This is kind of a spicy topic and we'll try to sanitize the more controversial components But I think it's a discussion. That's interesting and I haven't commented on this I'm not sure if you have either but Nathan J Robinson of current affairs. He posted in article two articles This is spicy it is so the first article that he posted was isn't right wing populism just fascism And he kind of directly takes a shot at rising on the hill Over a book that I actually have Okay, and so I haven't read it yet. I bought it because I really like crystal ball I think she's sharp But part of the reason why I bought this is because apparently there's an explanation of what the new right is now my understanding Maybe this is too simplistic is that right wing populism? Isn't a thing like I have never Thought of populism in terms of right wing or left wing. It's just whatever is popular Mostly economic policy, right? Um, so I don't know what right wing populism means to me. I always thought if you're right wing populist That's usually you're just a fascist So I was hoping to kind of get an explanation and I haven't read it yet So maybe saga goes on to explain what he means by the new right and right wing populism But Nathan J robins robinsons argument basically is that He doesn't really lay that out and so right wing populism is essentially just Fascism because think about who we see as right wing quote-unquote populists, you know a gyre bull scenario. Yeah tucker carlson um, donald trump and they're all fascists. So the question is you know is um, right wing populism a thing and how does the left respond to that because his argument has kind of directed at crystal ball In the sense that he thinks that she's kind of enabling this type of fascism by one not challenging it And two by kind of sanitizing it right because Nathan j robinson admits that he agrees with what saga is saying 80 of the time But the thing is that you know, if you allow Yourself to just talk about discussions where you you know agree where if you narrow that parameters You're kind of not really getting the full sense of that person and how problematic they may be So for like an extreme example if I were to talk to david duke about just cats and food I'm sure that you know It'd be a little scary uh, because he scares me I don't like black cats Totally uh, no, like if we had a conversation about that, you know, it'd be benign It wouldn't I wouldn't know that he's a white supremacist We'd agree seemingly on everything But if we you know widened that scope and we started talking about Identity politics, uh, you know politics in general then it would be problematic So, you know the argument not to um Kind of put words in Nathan j robinson's mouth But what I took away from this is that crystal wall is kind of helping to present this Fake illusion of you know right wing populism when in actuality it's it's not a real thing It's just fascism and we shouldn't enable these people now. I don't know what the implication is I don't know if he thinks that like we should kick saga off of the hill I don't think that's what he's implying Maybe he just wants crystal ball to challenge him more But I thought that it was a thought provoking piece because this is something that I've kind of grappled with like I'm not sure how many people remember this but back in Is it 2018 or 2019 me and Kyle Kalinsky kind of had a similar discussion on the progressive voice show What about Joe Rogan, right? And you know, whether or not he is acceptable, you know Because I I take issue with his stance on trans rights and whatnot. Oh, absolutely. Um, so, you know, it's probably his most problematic thing Absolutely I kind of feel he's I'm not going to get too derailed with this But he's kind of a Rorschach test for whoever his guest is because I find when he has Cornell West on the show Uh, you will have just an incredible Elucidation on the history of socialism and you'll be in America and you'll be like this is a beautiful hour of my life I I I'm very happy I spent this time.  I'll never get back, right?  That's a great example I think I even talked about that on my program, but you know, it's just a matter of like, how does the left respond? And I think that Kyle Kalinsky does make a really solid point in that, you know, if you think that people like Dave Rubin Uh, or excuse me, not Dave Rubin, but uh, Joe Rogan or crystal ball are in a way Inadvertently offering you a type of like pipeline to the alt right then, you know Having them, you know, um offer left perspectives could potentially be a pipeline out of the alt right as well So, you know, it's complicated and I think this is a really nuanced and somewhat messy subject And I wanted to get your take on this because I feel like you really have a solid understanding of the alt right And you know, how people kind of get trapped in that pipeline So, you know, what is your take on this is the left being a little bit too like Cancel culturally or do you think there's actually something there with Nathan j. Robinson's argument? So, um, I guess if we took it, what's the classical definition of fascism you you're basically combining economic populism, right? That's what Hitler was doing. So ideas that are very, uh, social in origin We're talking about socialized medicine things like that, for example with, uh, right wing or far right conservatism combined the two Right, I mean even far past. I'm not I'm not going to call the right wing as as far fascist as they were But so are are we seeing that in something like Tucker Carlson? I think even before Tucker Carlson, you were starting to see that with people like say Alex Jones Who was constantly talking about instead of, uh, I mean, they would usually have a couple of dog whistles here But it would talk about the globalists, right? It's the globalists and the elites and it's all of them right off in the corner or something like that He's he's talking about that and it's all it's all coded for, you know The international bankers and you know in brackets all that kind of stuff But they're constantly vilifying this idea of there is something external And I mean if you're on the left, you'll understand it It happens to be like there's no secret to any of this, uh, the the people who control the levers of power Happen to be the rich right the the the quote unquote elites We know who they are you have to look at the who's the fortune 500, right? We know who the billionaires are we know what they own. We know what assets they have We know the oil companies and all that kind of stuff We understand that but they will try to take that same idea because everyone experiences alienation, right? We're all everyone's Having trouble finding employment even worse now. It's cove in 40 40 million extra Americans unemployed But you've got this idea where everyone is experiencing this alienation and now we've got this section of the right That's tapping into those same kind of things and and selling them and repackaging them with Right-wing populism as well. That's what I would. Well, sorry. I know right-wing populism is a thing I agree with your statement there, right? But that's that's what I would say is quote unquote right-wing populism and in the case of crystal ball and You know during bernie sanders campaign. I was a huge fan of her and it was just it was really nice scene Maybe just like a mainstream sunday morning tea like good morning america style show that was actually talking about points with bernie sanders, right? Whereas now I cannot stand it like if I even if I hear that little jingle that Like I actually get like, you know a visceral like Fearful like I can fear my skin crawling because a I think it's come out now at this point. I think one of the biggest Producers or founders on the show happens to be deeply invested in the oil companies of the us and I've read a number of articles I think even the intercepted an article on this how the hill Exists to kind of sow dissemination between the progressive movement and the liberal movement of the united states So there might be an argument to there. I'm not going to go to tin foil hat I was just making fun of alex jones two seconds ago, right but But the idea then that we have we have this show in which she's starting to say and I noticed She was saying this a lot before she got called out on it that tucker carlson is right about this And it usually starts with that preface, right? Like I just want to say this. He's an awful person All right. He's a white nationalist. We get it. He's a mouthpiece But he's not wrong about blank and there seem to be a lot of those segments, right? And tucker was actually right about this tucker's right about this And yes, he's a bad person, but it's true that there is these global elites that control the levers of power And into crystal ball. I'm sure she thinks that it's it's the rich I'm sure she thinks that it's you know, again, the the elites actually are who the elites are Right, the like I said the the millionaires the billionaires who control most of the levers of power in the united states But you can't repackage what tucker says for the left That's where the danger comes in and that's what I would agree with this idea And maybe that is you know, I've read nathan j robinson's article I haven't read the book that you have in your hands, but that that's where I agree with nathan But you can't normalize tucker and his ideas you have to consistently call them out for what they are because otherwise It's very insidious Yeah, and one of the issues that nathan j robinson also brings up is that there's this um explicit assumption in the book that it would be beneficial for the left if we teamed up with the right If the populist left and the populist right kind of form this, you know economic alliance Then we can get a lot of things done and I think that that is something that I unequivocally reject Because I think that you know, if you want to form a coalition that makes sense. We need a rainbow coalition I think that fred hampton kind of he led the way on that, you know But it has to be an anti-racist coalition because you can't disaggregate You know the race issues from the class issues So you can't throw people of color and trans people under a bus and say well We're gonna team up with them for these economic issues But you're gonna have to wait by the side like it doesn't work that way because the these things are inextricably linked So that's one of the things that you know had I read the book I would have also been turned off by that because I absolutely don't like this notion of teaming up with You know the populist right because I don't think that there is a populist, right? And I I'm glad that you brought up the tech across the thing like he's a bad person But like that still normalizes someone who is very clearly a white supremacist and you know by Trying to point out the good point that he makes and since he's so nefarious You know, it's great that he made a good point, you know positive reinforcement Sure, I believe in positive reinforcement But this is an actor who is very intelligent who knows exactly what he's doing You know, he throws you a couple of crumbs with regard to economic issues But if you accept what he what he has once he gets you in Then you're pulled into a very nefarious explicitly white supremacist agenda And maybe you know, he doesn't convince you right away But as you listen to him more because you were hooked by his economic policy statements Well, then maybe you know, you start opening your mind a little bit more to white supremacy So I think it's it's a dangerous path to go down and I think that there really is like I don't want to say that you know The the show the rising is awful because I also watched it a lot, you know during the primaries But I think that we do have to be careful as lefties to not allow Snakes like, you know, Tucker Carlson to be legitimized by us, you know, either wittingly or unwittingly And it like part of it is I feel like it should be just on its face Laughable because you have sagar and jetty who's the co-host of the hill rising He's a trump supporter and he rails against neoliberal democrats But trump is a neoliberal like he ran as a populist, but he governs as a neoliberal So how do you not abandon people who aren't living up to your populist principles? So to me, it seems like a Trojan horse to you know, the the alt right and that's why I think that there is something To you know, Nathan j. Robinson's point here, but I I don't want to discount, you know She's not the only one making that critique either by the way It hasn't just been coming from Nathan j. Robinson I've seen a lot of other figures on the left and I'm not just in relation to crystals in particular But this is the idea of the left starting to embrace elements of that right-wing populism Totally whatever you want to say, you know quote-quote right-wing populism Yeah, and I think we have to reject it and we have to be very vocal about it because you know, if you give them an inch They take a mile because they are very very Um strategic and they're savvy like people nowadays. You're not going to find someone just say, hey guys I'm a nazi. Here's a swastika like they use code words like I Exactly exactly. So I mean you have to you have to not get duped by them in other words But at the same time, you know, I want to bring up Kyle Kalinsky who made a good response video to this You know to where he says, you know, you you have to acknowledge that the average like layperson the normies They're not going to necessarily be as keen to these things and by criticizing people like crystal ball It seems like we're being like overly cancely or whatever. So it's it's tough I I feel like we're walking a fine line, but there's so much To cancel her like I like I don't really say I'm not a cancel culture person in general because I don't think it works I don't think there's such a thing. Uh, I I think I think she has I think she she she was aware of it as well Because she apologized she she issued a video or sorry I don't know if she directly apologized, but it was more of a just like I know what everyone's saying I've seen the I've read the articles and everything and to this extent like I am not praising Tucker Carlson He's a horrible person. He's a white nationalist. Let's like, you know, get that out You know, that's it's a non-starter kind of thing Yeah, and I will say just for the record. I I like crystal ball I'm not assuming like malintent in criticizing because I I've also done horrible things On my channel, you know, it's it's all about growing right where human beings were imperfect Like I've platformed ha goodman and I kind of like attribute my channel to his success in a way And now he's a mega chat So that's something that I really think about like how am I vetting these people who I bring on my channel and whatnot You know You know You know this you know the thing thing You're getting nervous man, man


So first I will give a brief introduction about what is Bledman atlas. So in fact for atlas there are a lot of studies based on different information. For example, Eubring and Broadway atlas based on the satellite architecture. But here the Bledman atlas is based on the connectivity profile, especially based on the anatomical connectivity profile. So as you know different atlas based on different information. But if we just pass it to one region maybe we can get the same result. So here we just try to address these kind of issues. Why? So you use different technology but we can get the same result. So for example here I show you two examples. So for this kind of areas so far based on the satellite architecture so cannot pass it into sub regions. So for example based on the connectivity profile because this area is with the homogenous satellite architecture. So this is very difficult if we want to pass it based on the satellite architecture. But with connectivity profile, functional connectivity or atopic connectivity we can pass it into at least three different parts. So another very important thing for the connectivity Bledman atlas based on the connectivity profile is that we can provide you final topography. We can also provide you connectivity information for example anatomical connectivity or functional connectivity. So another example is for the front pole. So this is also with homogenous satellite architecture. So far we cannot find the pass station based on the satellite architecture but we can also pass it into three different parts. So in fact we also if some regions can pass it with satellite architecture also with the connectivity profile we find all the result is the same. Here just to show you one example for the block areas. So if we can pass it with two different information so we find the result have a very good correspondence. So now we move to the core question in this lecture. So in fact we can pass it with one region with different information. I mean for example satellite architecture, anatomical connectivity profile and some other information. So why? So we think this is a kind of maybe interesting thing so for the critical pattern. So then we try to address this issue. So with a lot of very different technology of course there are some kind of training studies. So these strategies we cannot use the connectivity profile we cannot use the satellite architecture but we just use the geological correlation. So then we try to pass it with the same regions. So we find use this kind of technology. We can also got just the same result very similar. At least from the topographies for example here just to show you for representing regions this one, this one, and this one, and this one. All these kind of regions have passed based on the satellite architecture by based on the connectivity profile. So all the result is the same. So more importantly especially for primary motor cortex they have a very good functional correspondence. For example here is the result based on just the geological correlation. So the result is here. So we have a very good correspondence with the functions. So in fact for to further evaluate this method we also do the correlation between the metrics got by the geological correlation and also functional connectivity metrics. So these two metrics have a very good correlation. So from here you will find based on the different technology we can go to the same result. So maybe this kind of thing especially for cortical pattern is a kind of interesting thing. So if the technology is good so you should find the same result. So now in fact for the plant patterns we pass it to the whole brain. The cortical and sub-cortical into 252 different parts. Each part has a very good biologic mechanism. So in summary for the plant patterns we have three different features. One it is the u-wave wall and also it provides the final gain in topography and also we can provide the functional connectivity and the anatomical connectivity. So in fact we also provide you with software for more information just from here. So this is a software just to show you how to use the plant patterns. So this is a summary for these studies. So first I show you the geological ratio of cortical surface areas operated by the twin analysis can be used to identify the functional sub-regions. And the geological ratio can also unravel the population-based fundamental patterns of corticals and of the interregions connectivity. And I think this is also very important for understanding of the geological basis of cortical patterns to provide some kind of validations for bradymatilase maybe also some other atlas. So in fact this study was done by cooperating between the different institutions. Thank you.


Hello everybody welcome back to another AI video in this one I want to show you a tool I just came across that does accurate text as well as text to image or text AI art generation or AI image generation. All right first off it's called ideogram.ai and first and I'll go right out of the gate here it's free to use at least currently there's no cost associated with it it is free to use and it does text really well if you don't believe me check this out there's here's top gun I guess if you want to look at the actual prompt you can just click on the image and it says here Tom Cruise as Maverick in top gun in a fighter jet poster with with written top gun typography 4k realistic etc look at that that was one prompt and it created that and it did a great job here is a magical af unicorn or something like that but hey look you'll see that it says magical af in quotation marks and it's magical af on the poster or on the image it got it right and that is very hard to do in AI image and AI art generation here's some more examples here now all right I like sumer oh wait that is what it's supposed to say look at that it's not even wrong I thought oh I misspelled it it should have had summer no I like sumer look at that all right fertile crescent for the wind so there you go here's one another one here no joke okay all right so what can you do you can write in cute sayings you can write little funny things oh what's that sign say my future is in God's hands okay there's leica the name of your puppy dog if you do puppy dog art anyways you see where I'm going with this let's see if you want to create your own though let's let's go through that so I'm going to go up here to the top ideogram dot AI and I'm going to go um I don't know uh dog poster of a dog uh named with Kingston oops I'm just going to try and do this quickly on the image something like that I don't even know what I'm trying to do and you'll see here you can do different aspect ratios 10 16 11 and 16 10 here we go I'm going to click on generate and let's see what we get first kick at the can it's going to take a few seconds as you can see here but again there's no credits I didn't have to pay any money I have a free account how good is that I'll come back when it's done and give me and I'll show you what we got all right so oh no it's not quite done yet but you can already see that it has knocked it out of the park exactly my dog is actually a French and English bulldog named Kingston and look at that Kingston right there on that oversized name tag that is fantastic that is one ugly looking dog but Kingston the wording is correct now I just did a quick poster of a dog but if you wanted to put in a you know all sorts of descriptors go nuts do what you want here's another one Kingston look at that this is one of the best free tools for AI image generation you combine the fact that it's given it to you with proper checks and three out of four cases in this example you got to try this out it's worth a crack thanks for watching


24th of April. It's Watch Me Work. I'm Susanoy Parks. We've been doing Watch Me Work for 11 years and mostly in the lobby of the public theater but also in venues all over the country, all over the world where basically we spend time working together and then talking about our creative process or basically your work and your creative process. Just in case, I mean nobody knows, I'm a writer of many, many different kinds of things, plays, movies, novels, songs with my band, essays, all that kind of stuff. So I do a lot of different kinds of writing and 11 years ago, I thought it might be fun to talk with complete strangers about their writing. So that's how pretty much how Watch Me Work was born. I am the master writer chair at the public theater, which means that the public theater supports me in my endeavors and including this one. So a big thank you to the public theater for supporting Watch Me Work for 11 years.  We've been doing it four weeks in a row, five days a week. So thank you to those folks there. So what we're going to do is we're going to work for 20 minutes. And then we're going to talk about your work and your creative process for the for about 40, 14 minutes. And yeah, if you want to get in touch and have a question about your work and your creative process, Audrey can tell you how to get in touch. Thanks, SLP. So what's going to happen is if you have a question and you're in the Zoom, what you can do is click on the raise your hand button. It should be in a participant tab likely at the bottom of your screen if you're on a laptop or the top if you're on an iPad. And if you're watching the stream on HowlRound.tv, you can get in touch with us over our social media. You can tweet at us at the public or go on our Instagram, or you can tweet at us at at Watch Me Work SLP with the hashtag HowlRound H-O-W-L-R-O-U-N-D. And that's it. All right. So here we go. We've got 20 minutes to work together. And here we go. All right. That was the 20 minutes of work time. And now we're going to go with the around 40 minutes of dialogue talking. So does anybody have a question? I actually don't see any hands raised at the moment. We can sit in silence. We got a hand. Oh, now we have two hands. Sorry, Meryl, you're up. All right, Meryl. Go for it. Turn up your volume a little bit. Almost. Can you speak a little louder? Chelsea do. But I'm just thinking when things resume, our days are going to be filled again. What do you suggest when there are days that the words are not coming for? Your mind is not on the piece of work to play that I'm wanting to work on. Do I jump on something else? Do I keep writing even though it's mediocre? That's a good question, Meryl. First of all, just trying to pick, choose a time of day that you can sort of maximize your creative output, if you will. You're thinking about that. Are you a morning person or a night owl or what? Okay. Okay. So maybe working at night might be best for you. Because that's kind of your time that you feel like, yeah. So that's the time of day that you could choose to work, regardless of your schedule. So you would want to sort of create a schedule that would accommodate that. Also, what do you do when it's just not flowing out of your pen like the scene in Dr. Jivago, where they walk into the house and it's zero degrees and he picks the ink up and he dips it in and it just writes, even though the ink would be frozen, doesn't matter. Inspiration is so hot, he's just going, right? That's what we think it's like to be a writer. A real writer can go into a frozen house and take a frozen bottle of ink and dip your frozen pen in it and the words just flow. It's amazing. For most of us, that's not how it really works, really.  We put the time in and we become okay with it not being beautiful and perfect right first draft. It's a trick. It's like Lysol.   I mean, I'm just going to say, nobody drink Lysol for anything or inject it if you have the apparatus to inject it. Please don't do that. But you don't say, Meryl, you just have to be okay with it being kind of bumpy some days. It's a relationship you're having. So some days it flows beautifully. Some days it doesn't flow at all. And you've got to just keep putting the time in.  So pick a time at night. If it's just 20 minutes, that'll do it. That'll work. And just put the time in every day and it will accumulate. Awesome. Thank you so much. You're welcome. Thanks so much, Meryl. All right. Up next, we've got Crystal. Go for it, Crystal. Hi. So I am still trying to work with this story and hear the voices and still struggling with it. I'm trying hard not to give up and not to just move on to another story. But I really am, I mean, I know you said last time not to look at the faces, but to listen for the voices. And they just seem so faint still.  And I'm even trying to write like scenes not for this particular story, but just scenes to see if like maybe if I just get dumb random scenes out that like something else can come of it. So I just, I don't know why this is, it seems like it's so complicated and it shouldn't be. Yeah. I'm just going back to something. So I said don't look at the faces just the voices because you were getting hung up on how they should look. Yeah. Right. So if you're getting up on how they should look and that's stopping you then I said don't worry about it. If you're not getting hung up on how they should look then that's fine. Right. But yeah, I like what you said about it's complicated and difficult and it shouldn't be. Why? Maybe writing is complicated and difficult sometimes. Yeah. You know what I mean? Maybe it's hard. I mean look at this way if it were easy, everybody would do it. Yeah. You know? It's like running a, it's like it's like winning the New York marathon, you know? I mean it's hard, right? Right. And we don't have any question about it being difficult. That's hard. You see those people running. Oh my god. That's hard, right? I mean even if you don't win but if you come in under whatever, three hours or whatever, I mean you're running. It's hard. We have no question that it's difficult. We see somebody play the guitar or ice skate, you know? Or anything, anything, anything that requires a certain amount of skill.  What a baking a cool cake and something, right? We go, wow. Look at them. That takes some skill. Writing we're like, it should be easy. Why? Writing is a skill. It's a craft. It takes a lot of work. And so we get all wrapped up in our heads because we think it should be easy and then we're mad at ourselves when it's not easy and it's difficult. You're on the right track. It's hard. Ow. Painful sometimes. Mm-hmm. You know? So if you're having a difficult time, that's okay. You know, you're in, you're in league with others. There are many others on this path, you know? Yeah. If you're having a difficult time, that's okay. If it's easy, great. I mean I don't want it. I don't wish it to be difficult for you but I also want to tell you that if it is difficult, you need to like hate on yourself for it, you know?   It should be easy. I should just be able to write this in five seconds. Right. Writing is a skill.  You know, those ice skaters, they make it look easy, don't they? Look at that. You never go, I could do that. I could, right? I mean, and yet we go, we look at some writing, oh yeah, I could do that. Yeah, because I got a story inside me. There's a lot more to writing than just having a story inside you and admiring the works of others. Okay, and you know that because you've done a lot of writing. You know that. Right. So keep going with your character bios. Keep going with your crazy plot stuff. Keep all that stuff. That's the work. You're doing the work. Okay. Okay. And just keep going. Keep working. Okay. Okay. I know you've got a lot going on. I mean, it's tricky, but just keep putting the time in, you know, and it will accumulate. Okay. Okay. Yeah. It's always great to see you, Crystal. Thank you. Thank you. Thank you. Thank you, Crystal. All right. Next we've got Gerald. Are you with us? Yes. Hi. Hey. Hey. Thank you so much for doing this. Can I just say I love Fakie so much. I know it's like embedded on my soul, especially when I think of Hester and their son anyway, and those scenes anyway, especially now what we're anyway, what we're dealing with, not that we're in that time, but it's making me think a lot of that way. One question I have. Thank you is about transitions because I'm working to play and I wrote, I wrote different scenes like you've talked about on index cards and then I brought them together and I'm finding that the, the transitions from one scene to the next are not smooth. And the other thing, can I ask a two part, I don't want to be greedy. No, go ahead. Let's see if I can answer two questions. Sometimes I feel that just my vocabulary is just not, you know, how do you trust your vocabulary? I feel like I'm not, I don't have, always have the words, you know, when I'm writing, I do a lot of nonfiction writing. And I feel like I'm just using the same words and how do you develop that muscle of finding better, I work with the source. Okay. Okay.  Yeah.  Be great to hear what words they're using. You know, but the transitions question, I mean, you want to make sure you want to feel like the end of the scene kind of tees up, introduces, helps to guide us to the next scene, you know, in some way, it can be story wise, it can be emotionally, it can be kind of imagistically kind of, they're kind of sort of related, you know, they don't have to be lockstep like this necessarily, but you want to feel that you're helping the audience go from one to another, if they don't feel smooth to you. Just want, you know, like what happened in this scene and how does that help what's happening in the next scene? You see what I mean? Yeah, like she bakes a cake and then she lets it cool. And then she's going to put icing on it. And then she'll have a dinner party. You know what I mean?  Oh, you have a good memory. Yeah. So, so you, and you've already written it and now you're, so you've already got transition. How were your transitions in your novella? Well, I'm in the midst of the novella. So I feel, yeah, it's, it's the play. I feel like they're not strong enough. So it's not going to make the novella work if the transitions aren't feels very compartmentalized. Well, just again, this is the thing, right? And then when you go back, rewrite and look at the transitions. So don't stop to get the perfect transitions. Just write it. Since you already have a draft in one incarnation, and then go back and rewrite and focus just on the transitions. You know. Okay. Thank you so much. You're welcome, Gerald. Thanks, Gerald. All right. Up next, we have Bo. Hi. Hi. Just a sec. I think I'm not, I think I'm on you. We hear you. Oh, we hear you. Hi. Yeah, I'm wondering how you, how do you balance that part in the process where all of a sudden the characters start taking a life of their own and, and the craft of still following your outline and your structure. I mean, still allowing for it to grow. But you know, that point where all of a sudden they just want to go over here. Yeah, I mean, follow, follow them if it seems interesting. Yeah. You know what I mean? Follow them if it seems interesting. And if it, if it leads down like into a dead end and come back and say, okay, guys, okay, people, you know, we're going down this way, you know, it might be that they have a better idea than you do. It might be that you are having a difficult time concentrating. You don't know. You know, we don't know. So ask them also why are you going down that way? I had this plan for you. What are you doing? Why are you going over there?  Yeah, because I always find that part is quite magical. It's great. It's a great feeling.  But at the same time, you, you want to, you if you have an idea about what you'd like to show, then just keep your don't totally let your idea go out the window without really thinking about, okay, well, where are we going here?  No, but it is like you're having a conversation with them. Uh-huh. Uh-huh. Sounds like fun. Yeah, it's fun. Thanks. Thanks so much, Bo. All right, next, we've got Roxanne. Roxanne, can you hear us? So, hold on. Okay. There we go. There we go. Sorry. Don't worry. Thank you so much for doing this. I have a question about getting stuck in the research phase. I feel like maybe I'm using it as a stalling tactic, but I'm like, okay, I have this idea. And I'm doing my character development. And then I'm like, you know, I'm going to watch this show to get inspiration because it's like this or I'm going to go and make a spreadsheet of the books I need to read to learn more about craft, especially since I'm new to playwriting. And I wanted to know just kind of how to wiggle my way out of using research and finding other forms to be inspired to just actually start writing. Right, right, right. And, you know, starting writing and keeping going are skills, you know. It takes a huge amount of courage.  If it's something you know nothing about, you know, set a time limit. Okay, I'm going to do a month of research. You know, whether it's I'm going to do a month of research because I want to learn more about playwriting. You know, I'm going to do a month of research because I want to learn more about that particular aspect of what I'm writing about, right. But you keep it to or two weeks of research. That might be even better. And you can really gorge on the research. I'm just going to take in everything I can. And then when two weeks is over, I close the books and dive in. And I write for, I try to get a draft out before I go back and do more research, you can always do more research, you know. But if you get bogged down in it, you'll never get your writing done, you know. Yeah. So you can always go back circle back and oh, I didn't know so much about that.  I mean, research is great, but too much of it like anything. Yeah, totally. Yeah, keeps you from doing your thing, right? Yeah. Thank you. That's that's really helpful. Yeah, just put some boundaries on it, you know. Thanks. You're welcome. Thanks, Roxanne. All right. Next, we have got Michael. Michael. Yes, hello. Hi. Hi, Michael. Hi, Susan. Thank you so much for doing this. Oh, thank you. So I'm a, a lot of my professional experiences as a director and I write writing and I'm working on a new play from the other side of the table as it were. And I guess one of my questions has to do with structure and how much, how much is it helpful to know the story ahead of time, structurally, someone else mentioned an outline and how much can I just get on this road trip without a map or a GPS as you're saying with a road trip? So that's, so that's one thing. And the other, the other thing if, if there's a way to answer both is like as a director, I'm really used to like being the audience until the audience is there in rehearsal and just thinking about the audience's experience. And I'm noticing with writing that like, I'm getting really product oriented or like, will this work just like stuff that is very practical production, not even just like a flying chandelier or something, but just is it any good? And then again, and then like the critic is sitting right next to me. And I just really admire the work you've done and how you just, it just seems to me like you just pursued your voice, you know, you just pursue it. And with a, with a singularity that I think there's a lot of bravery in that I'm encountering the, the critics. Yeah, they're always there. They're always there. Yeah, it's, it's tricky when you, when you've done a lot of work directing and you're trying, you know, it from the other side, if you will. And you have to sort of, yeah, develop new skills, right? I say keep both eyes focused on the work. You know, it doesn't mean that we don't care about the audience. But really, if you think about it, like, if, if you're, if I'm writing a play right now, and I was thinking about the audience, what does that even mean? Who is the audience? Where are they? You know what I'm saying? I really think about it.   So I don't really think too tough about the audience in that sort of, will they like it or not? Because I don't know who they are. Right? My audience is me. Do I like it? Is it working? Is it funny? Does that make me laugh? Make me laugh. Oh, I like that. You know? So I'm the primary audience when I'm writing. And it's super helpful, which is maybe different. Obviously, it sounds like it's different for, for a director. But, but for me to get that first draft out, I have to just folk both eyes on the work. Who was that? Was it Virginia Woolford? Was it Emily Dickinson or someone said about Emily Dickinson? I can't remember. I think someone said about Emily Dickinson. She had both eyes on the work, you know, which is kind of cool. And I can't remember your second question. I think it's just how much structure is just road tripping and seeing what road you want to turn on to. How much, how much, I mean, I think you should do what you feel like and see how it feels. And then if you don't like it, try another way, you know? I would say, you know, outline a little bit. But if you don't like it, then don't. And just run off into the field and see how that feels. You know, run down the road and see how far you get and see what it feels like. Does that make sense? And if it's like, whoa, then, then you might want to do a little bit of outlining. What are you going to say? No, I was just saying, it's sound, it's what I'm hearing is you say, try some stuff and then, and then check in and see how it feels. Yeah. Yeah, see how it, see how it feels. See how it seems like that's a lot of the feedback is sort of like, try it, check in. Right. Well, that's what it is about making art, you know?  I get to page four and then I'm, you know, okay, try outlining. You know what I mean? Try a tool.  Yeah, try a hammer. You know, that's okay. Plenty of people can make a dog house with just their forehead. I'm not one of them. There are tools, you know, so I'm just saying try a tool. You know, try one. They're out there. They're no, no tools are evil. They're all for our use. You know, and people have used them over, over hundreds and hundreds of years.  You know what I mean? That's an outline. You're telling something that's known already. So there's an outline of sorts there. You know, it's not like this is kind of a new thing that people start doing in grad school. I mean, I wouldn't know.  Yeah, yeah. No, no, no. It's just, it's just basically just some structural beats. Structural beats. Yeah, structural beats. If you've ever gone spelunking, which is caving, which is go down into the, have you ever gone caving anybody? You know, nobody's gone caving. Well, you should try it maybe when this is over.  You know, it's really weird. It's really weird. And what makes a lot less weird is that you've got this yellow rope in your hand.  She had the ball of yarn. She had a ball of yarn. She had a yarn, a yarn to give to him a story to give to him to help him find his way out. It's like Hansel and Gretel's breadcrumbs. Exactly. It's like Hansel and Gretel's breadcrumbs. Right, right?  That's good to know. You don't need everything to be perfect, you know, to figure out our things that we need to figure out. And if there's Ben Brantley, like with a wolf's costume, you just say, pay no mind. No, pet him. Oh, he just needs to be pet. Well, I mean, doesn't everybody? Normally not right now, but everyone needs it now. Exactly. Everyone needs it. Just pet him, you know, or throw him some meat or something. I don't know, but, you know, but don't worry about him. He's just doing his thing. He's just being himself. You know, okay. Thank you. Good questions, Michael. Thank you. Thanks, Susanoy. Here's Michael. All right. Next, we've got Ray. I tried for like three weeks to ask a question and now two days in a row. Oh my goodness gracious. Incredible. Hi, Ray. I don't even really know how to ask this. And I know the world is on fire right now and that really throws a wrench into people trying to pursue theater, but I'm, whether or not there's a graduation, I'm graduating next month. And thank you. Yeah, yeah, really, right? We're going to do a dance for you. I guess I'm just wondering, like I'm, I will do whatever job exists in the next couple months and I don't know what that will be. But in terms of like in your dream world of jobs that accommodate also pursuing theater and like fields that will also fuel your pursuit of theater and ideally don't kill your soul, do you have advice? Dream jobs. We're about jobs that I've worked. Like accommodate. I don't know. Right. It depends when you're making theater. I mean, I had a lot of temporary processing jobs. I love temporary processing jobs because and I'm maybe the bankers are listening, but they can listen because they got that billion trillion gazillion dollar fees off the bailout. So they ought to be given back right now. Sorry. So I worked in banks where, you know, for bankers where you where you could actually like do some of the work you had to do typing, you know, or for a law office.  All right. That was, I did that for a long time. Also the copier machine often had a ream of paper that was just sitting there looking lonely and maybe wanted to be brought home. Boy, I needed that paper.  Oh, well, who cares? I need a pen because I didn't have a lot of money. So sure, I also worked very hard for these people and did a really good job. But there was sort of, I allowed them to share with me their office supplies. Allowed for them to share. Allowed. Yeah.  It was kind of guerrilla warfare sort of, you got to do your thing. Also, the thing is that the job would end at five or, you know, it was nine to five, which for me, I would go to rehearsals in the evening. Perfect. Perfect. And I made enough money to pay my rent. So my parents didn't have to do that, which I think is very important. I did not live on my parents' pocket when I moved to New York. That's my own personal, you know? But so, you know, those office jobs are kind of great. You know, I know much is said of like waitressing jobs and barista jobs, but those jobs don't allow you to sit and think. Too tough, you know? So you would say day jobs, more than night jobs. Well, that's, that's for, that was, that was, that's my, you know, I did a lot of day jobs. Yeah. Yeah. I think night jobs, sometimes it's a lot of a scene.  You want to get wrapped up in the scene in your head. You want to keep that real estate clear for your work. You know, what did Flaubert say?  Yeah, Flaubert. So, you know, we want to be, we want to keep it simple.  Thank you so much. That's really concrete. And if anybody wants to quote me on stealing or pilfering office supplies, I'll say I was being sarcastic like our president. You got an alibi. That's right, yo. Thanks, Ray. Thank you so much. All right, next we got Carol and we've got about seven minutes left. Go for it, Carol. Hi, can you see me? Yes, we can. Good day. I just wanted to say this has been so helpful, you know, it doesn't matter what phase you're at in writing, there's always something to learn. And just I've been doing these conversations with my characters who I thought I knew well, but apparently I didn't because I'm pointing out a lot about them. And I've been doing that just because with your support and encouragement in this program, doing that from my writing time, rather than working on it or struggling with what I need to think about. And I'm just talking to my characters and listening to and in amazement sometimes with what they're telling me and asking them why. I think you suggested it when I asked the first question a few times ago. But I just wanted to say that's really helpful and seems to be a surprise and very interesting to do. So thank you. I'm so glad you're always great, Carol. Oh, I miss you all. I know, I know. We miss seeing you every day, every week in the lobby, you know, the public theater. Wonderful. And I just all stay well. Yeah. In this crazy time. Is your great-grandchild born yet? No, she's still on the way. And it's twins. It's going to, we just found out it's identical boy twins. But we have to wait till August, August, September. But it's very exciting. And I heard their heartbeats. That's fantastic. Yay for you. Yay for me, Carol. And I love seeing Durham fly by the other day. So love to, love to all of you. Yeah, you guys. And happy writing. Yes, really, right? Yeah. That's something we can do for ourselves. Totally. Thank you, Carol. So nice to see you. So nice to see you too. All right, Darren. Let's do it. Hi. How's it going? So I'm currently still in school and this whole thing is like really crazy with everything that's going on at the times. I currently, my issue is that I write a lot of poems, short stories and screenplays and plays, and I'm currently in school as a theater performance major. My thing is I always found it easy to like finish a poem like beginning, middle and like I really, I'm good with finding the end to poems. But when it comes to like writing plays and screenplays, I have like plenty of ideas, but I often have the problem of finding like the key points, like the climax, like I think of like a crazy scene, I could think of like the pivotal moment of the story or like the really all dramatic end or even just how it begins too. But when I, I can write all those pieces out, but my struggle is trying to bridge those together. Yeah, but, but like I'm not sure if like, if I could use what I've done in poetry to help like with that or not. Yeah, I think, I think you can. That's a great question. You can use what you've done in poetry to help with that, but you can also use if you want to build a bridge, study bridges, right? Right.  How much reading of dramatic works do you do? I'm currently in multiple classes that we read several plays a week. Right, great. There you go. So do you take notes as to their structure? Yes, like light notes, but I can just improve on that more. You see what I mean? So you're studying the beginning. So you pick a play that you're reading, I don't know what, Hamlet, and you go, wow, that's the beginning. And you think of King Lear, wow, that's the beginning.  You know, also, what are the characters want in plays and dramatic writing? It's more, you know, action based. What are the characters want? What are they trying to do? And pick, when you read those plays in class, take them apart, as if you're trying to, you know, you're taking a car apart because you want to learn how to put it back together. Or you know what I mean? You really take it into part in analyzing the pieces of it, right? And then you sort of soak that up, soak that in, and sort of, okay, in this place. So you get really analytical about it, which won't ruin your creative edge at all. It's just going to bone up that, it's going to firm up that muscle, right? Okay, that architecture muscle, you're trying to learn architecture. So you can also, if you want to take, you want to read a play, you can watch a movie, you know, classic. I love doing that. Great. And when you watch, watch it with a notebook. Okay. This is what happened in the first minute. This is what happened at minute 10. This is what happened in minute 30, you know, look at that because you're building a bridge. So you want to see what the pylons are, the tent poles, if you will, you're building like raising a tent, you know? And this happened, and then this happened over here, and then this happened here. And so you want to really study that architecture. Right.  Or like, because I do have a goal of like, like running my own like film production company. But yeah, but I do know I have to start like with collaborating and starting with other production houses. Yeah, it's a great goal, though, man. It's a great goal to start your own film production company. I would ask, because we're on the ground level that you'd be kind and generous to everyone you meet. Right. That is, that is a thing that is sorely lacking in the business. That is true. I've been in this business for a while, and I'm appalled and dismayed about just the way that people treat each other in this business. So I would ask that you have, you know, you have a kindness in your in as part of one of your platforms or your company. But I would say, you know, you've got your again, you're in school for it. I would think that your professors would have great ideas. Those are go to people, you know, and ask them and they would be very specific to you and your play and help you make those moves. Okay. Thank you so much. I appreciate that. You're welcome so much. It's six o'clock, magically. I know it's crazy. It goes by so fast. It's six o'clock. So it's six o'clock. It's Friday. And Audrey is going to give us an update about what is going to be happening in the next couple of weeks. Take it away, Audrey. All right. So in the next couple of weeks, we're going to take a brief hiatus from watching work every day. But we will be back on Monday, May 11th, which is which makes her a two week hiatus for those of you doing math at home. But you'll be able to do you'll be able to sign up for those sessions of on our on our website. They should be up pretty soon. Great. Thanks, Audrey. In the meantime, keep your work going. You know, there's no reason why you can't just keep your work going. If you want to, you know, just write every day at any time of the day, get your work going. And then when we meet back up on the 11th and they will have lots of cool stories to tell each other. Okay. But thank you so much. Thanks, everybody. Okay. Okay. Bye.


I'm fine if you're good except the cordless okay guys here's what we're gonna do the mic that we on when we're singing they were just on a minute ago I can hear everybody it was good good job so for getting off and getting on can I steal one of this a friend of mine tenor mics that's it is a friend of section yeah let's send that one there that one no no Mike you need to keep boys because you're singing songs yeah no no you need the cordless one yeah but like maybe cause the court the ones with chords so we don't have to stretch the cord if Michael takes the one yeah now it's already done so yeah let's go that way yeah yeah it worked out well okay everybody comfortable okay I'm team and so much for helping us make this a reality and to not only do it together but to go all the way to Africa to do it and to do it together with all you beautiful Kenyans so thank you so much we love being here so today today we're here with our friends from Norway Germany Sweden USA and France my friend Leuwin Fred from France so because my friends are here I won't be singing let me squeal we will give them the time enough so that they have enough time to sing with a single to praise and and worship and shout to them to the Lord with a single like in the next week to put on up here we still have other people coming today we have international night of worship next week on Sunday we'll be having international music gospel festival


So people ask me all the time. What's kung fu A compared to kung fu B which one is better? And I always say it doesn't matter which one's better. It depends which one's better for you Because what makes the difference is is you as the person as the as the martial artist How much do you train? What's your strength? What's your weaknesses? Because not everything works for everybody Hope that this video helped you to understand more about Wing Chun and Mantis Kung Fu


Recently, meat industry groups launched a new PR campaign to quote-unquote, crush myths about meat. Countering, for example, the notion put forth by the World Health Organization, American Academy of Pediatrics, American Public Health Association, etc., that antibiotics fed to livestock by the truckload poses a human health risk. These are the drugs approved for use in farm animals, and they're fed to farm animals by the millions of pounds a year to promote growth and prevent disease in the stressful, overcrowded, unhygienic environments they may be confined in these days. The PR people scoffed at the Union of Concerned Scientists estimate that as much as 70% of antibiotics produced in the US go to livestock. Now, the reason I had to be estimated, of course, is that the industry refuses to release the true numbers. But look, it's the best we had. But it is a statistic that mythbusters claim cannot possibly be calculated, considering that antibiotic use in humans is not tracked. Turns out, as with much in meat mythmaking, this simply isn't true. That data is tracked by the FDA Office of Surveillance and Epidemiology, as pointed out by the Johns Hopkins School of Public Health Center for a Livable Future. So was it really 70% of antimicrobial drugs going to farm animals, like the Union of Concerned Scientists claimed, or was this just a myth to be crushed? And I have to say, according to the latest available data, the meat industry is right. It's not 70% going to farm animals. It's closer to 80%, more than 28 million pounds a year. But then again, why listen to the American Medical Association when it comes to your health, when you can listen to the American Meat Science Association?


I've been testing the Bamboo Lab X1 Carbon and it's a complete game-changer. My name's Jim and this is the Edge of Tech. Recently, my friend Brian over at BV3D shot me a 20 second video clip of a printer printing a Benchy. It was going insanely fast and I'd never seen that printer before. I immediately needed to know what that printer was. I was so excited that it was something new and something different, something I'd never seen before that I actually reached out to Bamboo Lab. I almost never do that, but I had to check this printer out. After that, the awesome team over at Bamboo Lab sent me the X1 Carbon. It has some crazy claims about speed and material and printing and today we're going to take a first look. The experience starts with a very well-packed product. You could tell they took a lot of time to figure out how to get it all packaged into one box. The AMS, the automatic material system, actually ships inside of the printer and it's bolted down with shipping bolts. There's actually little orange arrows everywhere where you need to remove one of those shipping bolts and then everything kind of lifts right out the top because the glass panel comes off. After you get it unboxed, the setup is super easy.  If you didn't get the AMS, you're good.  Once I got it set up and ready to power on, I could not help but notice how awesome this printer looks. It really looks and feels like a very high-end machine and I could not wait to start using it. That's actually pretty understandable because most of the Bamboo Lab team came from DJI. They are known for products that work great and look amazing. So that's what we're seeing here and I got to tell you once you flip that power button on, the real Bamboo Lab experience begins. The new technology starts with a calibration that's unlike I have ever seen before myself on a 3D printer. It's a frequency vibration test that sends the printer through a range of vibrations from low to high. It does this calibration to get the baseline for the active vibration control that's featured in this printer. Now we can load the filament. All you have to do is open up the AMS and drop the filament into slot one all the way on the left side and feed the filament just into the drive. It will do the rest for you. Just close that lid and you're ready to print. After the initial calibration, it's time to get started printing. The Bamboo Studio Slicer was developed from the ground up from Bamboo Lab and it's been pretty easy and intuitive to use and learn. It will be available for Windows and Mac. In all the printing I've done so far, I've just used the default settings in the slicer. I've not changed anything at all as I want to get the best experience and I also want to see if they had their slicer settings dialed in right out of the box. They do have apps for iOS and Android as well. Actually I've been using them both and they're great for checking in on your prints and seeing how they're going. You can even update your firmware from the apps which is pretty cool. Also there's a cloud where you can pick prints and print them straight from there and you can change your settings and everything right inside the app. I do have to say that the slicer and the apps are not fully finished yet but by the time these printers start shipping, they will be. Once you're done slicing your print in the slicer, you can either save the 3MF file to an SD card or send it directly to the printer via Wi-Fi anywhere in the world. When the printer receives the print, that's where the real fun starts. The auto bed leveling on this thing is next level. They use LiDAR along with analog sensors and an AI algorithm to determine the bed leveling, the z-height and to get the perfect first layer every single time. Next we see the printer put down a pattern and some lines along the front side of the build plate. Then the X1 Carbon scans the filament to calibrate the extrusion and flow control. That way it's dialed in to each filament before the first layers even start. After those calibrations, it's ready to drop that first layer. And I tell you what, this first layer goes down fast. Once the first layer is done, it's time to scan it. This printer lets you know if you have a bad first layer and it warns you on the screen. It scans the whole first layer and uses the AI to determine if it's good or not. Once that scan is done and good, it's time to start the rest of the print and man, it's off to the races. This printer is fast. It's not until this moment that you realize the sheer speed of this machine. And when I say fast, I mean fast. This benchy that we just saw printing took just 17 minutes and 33 seconds to print. That is ridiculous and it looks so good. This looks better than a lot of the benches I print on stock machines at full print time. That is absolutely crazy from a stock machine. 17 minutes and 33 seconds. I think we actually might even get Chris Riley's approval on this one. Another example I did was this Crystal Dice Tower by Fatesend. I printed it at .2 layers and 90% and it finished in just 7 hours and 42 minutes. If I would have sliced that with the Ender 3S1 on Prusa Slicer, that was almost 29 hours. That means I saved over 21 hours of print time just on this Crystal Dice Tower alone. And this thing came out really good. I printed the very popular Imperial Dragon at 100% scale and .2 layers. It only took 8 hours and 2 minutes on the X1 Carbon. On the Ender 3S1, it would have taken an estimated 26 hours. That saved 18 hours or over 2 thirds of the print time. That's just so crazy to me for a printer right out of the box. This happens print after print after print on this Bamboo Lab X1 Carbon and if you check out my social medias, you'll see all of the stuff I printed in the first 24 to 36 hours. This is an amazing amount of stuff and I never would have been able to print this much stuff in that amount of time on any other printer that I own, especially straight out of the box. Hey, if you're getting value out of today's video, can you please just smash that like button. It really helps the channel out and it spreads the video all out through the community so more and more people see it. I really appreciate it. Now that we went through the experience of unboxing it, setting it up and our first print, let's talk about some of the other awesome features on the X1 Carbon. The automatic material systems or the AMS that sits on the top of the machine is a pretty awesome feature. It can do multiple colors, multiple materials, multiple filaments or a mix of match of all the above. It actually allows you to load in a support material filament so you can print one filament and use another filament for supports if you really want to. It's got a built-in humidity sensor along with being airtight and a two-stage filament feeding system. All you have to do is push the filament in just a little bit, it grabs it and does everything else for you. It can be used with the Bamboo Labs reusable spools, which I think is really cool. They have a little RFID tag on them and each filament you get comes with an RFID tag. It's the kind you want to throw on the same spool and that also allows it to be identified by the AMS so it can tell which filament is in which slot, which is pretty awesome. It also can be used with any other spool that will fit inside. So you don't have to use their reusable spools, you don't have to use their filament even though I was told it's going to be very cost effective for their filament so I definitely want to check that out. Because on the back of the machine there's a filament spool holder. You just toss it right on there, feed it in and you're good to go. The X1 Carbon also comes with a ton of sensors on board to make the experience smooth and the machine even that much smarter. They include a chamber temperature sensor, a filament runout sensor, a closed loop fan that can tell if the fan isn't spooled or spinning fast enough, a belt tension sensor, also a semi-automatic belt tensioning system, which is really cool. RFID sensors of course, a front door sensor to detect when the front door is open and more. The X1 Carbon also has a 1080p camera built right in that allows you to check your prints from anywhere in the app or the slicer. It also has built-in spaghetti detection and an alarm you if your prints begin to spaghetti. The hot end of the X1 Carbon goes up to 300 degrees Celsius. It has a hardened nozzle and a 40 watt ceramic heater. It is the fastest hot end I've ever seen to reach temperature on a stock printer with an average time of about 20 seconds. The X1 Carbon also features a heated chamber that goes up to 60 degrees Celsius, a glass top and a glass door that you've seen. And inside there's a 12 watt auxiliary part cooling fan that sits on the side of the printer and blows over the top where the hot end goes and helps cool your parts faster. And that's part of the way they're getting such fast prints. As you've seen, this thing really is packed full of new features and technology. But there are a couple things that you probably should know about and we're going to go over those now. The first thing is that you need to register an account with Bamboo Lab when you first get the printer and you're setting it up. This allows you access to the cloud which sinks across your slicer and all your devices. It also gives you access to all those public prints that are inside of the cloud. The bigger reason for this is it actually registers your printer with Bamboo Lab for your one year warranty. You don't really have to worry about that though because although you do have to register an account, you don't have to use the cloud for anything else after that if you don't want to. You can always drop your 3MF files on an SD card straight from the slicer and print to the printer completely offline if you want. One of the things you'll lose if you do it that way is the ability to upgrade the firmware right from the app. But if you want to be completely offline, you can definitely use this printer without being online at all. You just have to register that account for the warranty. The next thing you need to know is that this printer is not a quiet printer. The amount of cooling that's needed and the amount of noise that comes from the sheer speed of this beast causes this thing to be a lot louder than your standard quiet silent printer. But you can always dive into the menus. You have four different speed options. You can put it in quiet mode if you want it to be quieter. Or if you're feeling kind of frisky, drop this thing up into ludicrous mode and see how fast you can get those parts done. If you do that, tag me on the social medias because I want to see it. The last thing I want to address is the fact that this thing is going to be on Kickstarter. I know that there's a stigma around this. I know that people are going to be pessimistic about it and you have the right to because we've seen so many printers promise to deliver and they fail.  And this one I'm very optimistic about. They have a robot that welds the frames. That's right. These are welded frames inside of here. They have a full assembly line ready to go and production models just like this one. This is a production model just like you would get if you ordered this machine, but they're ready to go. Everything you've seen here today with the exception of the app and the slicer because they're still being developed is how you would get it straight out of the box if you ordered it. Another thing to note is that the CEO from Bamboo Lab came from that small company called DJI. Most of the team came from DJI. They developed the printer, the apps, the slicer, the firmware, everything, which is pretty dang awesome. And I think it says a lot. That being said, I think they're using Kickstarter like Kickstarter was intended to be used. There is small startup that created an amazing machine that has innovation, technology, and all the stuff that gets us excited. And they're just using Kickstarter to get the name out, to build the hype around this machine. Like I said a minute ago, where Bamboo Lab is different than most Kickstarter's, is that they already have the production line in place. They already have production units ready to come to you as soon as the Kickstarter stops and they start shipping them. So they're using Kickstarter to push this project even further. And who knows what's next for these guys? If they started with this, I can't wait to see what they come up with next. Personally, I think you can tell I really like this printer. It brings tech that I have never seen before. It delivers lightning fast, really good prints right out of the box. It has a ton of room for new development, maybe using the AMS and all the sensors built into this thing. And I really think it takes us 100 times closer to that goal of getting a 3D printer in every single house, just like an appliance, just like your toaster. This thing takes us so much closer than any other printer I've ever checked out that it's unbelievable. But who is this printer for? Well, I think this printer is for anybody who's looking for a great experience right out of the box. Somebody who's looking for a printer that's capable of cutting your print speeds in half or in more than thirds from your current printers. Somebody who's looking for a great feel, a great fit, a great finish, and just an overall quality, rich feeling product. Once you see this printer in person, I promise you're going to think I probably should have paid more for this. I like this thing so much that I'm actually backing the Kickstarter myself for one or maybe even two of these things because I think these would be great in a print farm. If you're prototyping or anything like this, this thing is also going to be an amazing printer for that situation as well. On Kickstarter, the early bird price for this one right here for everything you see is only going to be $9.99, I believe. After that, if you don't want to buy it on Kickstarter, you can wait till it comes out. And I believe it's going to be somewhere around $1,450 US, which is still a killer deal for this thing. You're getting an amazing printer, a heated chamber, full filament system. And did I mention the filament system can be connected for four of these for 16 different filaments to run into this thing. That's right. You can connect four of these things and use 16 filaments. I think that's so cool. And if you have the space to do it, why not? All in all, if you have the budget and you're looking for a printer, something that's different, something that's the leading edge of technology, something that, so far, has been a really great experience straight out of the box, I definitely would suggest checking out the Bamboo Lab X1 Carbon. If you don't need something quite this extravagant, they have the X1, which doesn't come with the AMS or the High Temp Hot End. You can check out the differences of those in the link in the description on their website. Let me know what you think in the comments below of this machine. If you think it's cool, if you think the technology is cool, or if you don't, let me know. I would love to hear from you because I want to know what you guys think of this thing. As you can tell, I am super pumped about it. I have not been this pumped about a 3D printer in a long time. This thing is different. And I really think this is going to be a game changer in the 3D printing community. The other companies are going to have to step up because for the price of this thing and what you get, I don't know who else can beat that.


Hey guys, welcome back today to retro tech. Look, I hope everybody's doing wonderful I don't know about where you live, but my area got a big snowstorm last night And this is after an ice storm that happened Three or four days ago. So we already had a good thick layer of Slippery ice all over our roads and then we got three four inches of snow on top of that So I'm pretty well snowed in and the temperature has been really low here And I'm sure it's been I mean it's been a low polar vortex all over the country So anywhere in the United States if you're cold, hey try to stay warm and But what I'm going to go through today is we're going to look at a Ikegami CRT. This is the TM 20-80RH and This monitor was part of a lot of monitors that was brought into the shop recently local Let's go ahead now We're going to look at some of its technical details really quickly on this monitor because this is not something I've had a chance to really cover before so again. It's a 20-inch monitor It's an 80 series color monitor designed to be high-end broadcast monitors, and these are grade one Master monitors meaning this could be your main Monitor in your broadcast studio, and then you could have other little 14-inch monitors for example or other Monitors without controllers on them in series somewhere and use this as the main monitor So it has superior technology We'll talk a little bit about that here as it's listed on some of these features which again this Ikegami technology uses a shadow mask technology. So the electrons are shot through three individual Electron guns inside the beam there And so you'll see all these parts in a minute in real life But just so you know that this one has a self-converging Electron gun that assures convergent stability. So it has a very solid stable Convergence on the screen at all times. There's also 700 TV line, too This one is only standard TV. So it's only analog this monitor does not do HD TV which was kind of surprising because I thought maybe it would but it does not actually it does support a factory probe for color temperature calibrations And then rack mounting some more specifications right here We've got our input voltage. So this one can go from 100 to 120 and then 200 to 240 with the 10 percent variance In any of those numbers so it can accept pretty much Global power from an outlet as long as you get the proper cord into the connector on the back It's an auto select between 50 Hertz and 60 Hertz So it's going to automatically go for a PAL signal or an NTSC signal Automatically detect that should switch over to it. These are the TV line models. So if you get this TM 20-90 RH That one actually has 900 TV lines and the rest of them are 700 the weight on this monitor You're looking right at 84 pounds on post. That's just a little bit of technical information I'll put links to this data in below if you want to get more information on that but let's talk a little bit more about our Monitors again, this was a four package monitor deal that were that was brought to me three of them were the 80 Rs and then one was an older model that I have covered before so we're not going to actually talk about that one Now the good thing was is the majority of these monitors worked initially but They just needed to be thoroughly cleaned they'd never really been adjusted or at least not since they were taken out of service professionally So what what you've got here with this ikigami design is again a full rugged metal shell There's not a whole lot of plastic in here. So there's a lot of It's really tough and it's it's meant to last and they're also meant to be serviced So you can pretty much remove real easily every Section of the shell on the outside, which is pretty common for broadcast technology And then when you get in here You look straight at the monitor and on the left-hand side is this first board, which is this outer board This is our deflection board These might be some of the places that you'll want to check out for capacitors if you have any issues with geometry and Now this one does have a lot of screen controls built into it inside That we'll go over later once we start looking at the software and the actual front hardware on the monitor But here is the actual deflection board inside there It's the outside board now if you do have an issue where you you could tell these capacitors There they are next to some hot items for example over here We've got these two nestled between a resistor and a diode and then a transformer But down here you've got some four smaller heat sinks and then some surface mount capacitors over here Which at this point do need to be checked So I went through you know and looked at a lot of these made sure that there wasn't any because I didn't have any trouble again Go through the software with actually making the adjustment, but you always want to come through here clean it out Make sure that this is all looks good You don't see anything leaking or any evidence that you may have a capacitor fail because again They are in clusters and then behind it the good thing it got me does is they do a good job of dissipating the heat off these boards Right behind that is our main power supply board, which you could tell by the transformers over here and then the large heat sink large Capacitors so that's on the left side as you're looking down from above And then over here We've got a little bit of an interesting design where the flyback is moved up and this was again something that you would see on Barcast, but it's moved up to its own little board and it's set on the side here You've also got a heat sink Some capacitors in case you want to check those a connector and then a lot of those lead into other places that eventually wind up into your CRT socket and that's one of the two Neckboards on this particular monitor. You'll see the second one in a minute and just a quick look here at the back and The here's our yoke rings over to this side of the screen So if you have a purity Adjustments you need to bake or convergence adjustment you can look at that and then you've got your coiled anode cap here and The coming straight out of the flyback and then under that in this section is a Framed out area that's filled with your input boards. These do use an actual Panasonic tube in them That's 700 TV line tube is made by Panasonic and so it's a shadow mass to which just means it curves on all sides and That it has the three Individual electron beams shot now. This is the back of what I was explaining where it had The breakout board that was actually connected to the back of the tube. Well, it breaks out to this board on the back which is a very complex Circuit board involving what you could see six heat sinks and many capacitors surface mount capacitors another This is another board you want to check out, especially if you're having any issues with your color or anything like that You don't want to just leave that You'll want to check it out in here. So thankfully again, there was not really any issues with this board Here's our power input. There's a little fuse jack right next to that again This one was from 2003. He actually had brought three of them in the most recent ones from 2006 So surprisingly it was a monitor that was made well into almost the end of the lifespan of the CRT completely so You could still find these in really good shape or you could find them where they've been used a lot because they were also made In the early 2000s Now let's look at some of the performance on the screen first off I want you to notice one of the coolest features on these ikigamis and most fun designed things are these pullout drawers Which are just a push drawer that pops out and it gives you a nice smorgasbord of Adjustments that you can or you know controls you can use to make adjustments and it's it's much more user-friendly. I think that just the Sony's you know get into the service menu and do it from there It's a little bit easier to use the wheel a little more fun and then you actually have a listing here So you can swap between Right between the adjustments you want to make so if you want to make a horizontal Adjustment and then switch over to a different adjustment. You don't have to cycle through Through for menus like you might in the Sony's service menu You can just switch directly to the next one and it also is accompanied by a very good Service menu with that. So as you make those adjustments, you'll get a digital reading on the screen as you turn those adjustments So just wanted to show you some Screens after we've made some adjustments here and the screens looked really good, but that's what you're going to use is that Wheel and those different adjustments on there very simple Compared to some of the other more complex monitors as far as getting good geometry out of it So I've got some Super Nintendo 240p RGB s pictures behind here and What you'll notice about the The shadow mask especially like for example here on this You kind of see how it has the different dot pattern Then if you had closer pictures of a trinitron where you might just get that one single aperture grill on each line And then instead of just the actual dots that looks more like a shadow mask, which is that shadowed Mask again that the electron beams are hitting and lighting up you know and energizing so you get a good clean picture So that's The majority of the main features on this monitor, you know if you're thinking about possibly getting one of these just Note that you'll want to check like the tube where I couldn't find an actual hours counter in here But I did notice that Sometimes when I get Ikegami's since they are broadcast monitors They can have a lot of hours on them and so the tubes can look washed out now there are some things you could do obviously with adjusting the flyback and adjusting other things that you can actually extend a little bit of that life by Just brightening the tube for the most part But it is something that you'll want to be aware of Again a great 240p and 480i monitor. All right guys, so for the remainder of the show We're gonna have a little slideshow with some extra Shots of some of the monitor repairs as well as some of the other monitors that were in this load that got checked out and If you have any questions about this particular monitor model or any of the other Ikegami's I will link to some other videos that I've made as well as the documents for this one but definitely leave your question below and If I can't figure it out somebody in the CRT community can probably help you out But thanks again for watching. I'll see you guys next time with some more retro content