It's their destiny They are already preordained to go through everything that they're gonna go through and it's the result of their own actions Their actions impact their emotions As I've said they're shame-based people who are doing everything they can to avoid reflecting on their shame But they're never gonna get away from that You cannot escape your own emotions You can try to live in denial you can try to escape reality You can run to all kinds of distractions But it's not gonna take away the pain The only thing that's gonna take away the pain is if they self-reflect But by doing that they would have to take accountability for their actions And if they took accountability then they would try and fix things That's the only way that they can escape it and it's perfect the way That karma is designed So that people who Do take accountability for their faults or mistakes and do try to fix things and make things right Then they get less karma Then they may even be rewarded For those good deeds Karma has a perfect design, but of course they're never gonna do that They're never gonna take accountability Narcissists do not take accountability In their minds they didn't do anything wrong At least that's what they have to tell themselves They have to blame everything on you But trust and believe that they're not gonna get away with it. They cannot escape their own emotions They cannot escape what they know they deserve It's coming to get them Just give it some time 93 live viewers in here right now, but only 43 thumbs up Please hit that thumbs up button down below Let's spread the awareness get this message out there. All right. Thank you all for joining me Let me know your thoughts down in the comment section Do you agree or disagree? Love to hear from you. All right. I'll talk to you in another one very soon Have a good day


The mid-season finale for the Walking Dead season 6 start to finish. I'm Brandon Keith Avery and this is just my opinion. Wow did you just see that and to be honest with you guys this was the most anticlimactic boring waste of a time episode and all of the seasons of the Walking Dead. I have never been so disappointed in my life. I cannot believe that the season started out so great but the mid-season finale ended just like this. The last episode we see the balloons go up in the air. Maggie is getting all excited but then the walkers come in but it's like everybody in this episode forgot coming since. They forgot how to attack walkers. They forgot how to run or walk or even jog. I mean how do you forget that? If you see the last episode as soon as the balloons wind up everybody saw the tower coming down and crashing over the gates. So for example Han the world does a walker get like three feet from Maggie when she has her assault rifle. I mean as soon as the building comes down and crashes on the gate everyone should be running from their lives and she had a rifle in her hand with like seven or three bullets in it. While you're carrying around a rifle with not that many bullets in it you did just have a walker fight. I mean I don't understand what's going on and like I mean Maggie is a pro. Maggie knows what she's doing. She's an expert. She is a warrior but all of a sudden she just doesn't know how to run anymore falls down can barely crawl up a ladder. It's just extremely frustrating. Rick is on the ground. Why is he on the ground? I mean did they show that the building almost hit him? Why is he on the ground? Why is the other guy on the ground? Deanna doesn't know how to run either. She's wobbling and hobbling along. We didn't even see her get bit and or scratched and if they did show it they did a horrible job at that and it's just I mean scene after scene after scene the thing just let me down. There was no stakes. There was no excitement. There was no there was barely any killings of the walker.  I mean why is he still there? I mean he's just standing there. I mean he just I mean when he pulled out that lock pick saying like oh I can save the day and pick a lock. I was so hoping and praying that there was just one walker.  If they don't upgrade his character soon I don't know what I'm going to do. My head is going to explode because he is just there for no reason. I mean I'm going to be jumping around here but I just can't help it because I'm so frustrated.   No just go over and take a half of a second and knock the record off the player. I mean the whole episode the music is playing and attracting walkers.