Hi, I'm Alyssa DeLigarza, Public Information Officer at Cal OES here at our warehouse in Dixon. To help ensure a safe and healthy start to the school year between Cal OES and our partners at the Department of Public Health, we've distributed more than 13 million testing kits and pieces of PPE to California schools. These additional resources will help families stay safe as we continue to battle COVID-19. Also this week, Cal OES hosted a convening of national experts on gun violence prevention. This meeting emphasized the importance of outreach and education to reduce the number of gun violence incidents in California among vulnerable populations. And finally, recovery work is underway in Mariposa and Siskiu counties to ensure properties are free of paint, batteries and visible asbestos. This is the first step in a multi-tiered process to help provide families with a clean slate after a wildfire comes through a community. To see more from us, visit our website news.caloes.ca.gov and follow us on all of our social media channels.


What's going on? How are you guys this Saturday today? We're going to make a quick easy simple garlic oil that can be used on just about anything and For you guys that saw my day of eating last Thursday. I put it on the bread to make garlic bread I put it on the pasta to make garlic pasta and I basted the steak to have a garlic oil steak And yeah, it's kind of surprising. It's taken me this many years to make a garlic oil on YouTube as I'm sure you guys are Familiar with garlic butter and lobster There's so many flavored butters herb butters that people put on their steaks and you know being carnivore for all of those years I could have been making this stuff. So let's take a look at the ingredients we need now The main reason I actually made this was because I saw that Whole Foods had organic Garlic already peeled for only five dollars for just huge amount of garlic and of course you could just take You know the the whole like heads of garlic and just smash them And you probably have some even better flavor you could use so much different stuff like thyme oregano pretty much any spice or seasoning you can turn into a Flavored oil and I'm using coconut oil and I've said this many times on my channel. It's anti-microbial particularly anti-fungal To me it's easy on my liver and I get refined even though there are some chemicals and processes You don't like I just can't stand the taste of regular coconut oil So this is what I've been using and I'm sure many of you are familiar with MCT oil. This is basically MCT oil so we're going to cut open three of these and put it in here in regards to neutral flavored oils This is certainly the healthiest one Obviously any type of animal fat beef towel pork lard is going to have That distinct animal flavor to it even olive oil Sesame oil any of the seed oils are all going to be kind of high on mega six and have way too many downsides So that's really it so we have this on a very low heat and We're literally just going to leave it on the stove for maybe three or four hours And then it should be done as you guys can see our garlic is bubbling away Lightly frying in the coconut oil Some pieces here and there have caramelized the ones that were actually on the bottom of the pot And you guys have to experiment with your stove because if I put this lower The garlic is kind of going to potion the oil and it's not going to caramelize it all in brown and give out those flavors I put this on two or three you're gonna have to keep an eye on it You can't just leave this on the stove top for two hours and forget about it So it depending on how much attention you want to give this will dictate how much you want to experiment with the temperature So I'll give this another hour, and then it should be done. All right. So after about another hour The garlic is actually fully caramelized and we have a really really rich smelling garlic oil So I would say this is about as perfect as you can get it You don't want to go longer than this and you can even go a little shorter depending on whether you want like a mild garlic flavor Or like, you know that crispy garlic flavor So that's really it guys you want to let this sit for maybe a day or two with the garlic in there And then you can strain it out if you really want to or just leave the garlic as it'll keep Continuing to infuse more flavor into that oil So hopefully this gives you guys like a very easy simple way to add a lot of flavor to your meals in a reasonably healthy way If you guys can please drop a like on the video Leave a comment down below Subscribe so that YouTube can unsubscribe you next week and be sure to check that notification bell So they don't notify you of my videos Therefore you guys can go to frank-to-fano.com to support me through all of my businesses Frankie syringe me Frankie syringe foods organ supplements Frankie's naturals Wi-Fi shielding All available at Frank dash to Fano comm. Thanks again guys, and I'll see you for tomorrow


If you'd like to find out which category your personality fits, take this quiz and find out. Number one, what would you say is your biggest flaw? A, being very impatient. B, procrastination. C, I'm a people pleaser. Or D, being pessimistic. Number two, what would you say is your biggest strength? A, I'm rational. B, I'm easygoing. C, I'm organized. Or D, I'm introspective. Number three, how are you with other people? A, dominant. B, friendly and charismatic. C, controlling. Or D, shy. Number four, which job would you like the most? A, I'd like to be a manager in a big company. B, party planner. C, being an artist. Or D, I'd like to be a therapist. Now, count how many times you chose answer A, answer B, answer C, and answer D.


Hi, folks. Welcome. Thanks. There will be no project album in this symposium, so if you want to move down, it's okay. But if my stage dive could be kind of a problem. Anyway, welcome to the Under the Radar Professional Symposium. Thanks for coming. Mark Russell, I'm the director of the festival and your host this morning. And it's great to see you all here. So many good friends, new friends. I want to mention that this symposium is being streamed live today. Compliments of new play TV. Thank you, David Dower and B.J. Matthew and Holly Carl. For putting that together for us. If you are not supposed to be here, i.e. your wife thinks you're in a tractor convention in Ohio. Back in 2005, Oscar used his invite to the festival to be a part of his inaugural season as artistic director of the theater, of the public theater. After seven years, amazing years, Under the Radar is now a core project of the public theater. Oscar's visionary leadership has brought the public to the center of the American theater world. It's a partnership I truly cherish. And it's great to work here beside Oscar and our new executive director, Patrick Willie. It is my pleasure to introduce you two as to welcome Oscar Eustis. Thank you, Mark. Although it shows a really, really poor grasp of history to suggest that I put the public theater at the center of the American theater. One of the things that I'm proudest of about this place is that this place from the moment it started was convinced that any ghettoization of artists was as destructive as ghettoization of people. Sure, Joe ran the New York Shakespeare Festival. I'm proud of the New York Shakespeare Festival. Then he opened this building with hair, the first thing other than Shakespeare he had ever produced. And we're standing on a stage that has been the proud home of nature theater of Oklahoma and the original production of Chorus Line. And then we closed King Lear on a few weeks ago. That wealth and breadth of work is what the public stands for. And, you know, the other thing that I feel like we're going to have to examine thoroughly is the truth value of the name under the radar. This is the least under the radar thing that we do with the public at this point. I think those big pictures in the time sort of make the title illegitimate. What's fantastic about that is the fact that the theater as an art form doesn't believe in walls. It doesn't believe in barriers and it ultimately doesn't believe in people staying in their ghettos. It believes that everything is permeable.  And that Shakespeare and new musicals and new plays with cabaret and experimental work and independent ensembles and solo artists actually have more in common and more to learn from each other than they do by staying separate. And the beauty of having Mark and May in here as core members of the artistic staff of this theater is that that's being borne out in practice from Mike Daisy to Tarell McCraney's work to Gov Squad. There are crossovers that are happening and cross fertilization that's happening between the work that is not primarily based on scripts, between devised work.  I'm sure you argue about it more than I do. But between that work that is not based primarily off of the work of a playwright and the work of this theater, which historically has been, there is a vibrant and wonderful dialogue going on. Nothing but good can result from that. We are honored to have, under the radar, part of the public. We're honored to have you here. We're incredibly grateful to everybody. I'd like to give a particular shout out to the Mellon Foundation. My deep love, Susan, is here today who have been indispensable partners in all that we have done. And forgive me, anybody else I'm sliding, but I'm just, I just got to say good-bye to Susan today. And welcome, and I think this is going to be a fantastic festival. Thank you. For all of our formative years, we were supported as a project of the Association of Performing Arts Crew Centers under the leadership of Sandra Gibson. APAP has a new boss, Mario Garcia-Burham, at formerly of the NEA, and before that the year of the Buenos Center in San Francisco. Mario, would you like to say a few words? Great. To be here among wonderful colleagues and old dear friends, and young dear friends, I want to give a special thanks to you, Mark, for all the pleasure and joy we've had over the years working together on various projects. And now as I take my new role, I look forward to working with you. I also want to thank Oscar and the staff here, and all of you who make this symposium possible. Arts presenters have been a collaborator with Under the Radars since the beginning. And I want to thank Sandra Gibson because I know she showed great leadership in doing that. And we're very proud of this association. And I know that when I was at the National Endowment, it was my great pleasure to support projects like this. And I know we had an incarnation on the West Coast that we supported. So I really love this work. I think that the creation and support of new work is crucial to the vitality of the field and the cultivation of new artists, which I hold to my core as being so extremely important. And support of this work is at the heart of what we would like to do on a constant basis as presenters, making new connections between artists and projects and audiences. And that is at the core of what we do. I hope that you will take the work that you see here and spread it far and wide around the country because in my position at the NEA I saw how key projects like this were so critical to the sharing of new work, new ideas, new thoughts, new directions in the arts of this country. I want to invite you to the speed dating session tomorrow from 9.30 until 12.30 at the Hilton for more conversations. And I want to keep these comments brief so have a great symposium, best of hope and conference. And thank you all for being here. Thank you, Mario. Today's program and the whole festival would not have been possible without the support of people and organizations, many of them. First of all I would like to thank the Andrew W. Mellon Foundation and their continued support of our field. They have made it possible for UTR to flourish and I thank Susan Federer and Katie Turrick and Diane Ragsdale for believing in us. The Ford Foundation has also been instrumental in supporting our work thanks to Roberta Huno and Darren Walker. The Henson Foundation has continued to ensure that my personal puppet habit is complete and for that I am truly grateful. I want to recognize the trust for mutual understanding, the Adam Mikovic Institute, the Polish Cultural Institute, the British Council, Culture Ireland, the Marche region of Italy, the Goethe Institute and the National Performance Network for their support of the individual projects in this festival. And we could not be here without our partner venues. This year it's the Japan Society, thank you Yoko. Here Performing Arts Center and especially down the street, Lomama. Our project partners this year are Performance Base 122, 651 Arts, Shay Wafer and the LaGuardia Performing Arts Center. Thank you for all your support of these projects. There are many more to be recognized and I hope you will take a moment before your shows to look at our sponsors, but if you poach them I will find you. I must recognize the popular and fabulous Public Theater staff, who just as everyone else's season is winding down for the holidays, we ask them to step it up and do 14 shows in 12 days. You will meet all of our amazing interns who have been working on this festival since September. I want to recognize our Legion of Volunteers. These are artists, there are future administrators and probably our future funders. And I want you to meet our new employee Andrew Kircher, who has been our production manager and consultant for many years, but now is an official associate producer of the festival. Andrew, are you in the room? Good, he's working out there. And finally, well not finally, but last not least, my true partner in crime and punishment, Mei Yin-Wang, my associate artistic director, this festival could not happen without her genius. This year at the symposium, we are focusing on our international side. In fact, we've gone all the way over to camp. Thank you, Susan Sontag, and called it the United Nations of Under the Radar. Hence we got a carpet and some flag. Consider yourselves delegates, but this does not mean you get international diplomatic immunity. We are facing a lot of challenges in the US today. Politically, socially, financially. We are headed into a year of presidential campaigns. Before that happens, I thought this was a good moment to examine our own situation through the lens of other countries, many facing similar issues. How are they dealing with the rise of right wing politics? How are they dealing with changing generations and decimated cultural infrastructures? How are they dealing with burst financial bubbles and its interesting, pernicious effect on free speech? Hearing their stories can provide a perspective and clarity to our own struggles. We have a very full agenda. For the morning, we will be here in this room, the Newman Theater. We will not be taking a break this morning or maybe a very short one. If you must visit the facilities, just excuse yourself and our volunteer will show you the way to the restrooms. I don't know if anyone knows, they're down towards Joe's Pub down this hallway. First, we have some reports from abroad, UN style. And I ask each of these artists to address us and tell us about the cultural situation in their country and also to speak about their vision of the future of theater. Please welcome. Welcome up to the stage, if you will, folks. Representing the nation of Italy, the artistic directors of Motus, Eriko Casagrande and Daniela Nicolo. Are you ready? Representing the nation of Turkey, Aika Damgasi and Toshiki Okada. Representing the nation of Italy, the artistic directors of Motus, Eriko Casagrande and Daniela Nicolo. Motus brought us too late, Antigone Contest number two, which happened last year on this stage. It was such a powerful performance and resonated so much with our political cultural environment that we invited them to bring two other performances back this year. Alexis agreed tragedy and the plot is the revolution, a collaboration with Judith Molina. Please welcome Eriko and Daniela. Thank you. Good morning everybody. So we tried to speak about our company, Motus, and the relation with Eriko in our situation and sorry for our broken English, for sure you can understand and know a lot about us. All right. So Motus is a lacking word, meaning movement, transformation, physical motion and also emotional thought. The idea of movement involves all aspects of our independent artistic adventure. We began away from the great production centers that propagate theater in Italy, but at the same time regulated and unfortunately put the brakes on. Now we are both here, me and Daniela. This tofu presence has always been at the heart of Motus. There is continually an interchange of ideas and also the relation sometimes with a third reference with whom we share a privileged dialogue. For the moment it's Silvia Cardedoni, our Antigone. We set out of our theatrical experience united by the love for Samuel Beck's writing for his characters in continuous movement. The construction of the text influenced our own way to sing the stage, always avoiding linear methods of narration. We create hybrid shows that often confuse even the critics. They didn't know where to place us. Is theater is not theater? Good, good question, but just question. We have never liked to be defined or put in a box. For us doing theater has always been a tool of knowledge and study. It isn't market, it isn't show, it's a life. It challenges the established order of things, great fracture, laceration, disorientation, and above all poses questions. In 2000, after 10 years of working in an underground theater completely without subsidies, we left our little real subspace and began a nomadic resistance with a lot of residencies in Italy and abroad and production all over. Always changing the real subspace means that you have to restart each time, build a new house, never on the foundations of the previous one. For each new theater project, it's become more and more necessary to make an exploration trip, to begin work outside of the real-time room to intercept material in the worth of things. I live in things from Pier Paolo Pasolini poem. It is also the title of our latest book about our travels between deserts and suburbs. Always deeper into contemporary junk space to quote Renkula's where you are unsure about where you are, unclear about where you are going, and the place where you were has already disappeared. The model stand animates us is movement, no escape, but openness to the unexpected. Let's reflect a little. The villages and migrations lie at the origin of the entire history of the West, like those of Ulysses who left family and friends behind to begin an endless wandering. And Antigone herself leaves the palace to follow her father, Edipus, on a journey without destination toward Nurpan, as Ari Bouchot writes in his verifying book, Antigone and Edipus are welcome and given hospitality everywhere today. Today they rejects illegal immigrants subject to the law of zero tolerance. Openness to listening, to welcome the outside, the other, is more than anything else, a prerogative of the artistic world. Someone described our theater as art of the outside, which doesn't mean to represent, rather to present itself, to offer itself, and we will add with joy. Gilles Deleuze defines joy, a sort of trampoline, that helps us through something we might never have overcome. He uses a great metaphor about learning to swim. Being unable to swim means that you are at the mercy of the wave. The wave can drag you away, overturn you, but if you dive into it and emerge at the right moment, you can use its momentum to go further. There it is, in this synchronicity of movement with the outside lies a possible representation of artistic freedom, similar to the passion of a love. A passion which we found in the Greeks, people, and which is perhaps being arose again in Italy, we hope, really, now. In exactly a quarter in Athens, we respect that the only way we have to avoid pain for the crisis is to get out of the classic scheme of protest. To become ungovernable, to ourselves becomes their crisis. And this is also true for theatrical language. What's going to happen now? The last question in Alexis, our performance. On stage, the clears that in her view, the key lies in words she saw written on a wall in Athens. We come from the future. The ongoing revolts in Greece, the uprising in North Africa, which are spreading all over, means that the presence of an extended and critical mass of young people, including artists, I hope, is decided to wake up and shift the axis. They stand in the future because they are the future, a future which actually and all well paint in oblique shades, but may it have some surprises stored. And it's precisely the images of the future, including Utopian ones, that we are dedicating our upcoming project, Making the Plot, a very tough challenge. But it's exactly, exactly when Utopia becomes unimaginable that it is necessary. Thank you. So, representing Turkey is the actress and producer. I'm tearing up her name, but she'll have her say it with, Aicha, who is bringing us Ozan Yula's Lik But Don't Swallow. Aicha is a film and theater actress in Istanbul and a producer. Lik But Don't Swallow is one of the most humorous and provocative shows in this festival. Please welcome Aicha. Hello, everybody. Of course, it's a big, big, big pleasure to be here. But first of all, I want to thank you, the playwright of the display, Ozan Yula, and the very talented directors, Birikan, Melis Tezgan and Okan Urun, and to this very beautiful festival under the radar, who believe us, who invited us here without their support and invitation, we won't be here. So, I would like to thank these names, these people, very much because if they are not here, we won't be here.  So, like, more than 70 people, people living in Turkey and we have, you know, borders with Iraq, Iran, Syria, Armenia, Greece, Algeria. So, we're in all with their issues. And more than 10 different languages spoken in Turkey, like Turkish, Kurdish, Armenian, Greek Orthodox language, Greek language, Arabic. But in the constitution, it says the official language of Turkey is Turkish. And under the circumstances of the Civil War, since 30 years, many have been killed or had to leave their home. And more than 16 millions of people are under poverty line, poverty line. So, you can hear variation of atrocities every day, but also since couple of years, every day approximately five women are killed or beaten by their husbands or by men. And more than 60 journalists have been arrested and hundreds of academicians have been arrested lately because of the cooperation with terrorist organizations, whatever. So, the army is bombing civilians and children. And, yeah, this is the picture we're living in.  In Istanbul, in the capital of Ankara, in Izmir, a few big cities. But for the rest, for the rest, I must tell that there's a huge gap, huge gap between those cities.  I mean, like elsewhere in this world, there are mostly two main streams. The one, the government and the national theater and the municipalities theater, which is supported by government and local government, which means you can have huge productions with high costs and all your actors are being paid monthly as government offers. And they have to accept the given vision, whether they like it or not. So, they exist in a convention and they always have the guarantee of audience. And so, their reperteries are generally classics and even when they say some contemporary plays, you can sense a convention in order to reach more public or you can see more public morals in these things. Well, regarding private theaters, some of the lucky ones, they get subvention from the government regarding to their age and prestige, but these monies are really, even not enough to cover one production or less. So, the little groups, which I'm a part of it, who are staging more open in place, which are usually stuck in the basements and in some tiny roof floors, has the most potential of course and of course they are the pioneers of, I think, Turkish theater. And of course they suffer the most because lack of money and for example, and there's another thing, if they really want to sell their productions, they usually promote for an eligible minority and make an in-your-face package. And of course the actors earn doesn't any money, they have to work in other jobs and mostly in TV. And of course, this is another crisis for actors because TV people even don't like actors who work in theater because they always have rehearsals, they complain. And in Turkey, so yeah. In Turkey, the donation or the support kind of networks or they're not powerful as much as US because people have other fundamental priorities like living and eating. So they don't have the common idea that art is a fundamental need of societies. I must admit that. So this is briefly the political and artistic picture. I don't want to make generalizations but this is how, what kind of darkness I am living in. So after this, after many years, I ask myself really, really who for whom we are doing this business sometimes, I ask myself. I mean just, I'm quickly skipping the answer to be able to express ourselves, to be able to have a space of course, but who are the people coming to see our shows? I mean, if the audience are the ones more or less sharing the same political perspective or the people almost from the same socio-economical class, it means we're making a little glass managerie and let's say a solidarity field in these tiny rooms or basements. I mean, but how we can go, how we can move forward than that. I'm really after this question because do we still have the desire of changing things in this world or is reflecting is enough for changing? And I think globally we're in the age of consumption with these isolation cell kind of life models. We are watching massacres, genocides. Also we're after big entertainment shows, porn movies and in the middle of these extremes what kind of theater we should be after? What is the form or what is the context? And actually while we are preparing Lick But Don't Swallow, we were all moved by these ideas. I mean, our really aim was to rock the same socio-economical background of people like us and to make a very humorous and provocative play. I mean, in a way, kind of negative print of the middle class people who doesn't want to change the world but eating pizza, talking in front of TV and watching these war embedded journalists, whatever. So, but unluckily, some of you know or some of you don't know, we bumped into a huge conservatism because of the subject of the play. The Islamic newspaper attacked us and targeted us and it was such a shame. I mean, because the people who really wanted to attack the theater, the theater we're going to perform, they are the people we were interested in their stories. They were the people who were helping us to carry the props to theaters, you know. But then you see they are your enemies. That was such a shame, I think. So how we prepared the play is we had zero money. I mean, we rehearsed in a very, very strange bar in the coldest season with a few eating and we had to wipe out the trash every morning but that was okay, we worked like this. But in the young theaters in Turkey or the radical theaters, I observed something to put up yourself sincerely and really in a sincere way is an uptight problem. This is also because of the totalitarian military structure in the Turkish society and system. But also, I think it's also a little bit West and East issue because I think it's a big habit to import from West since more than 100 years for Turkey. I mean, instead of exploring and sensing what is really going on in the collective memory or the communal subconscious of the society, theaters import formats, for intakes like this in your face, they don't judge whether it suits their own imagination or their own needs. So I think confrontation is a very, very important word or a move and societies and artists who's not willing to lens themselves will witness their annihilation. This is what I believe. And another question which is really on my mind since a long time, how can theater run out on streets? We can easily say that in Turkey there could be at least 50 millions of people who never saw a theater play in their life, at least, so maybe 60. So, I mean, how can we reach the shopkeeper? How can we reach to this bail seller? This is on my mind. I mean, you can say I do high art, it doesn't interest me, okay, I accept this, but today, I mean, in order to create a feast, or a katharsis or a karnamalesk, what do we do? We only go to a little tiny rooms, dark rooms and share our ideas with 50 people. And is that it? I ask myself. So, even let's say a feast example in New York, I saw in Gay Pride, it become really commercial because you see fences, borders everywhere, you can say there's a free speech, but I think there's a series, series categories and restrictions in the US, I can see this. I mean, so, also another thing, which provides as a space, the International Theater Festivals, I think this interaction is very fulfilling, inspiring, it moves me along, really. But then, I see artists start to think you can find yourself in a position that you create for these festivals, so you start to sell your work. Then again, I ask myself, what is the function of the International Theater Festivals? Is it going to be in a protected area of a question for an exclusive minority? Or is theater is a feast that you can search and unite with your comrades for more? Really, I am looking for this answer or questions. How are we going to find inspiration to move on? I mean, how are we going to find the producers to believe us? Actually, in Turkey, there's not such a thing called producers in theater. So, if you want to create something, you have to be the producer. There's no other. I mean, yeah. Maybe I pictured you a very dark tunnel like the Kafka, Kafkaist way. But for me, really, theater people should consider they are the shamans, they are storytellers of modern times. And theater people are the ones who feel the zeitgeist, the spirit of time, who they feel the massacres, genocides, the atrocities of their age and the collective memory of the universe. I mean, because the final level of becoming a shaman is to see that this big dream, you know, in this big dream that all your bones will be apart from each other and then reconstruct in your new spirit. So, I can see no other way than deconstructing ourselves, being critical, merciless to our beliefs, ideologies, the aesthetic forms that we constantly fathom and turn our performances to a Dionysian celebration. Thank you. One of those, the USIA, I think that's the agency that came and she went where we, they try to have artists from abroad learn about America and how much better we run our heart. And anyway, after about our short interview, she gave us a little DVD and we went back and popped it in our player that we have between Megan and I. And before she left the building, we were on the phone to find her and bring her back. So, I'm so happy that Lick with Don't Swallow is in our season. Representing the nation of Japan is the writer and director, Toshiki Okada, who opens hot pepper, air conditioner and the farewell speech at the Japan Society tonight. Toshiki is a true visionary theater maker and I'm very honored that he is able to be here today delivering his speech to us in English. Thank you very, very much. It's great honor to be here and thank you for inviting us and our show to the end of the later, Mark. Thank you. What I'd like to tell you today is about how I have observed the current Japanese situation of Japanese theater and how I think it should be changed. This idea was so influenced by our experience of the recent disaster happened on March 11th in last year and consequent catastrophe and political disorder. Japanese contemplative theater is now struggling how to relate itself to the society. In other words, contemplative theater is now being required to contribute to public interest, no matter which it is about intention or other result. I expect that Japanese theater makers would do their best to look for the way to realize it. I have to say that Japanese theater has been lazy to make connection itself to the society and also have neglected to be conscious of public interest. I think because nobody has cared if theater makers are conscious of society or public interest and also because nobody has requested them to create a piece which has value to contribute to the society. As a result, almost all artists in the generation or younger have never had been seriously conscious of such a problem. But it doesn't make sense anymore to think it's okay to be politically ignorant just because such ignorance has been the standard for a long time. Because of such a peaceful society, we Japanese theater makers have kept our mentality ignorant of interest to social, political and public interest. The public states however the change of current mentality is required to take place. It was provoked by the disaster. Japanese theater makers can no longer be indifferent to the potential of their work to connect to the society. It is a very unfamiliar situation for us. We never be conscious of such the issue ever before. There are two options ahead of us. One is venturing to explore a way to contribute to public interest. The other is not reacting to this situation and the distance oneself from unfamiliar to Italy. I believe Japanese theater should take the former option. We are required to change and develop the idea about the public interest. Even if the disaster or nuclear catastrophe had not happened, there's such a change it necessarily. The society of Japan does not have much idea of public interest. We theater artists are remaining to be unfamiliar to think about contribution to public interest. While we are getting public support it is quite weird situation but this weirdness is the reality of current Japanese theater industry. It is not the reality of current Japanese theater but also of current Japanese society itself. But let's confine the topic to the theater here. It is a disease to leave this weirdness as it is and it is impossible to have such situation as it is. It's time to damp the notion that change is impossible unless artists imagination or younger start developing the idea of contribution to public interest. The situation would never change. I hope it must be realized. I hope the disaster has worked as a crucial trigger for it. If we cannot utilize this opportunity to change ourselves we would never excuse ourselves. The fact that we neglected the idea of contribution to public interest is the negative things. However I'd rather try to look at its positive side as the negligence is now giving our generation the opportunity to start from scratch to build up the idea about the issue of theater's contribution to public interest. If we do it well we can even develop our own way to connect arts and society close together our own way which is not only different from the one maintained in Europe but even with stronger persuaded power. Thank you. So that was going to be the end of our program but there was this sort of e-mail campaign and I had to expand the public addresses and so under duress we've put in this project representing the puppet nation is Moses and his hopeful entourage a blind summit from the UK blind summit is known for the puppetry in Madame Butterfly the Metropolitan Opera and their own inventive shows the table which is at LaMama for only three or four performances now won several fringe awards at this year's Edinburgh Fringe Festival please welcome Moses. Just extreme puppetry puppetry today the state of puppetry of course is a small country in the former Soviet Union just recently released I could tell you all about the history of the country the formation of the country in the early 1100s by an invasion of the Chinese hand puppets the terrible massacre of the Marinets in 1605 the dark ages ushered in by a period of shadow puppetry read about the state of puppetry there is more to look at the what has made we're currently in a fashion puppetry is sort of fashionable at the moment and I want to think a little bit about how that's come about and how we make sure that it continues make sure that it's a firm it's on a firm setting so an example I want to talk about something I only recently heard about from the 70s I believe the dead arm problem the dead arm problem it's not something I've heard about until quite recently as you probably already know I am a three man operated Japanese bunraku style tabletop puppet with interchangeable parts that means I'm operated by three people I live on top of a table and I can change all my parts oh yes madam you're a puppeteer you want to be a puppeteer? yeah I know you'll come be a good help you can certainly practice normally I'm a bunraku puppet B-U-N-R-A-K-U from Japan three let me introduce you to the puppeteers I'm not actually live actually that's fairly obvious I'm not actually alive this is just an illusion of life I can easily be dead or not alive it's a limited to language that you're talking about so the three puppeteers Mark here is holding my head Sean is on my right hand and Nick is on my feet improvisation essentially there's some unpredictable as it happens following three basic principles focus, breathing and fixed point first of all focus there is two parts to focus what I'm looking at for example what puppeteers are looking at if they look at me I am in focus if they look up it's fixed point now this is a little harder to explain with the wall the best way to demonstrate it refers to puppetry it's just to show you it wrong so this is no fixed point it looks pretty cool but it's unrealistic essentially and of course it creates a feeling of no gravity yes hello do ice skating in snow running man on a running machine very good okay okay all using fixed point breathing now breath has four parts I breathe in I hold I breathe out every anywhere hold so I'm able to breathe such life life walking movements singinky okay focus breathing and fixed point this is how the illusion i lusion of life if created in what is essentially a carnival bolt in a pair of curtains essentially its these three puppeteers I'll demonstrate the dead arm problem, which is a problem I heard of later, which is essentially operating a free man puppet with two men, or all ladies. I heard of this recently called the dead arm problem, and essentially it's a man power problem. It's an underfunding issue, which is where I am actually leading, because essentially I think one of the reasons for the popularity of puppetry in recent years has been the proper fully manpower of the puppets. And we see this in some very successful shows in this town, in London, and all around the world, involving lions, horses, and the furry animals living on the streets. And essentially what I think is very important is in order to maintain a good standard of puppetry, and to keep it popular, and to keep it able to develop the art form, we need to invest and continue to do everything we can to encourage the performers, the puppeteers, to take it as seriously as possible and be able to do the work. And that brings me finally to just say thank you to under the radar, because essentially it's festivals like this inviting us to come and do these ridiculous things that we're doing, and encourage us to keep experimenting and trying new things with puppets. Thank you very much. Have a great festival. Try to get the files from these folks and put them up on, so you can read them on the under the radar website. And now it's time for a very short break. Coffee is still in Joe's pub. I want to see you back here in 15 minutes. Thank you very much.


So let me introduce myself first. My name is Josef Eris. I work in the Institute for Applied Economics Research in Brazil. It's a governmental institution, linked to the Ministry of Planning. And Ipeia is the acronym, and we act like a think tank for the support of policymaking. And this work is joint work with a colleague called El Stato Reis and a student in Minas Gerais called Paulo Araújo. So, first of all, what we call ENSO events. In fact, ENSO is just an acronym for El Nino, Sulfur and Oscillation. So it's a climatic event that is about a quasi-periodic distribution of heat across the tropical Pacific. Maybe it's one of the most important coupled ocean atmospheric events that has an impact on the internal variability of climate in the global level. And it can generally, in a very, very informal way to describe it, it can be divided in three phases. So we have what we call an El Nino phase. It's when the sea surface temperature in the Pacific Ocean is above the average. So there is classification that was proposed by the National Geographic and Atmospheric Administration from the States. And every time that's the average temperature of the equatorial Pacific, it's above half degree of the historic mean. We call this El Nino phase. El Nino phase is the contrary, like when we have cooler temperatures than the average in the Pacific. So when this happens, like when it's below less 0.5, so there are cooler temperatures, we save that here in El Nino phase. And when the sea level temperature is between these two thresholds, we see this neutral phase. So this is a kind of life cycle of Ancel. And so we just keep changing between one phase to another. There is some regularity on these phases. And the problem that these Ancel effects, like they have impacts worldwide, and in Brazil they are quite important and we have very different regional effects. So these are the two most affected regions in Brazil with the Ancel events. The Northeast region is the poorest part of Brazil. When we are in an El Nino phase, like warmer waters in the Pacific, we have severe droughts there. So we have lots of socioeconomic problems, migration, because of these severe droughts are in an arid zone. And when there is a La Nina phase, it's exactly the opposite. Like we have increased precipitation, heavy rains, and so El Nino produced a lot of extreme events in this region. On the south region of Brazil is exactly the contrary. Like during El Nino, what we see is increased precipitation, like it's the contrary of what happens in the Northeast, and higher temperatures. And during La Nina, we have severe droughts. So this impact has a lot of reflections in the agriculture production. And so what we try to do is to evaluate it. Just to take a look of the general patterns of what happens in these different phases here, in the first column here you have the average precipitation and temperature in the neutral phases of the Ancel cycle. So we see like when we compare the neutral phase, the first part here is precipitation. During El Nino phases, like here in the 80s and the 90s, we see that we have a decrease in precipitation. And during La Nina, we have the contrary, like an increase in precipitation in the Northeast. And we got in temperatures, like temperatures increase during El Nino and they decrease during La Nina. So just to show up a little bit the general patterns of what happens during El Nino and La Nina. So just to also give an idea of the impact that is in economic terms to agriculture in Brazil, like during one of the most severe El Ninos from the last century in the 82-83, in the south region there was a production loss of more than 5 million tons. And that corresponds to approximately 45% of total regional production. And during the El Nino, in 97, 98, also we have production loss of about 3.5 billion reais, that is about 1.7 to 1.8 billion dollars and more than 15 billion tons of agricultural production losses in the Northeast. So what we tried to do in this paper is to assess the impact of weather-related ensue effects in the agricultural productivity in these two regions that are the most vulnerable to ensue effects. So our methodology was based on a three-stage approach. So we developed an empirical model, an econometric modeling approach. So we divided it like just to give an idea of the modeling. I will not go very deep in the details, but the first stage, we want to isolate the effects of El Nino on the Brazilian climatology. So what we do, we run regressions to assess the relationship between sea-surface temperature in the Pacific and climatology in the Brazilian municipalities. So how the temperature in the Pacific affects temperature and precipitation in the Brazilian municipalities. In the second stage, we propose the reduced form equations to assess how the productivity or the agricultural yields are linked to this temperature and precipitation. And in the last stage, once we have estimated the parameters of the first two stages, we can simulate what are the effects of El Nino and El Aninha on agricultural productivity. So this is very, very broader speaking our methodological approach. So just to give some more details about how we can really isolate and identify the effects of El Nino and El Aninha. So the first stage is about how the effects of the temperature in the Pacific on climatology in Brazil. We adopted what we called a spline function that is a piecewise linear function with respect to sea level temperature. So just to give an idea, like here, the dependent variable is weather. It can be, for example, temperature during summer, temperature during autumn, precipitation during a certain season. And the modern approach here is to consider like the hypothesis is that the sea surface temperature anomaly in each phase has a different marginal impact in weather conditions. So here, for example, is an indicator function to see that if we are in El Aninha phase, the marginal impact of the sea surface temperature on precipitation or temperature will be better one. If we are in a neutral phase, the impacts will be better too. And if we are in an El Nino phase, the marginal impact of changes in the pacific temperature will be better free. So this was a way to try to distinguish between the effects of the free phases of Enso effects. So the idea here is just to use a spline function to account for this heterogeneity of the impacts. We also consider that it depends on the sea surface temperature in the pacific contemporary and also a lagged one. And let's leave it to account for the geographical factors because all the impacts are quite heterogeneous, depending on the region we are. So we put some geographical information with cross terms with the temperature level that there is a cross term for latitude times sea surface temperature and longitude so that we can allow for heterogeneity of impacts depending on the region we are considering. And lastly also, there is a fixed terms effect here to take into account any unobserved characteristic of the municipality that can also affect the weather. For example, topography, depending if you are in a higher municipality, let's say it's very high, or you are at the sea level. Well, the second part, we have the relationship between agricultural yields like it's just production by actor and that depends on temperature observed in the municipality and precipitation. So we introduce linear and quadratic terms to account for possible nonlinearities between weather characteristics and yield and also a time trend to account for unobserved, for example, technological progress since we estimate this for the period 1907-2002. And also we introduce seasonal temperature characteristics as you'll see in the next slide. Well, and once we have these, we can simulate and evaluate the effects of the expected changing yields due to our NINU and due to La Nina. So what we do? We just simulate the expected temperature in our NINU, the first phase, no less the expected temperature during the neutral phase. And so we have, for example, the temperature of the precipitation variation attributed to El Nino range. And since we say that the yield responds according to gamma, so we just use these gammas to see how yields will respond to the variations attributed to El Nino and to La Nina. Okay, so that is the simulation strategy that we use to identify the El Nino and La Nina effects. Okay, this is just to, of course, this is more in detail in the paper that is in the website, but here, so we have here, for example, like the first stage, we have the dependence, for example, precipitation summer in autumn, winter, spring, and how this is affected by each ensue phase. So we have here, for example, anomalies during La Nina phase, anomalies during neutral phases, and El Nino phase. Then we have our second stage that we have, we know how different temperatures and precipitations affect the yields for each of the important crops in Brazil, so corn, sugarcane, beans, and manioc. Okay, so we get all the parameters in the first and the second stage, and we finally simulate. So I'll go straight to the simulation. So this is the results for the Northeast and also after for the south of Brazil. So what we see is the average productivity observed in Brazil, and this is the reduction in productivity, like during El Nino phase, and we see that in Northeast, like the most important reductions, it's in corn and bean. That no, this can be like a 50% reduction in the production of these two crops, and the sugarcane and manioc are less vulnerable, but anyway it's a 5% reduction that is quite significant also. So this is most attributed to reduction in precipitation that we find in the El Nino phase. On the other hand, in La Nina, we don't have so much impact for sugarcane and manioc, but we have significant impacts for bean production, okay? And these numbers are particularly important in terms of socioeconomic impacts because in this region office, most of the household farmers in Brazil are located and they are specialized in corn production and bean production. So like they are the most affected ones. So this causes really lots of socioeconomic problems and migration and all the other problems. So we have some maps to show, like most of the impacts, I will not have the time to pass through it, but normally it's in the south of the region, it's in Bahia, Salvador de Bahia and Bahia region. And so we have losses, like most in the south, and this is the most productive area also. So like the most productive area in agriculture in the Northeast is the most affected one. Okay, we have the same thing for El Nino, this left side is El Nino, like the blue side, the blue, it's not as bad, sometimes it can be even a small gain, but when it's red, it's really a more important losses, okay? When we go to the south, we see on the contrary that La Nina is much more harmful than El Nino, like for most of the crops, like so you see here that in the years of La Nina, we have reductions varying between 10% of the average productivity to 85%. Like you almost collapse all your wheat production in the south of Brazil, okay? And El Nino, no, the main problem is soybean, also that's very important for Brazilian experts, and we have very important impacts in terms of soybean production and the south region. And so the most affected region is Rio Grande do Sul, Porto Alegre, and it's the most vulnerable state and one of the most dynamic in terms of agricultural productivity also. So we have also the same kind of maps that you can consult in the paper. The red parts are the most affected ones, the blue ones are the least affected, okay? So here in the extreme south of Brazil, it's affected by droughts during La Nina, okay? And so like what we conclude from the papers that as we expect, there is very important regional impacts in agriculture production, especially when we are talking about water-intensive and rain-fed crops, because the most problems of El Nino and La Nina is associated with precipitation, okay? So we identify a need to invest in irrigation methods and also like to increase the modeling capacity to project what happens in El Nino phase, okay? And also for further investigation in order to account for the benefits in adapting by irrigation, we also want to make the same model but to see the impact between irrigators and non-irrigators, how they... So how irrigation can be used as adaptation strategy. Thank you.


I'm Rusty Kamori and this is Beyond the Lines on Think Tech, Hawaii. I was the head coach of the Putahoe Boys varsity tennis team for 22 years, and we were fortunate to win 22 consecutive state championships. This show is based on my books Beyond the Lines and Beyond the Game, which many people find inspiring and motivating, and helps you keep the right mindset in dealing with life's challenges. My special guest today is a first-time candidate for Senate in District 25. She is Christina Kim-Marshall, and today we are going Beyond Politics. Hey, Christina, welcome to Beyond the Lines. Welcome, Aloha. Thank you so much for having me. It's such an honor and a pleasure to be on your show this morning. Christina, tell me a bit about your background growing up. Yeah, sure. My family's been in Hawaii since the 1960s. My grandmother on my mom's side is from South Korea, and my grandfather was a contractor in Korea during the Korean War, and he met her there, and he was also a pilot. So growing up, my mom would go to Japan on an airplane to get a doll, and even when they moved to Hawaii when she was about six years old, he used to fly out of islands, and that was really fun for my mom. And my dad, he grew up in Northern California, and he moved here when he was a teenager, but his grandfather was a big contractor in San Francisco and built homes for celebrities and laid some of the original sidewalks down in San Francisco. And my grandfather's sister, my great aunt, was friends with Walt Disney. So sometimes we would go to her house in Newport Beach during Christmas and just watch the boats, and family was always a big thing for me growing up. And in Hawaii, I went to Kameke and Kaiser High School, so I'm a public school graduate. I also went to the Scheidler College of Business and studied economics and international business. I was also recruited by the CIA in college, but I chose to stay at home and serve my community here. Wow. And Christina, Walt Disney, that's a great friend to have. Yeah.  But my dad, he used to be able to go to Disneyland whenever he wanted because of his aunt was friends with him. So Christina, you have a beautiful family, you know, and you have a sister. And tell me about how your parents met. Oh, sure. Thank you. Well, it's interesting. They met when they were around 20, they were disco dancing with their friends at the Sheraton Waikiki. Apparently, my dad says that my mom was quite a disco dancer, which really surprised me. But, you know, they had a lot of fun, you know, when they were dating before they had me and my sisters. Oh, that's interesting to hear. I like hearing that. And Christina, I know that you participated in a pageant before. Tell me about what pageant it was and what did you learn from that experience? Yes. Thank you. Well, when I came back from Japan where I studied abroad, I was introduced to some pageant directors and I never thought I would compete in a pageant. I was pretty shy. But I competed in the Miss Universe system and the Miss America system. Oh, there I'm pictured as Miss Oahu. And I had the platform of, because community and public service is very important to the pageant systems and, you know, it gives depth to the candidates and, you know, it shows that we care about our community. And my platform was helping homeless families with children. And I would volunteer at the homeless shelters and in the tent communities, bring food and clothes and, you know, I would go in groups and we would, you know, play with the kids, talk with the families. And I've spent Christmases at the Next Step homeless shelter making dinner for the homeless families, bringing wrapped toys for the children. And it's always been a passion for me to serve others. I know that you do a ton of volunteer work and that's very impressive, Christina.  Yes. What's the reasons? What compelled you to want to run for office? Yes. Thank you. I have a question that I get asked quite frequently because it is, it's like jumping off a cliff going after an elected office, especially if you've never run before. It's a big task and I feel so honored to have this opportunity because I'm learning and growing so much. But I really decided to take this leap of faith and jump off the cliff to run for office because I saw a need. I've been seeing that all of the major issues in our community, the homelessness, the cost of living, the public schools, lack of affordable housing, they've all been getting greater and not worse. And in fact, before COVID, we had the second highest homeless rate per capita in the nation after New York. Our public school system gets the top third funding in the nation, but we have the bottom test scores and quality as far as the rankings. We're ranked about 45th in the nation and our cost of living is extremely high. Our cost of goods is about 30% higher than the national average. Our electricity is about 300% higher than the national average. And there's just a big lack of affordable housing as well. And there's so many promises of these new projects, like condos in town that promised affordable housing. But when we look at the details, it's not really affordable housing. It's more of a facade. So I really think we need to be responsible with the issues that hand and tackle those and not be distracted. Like I feel that our government has been very distracted by side projects and not focused on the main issues that our community is concerned about. Well, Christina, you know, a lot of people tend to, you know, talk and complain about problems and stuff. And you're trying to create action.  It's very impressive that you want to do something about it. You want to try to improve Hawaii. Yes. Tell me, and I know you have a lot of supporters and tell me about how the campaign experience is going for you so far. Yes. Thank you, Rusty. I'm so grateful for each and every one of my supporters and every hour and minute they give me of their time and encouragement. Because campaigning is a 24-7 task.  I think live and breathe campaign life and my supporters have been kind of like the lifeblood of my campaign. They're what keeps me going and they inspire me and they help me so much. And yeah, they give me whatever extra time they can and their skills. Every individual has unique skills and abilities. And you really learn to value everybody for their strengths when you're running a campaign because that's where you get the most help when people can offer what their strengths are. Well, Christina, that's very impressive. I mean, campaigning is tough work. And I know that there was a parade for you. Can you tell me about that? Oh, yes.  But she told me a couple of weeks ago, Christina, you see all these conways and parades around the island for different causes. You need to have one for your campaign. I was like, okay, that sounds like a lot of work to coordinate. But I think that would be a great idea. So I was calling and texting and finding people. There's me in the convertible. People that'd be interested in helping with this. I thought it'd be so fun and a great way to be in front of the voters and the residents in my community because we can't really go door to door right now because of COVID, unfortunately. So campaigning this year is unprecedented because we can't meet everybody face to face. But yeah, during that parade, I wanted one convertible to sit in the back. So it'd be easy for people on the side of the road or in their cars to see me and I'd be able to connect and wave with them. And then I ended up getting three convertibles. So that was really nice that I got what I wanted. And it was a lot of fun. So we drove, we started in Enchanted Lakes and then we drove all around Kaila Loop. Then we drove in Kailua around Lanikai down to Kalaheo High School and through Kailua Town. We drove through Mauna Wale. Then we drove all the way through Waimanalo. Then we drove to Hawaii Kai. And then we drove through the shopping areas in Hawaii Kai as well. And then we came back to Waimanalo, but we drove through Sandy Beach first. And there was a lot of really encouraging, happy, energetic people along the way. And we were out for I think two and a half hours in the midday sun. So it was great. I enjoyed it so much. Nothing wrong with having three convertibles. That's for sure. And Christina, you definitely go beyond the lines. In my books, I talk about making an impact, you know, having the power of choice, but also leadership. What do you, what do you feel the best leaders do, Christina? I feel, yeah, I just want to mention, I think that's so amazing that you're author of multiple books and that you're so inspirational and you're a great leader. I think that a great leader shows respect to others, treats everyone equally and listens to people. I think a good leader is a good team player and they make everyone feel valuable and special. And the first of all, a good leader needs to be able to lead themselves. So if they can, you know, take care of theirself and handle theirself in a respectable manner, you know, that will, you know, go down to the rest of the team. But a good leader, I believe, is a good team player. I like hearing those answers there, Christina. And let's get into some of the issues that's important to you and our community. What are your thoughts about rail? Sure. Well, I've spoken to someone who knows a lot about engineering and the rail. He's a professor at UH, he's an engineer originally from Athens and he has shared to extent that rail is not a good idea for Hawaii and I feel the same way. We've already spent $9.6 billion on the rail. It was supposed to be $1 billion, then I think it was $3 billion, then it was $4 billion. Now we're at $9.6 billion, they want more and more money to go to Alamoana, but I don't think it's really going to bring the solution that people want, which is to reduce traffic. Because people think, well maybe other people will ride it, but no one I know are saying they're going to ride it, plus the rail needs 100,000 riders per day to break even an operating cost, otherwise they're going to have to subsidize the operating cost with taxpayer money. So also to maximize the ridership in the rail, they decided to take out all the seats. So there's no seats in the rail, which wouldn't make sense for Alamoana children or elderly to ride. As far as I know, they still have no plans of installing restrooms at the rail stations, which doesn't make sense either. And I believe that if anything, we need to stop it at Middle Street because at least there we have the main bus station, the bus depot. So people can get to Alamoana or to Waikiki on these express buses from Middle Street because we have the big transit system there. But if we go to Alamoana, it's really going to be a nightmare for so many reasons. And if the rail went double over budget through the cornfields on the west side, it's going to be three or four times over budget through the urban core of Honolulu because we're going to be messing with and having to dig up the lava rock foundations of all these high rises, the electrical lines, sewer lines, all of that. Plus we saw what happened when the rail was doing construction through the Pearl City, Pearl Ridge area. All of these businesses were really suffering, losing business left and right. And they were going after the state to get more money, their lost income. So I don't think that that is a good solution. I like hearing your insights and I was thinking about it too and I was just thinking that maybe the rail should end at Aalapark because at least you get to the edge of downtown and then from there you can take the bus or whatever. But man, the increase in cost is crazy and I want to ask you this, Christina, what are your ideas to revive our economy? Yeah, thank you. Well, I think that first and foremost, we need to be responsible with the funds that we have. We need accountability and we need to sit down and look at the budget and we also need to find all of the missing monies in slush funds that are kind of like black holes because there's a lot of special funds people don't know at the Capitol where exactly the money is. Plus, I feel like our politicians have just been spending money left and right like it grows on trees and I don't want to say, well, they may maybe think that because a lot of our politicians have gone to private school and Ivy League colleges and nothing wrong with that, but I think that someone made this analogy like if we have the money to only go to McDonald's or make spaghetti for dinner, but we're going to Ruth's crisp for dinner because that's what we want. That's not being responsible or frugal with our money or living within our means and then it also goes to investing in the rail $9.6 billion already when we're short on licensed mental health professionals so my opponent's solution to that is, oh, we're short on licensed mental health professionals, so we should just release these criminals that have committed the felonies onto the street because we don't have enough mental health professionals to take care of them, things like that, and with the public schools and the homeless issues, I mean, it's insurmountable. We need to focus, laser focus on what's important and also I think that we have a lot of room to grow for technology. I was speaking with one of my economics professors who's been teaching economics in Hawaii since 1975 and he was talking about how Hawaii has tried to diversify through economy through agriculture, but because of economies of scale and how much it costs to export, we've had limited success with macadamia nuts, cocoa, cacao, chocolate, and coffee. I think it's great and important for us to increase our food security through agriculture because we import 90% of our food and at one point the Hawaiian islands was self-sustaining in their food and they had just about as many residents as we do now but we need to think outside of the box. We need to be innovative and I love your show's name, think tekawaii. We need to keep our talent here and we also need to create more talent. And I feel like where I know knowledge is power and knowing that our public school system is ranked 45th in the nation in terms of test scores and quality and UH Canada shows that about 70% of the public school graduates in Hawaii need remediation in math, English, science when they go into the University of Hawaii schools that shows me that we're not preparing our local kids for college, not even the local university let alone trying to go to a mainland university that most of them are harder to get in. So we need to encourage creativity and innovation in our local people and give them the freedom to create and to grow our economy because that's what it takes. It takes smart, intelligent, brave, creative people to grow our economy and I think that's what we need. And I'm like Rick Bland, you already have said and I admire him on his interview that it's not all about me. Like I have a team of people that are very intelligent and creative and innovative around me to help me create ideas and brainstorm and support me while I'm in office. And I have good friends who are doctors, nurses, very successful business owners in Hawaii, economists, just all kinds of people who are just wonderful and of course family people and people that help the homeless too. So it's just a wide variety of people that I have as well pouring into me that I know that we can work together as a team to make Hawaii and our community a better, healthier, thriving place. Christine, I like hearing those ideas from you and I want to ask you this.  Sure. Definitely my parents' divorce was a big adversity that I had to overcome as it probably is with most young children, but the family is a place where a child gets their identity, feels stable and secure and is able to grow and thrive. And when that foundation, I want to say, is disrupted, then a child's internal kind of radar and identity are thrown off kilter and just having to find out who I am and be stable and secure and confident in who I am as an individual was definitely a struggle after the divorce because you question what's true, who can you trust, what's right and wrong, am I safe, what could happen next? So you get anxiety from that too. And so I can't emphasize how important I think the family unit is and it's like a team and just encouraging each other. And I know some people, maybe they don't have strong families, but they find like Hanai families, Hanai sisters, Hanai aunts, Hanai moms, and they get that support system and they have that security to be themselves and thrive.  Well, I think that's a great question. I think that over and over I see and as I mentioned before, what I think is important to be a good leader is to be a good team player. And I think that a valuable lesson that keeps coming up for me is teamwork and community and how important it is to not only surround yourself with the right people who believe in you and build you up, but to also be able to pour into others and to be a part of the community and care about your whole community and the issues in your community. And I mean, the homeless, the kids that are coming from broken families that go to boys and girls club, big brothers, big sisters, there's so many needs, but just being a part of the community and just understanding people and accepting them where they're at is huge because we don't know what other people have been through and we need to able to lift each other up and not take things personally. Some people will that have been through a lot of pain, lash out at you, but getting defensive and attacking them is not going to be the solution. We need to care for each other and find the solutions to the problems. Yeah, attacking and complaining and gossiping and being negative, that might feel a little relief for the moment to vent, but that's not solution-based, that's not going to change the problem, it's just going to make you more upset. So I think a positive attitude and just being part of the solution as you said is really, really important because yeah, I hear so many people's frustrations about the community, about the politicians, but who's really willing to step up and do something, invest time and put the walk to their talk, it's a much smaller percentage than I would have thought originally. No, and Christina, you know what I always say is decisions must be based on reason, not emotion, just to kind of follow up on what you were talking about there. I want to ask you, Christina, who's the leader that you admire? Yes, thank you. My grandmother on my dad's side, I would say she was a very strong woman. She passed away at 93 in 2017. She grew up in South Dakota, where they have the famous Corn Palace, and the palace is actually made out of corn, they have Mount Rushmore, but when she turned 18, she moved to Washington DC to meet her older sister who was already there. They ran an office there during World War II, and apparently her and her sister knew the ins and outs of running that office, and they did a really, really amazing job. And then she moved to Northern California, where she met my grandfather, and she worked really hard being a homemaker, and she was always a strong woman who didn't complain about anything, but she just did it. And even when my grandfather passed away, she helped with me and my sisters, and she was a leader, not only in our family, but in the community. People talk about how they looked up to her like a second mother after their mother's passed away, and she would even take me to local political rallies when I was in college and my early career years, and I'd have fun with her and her friends, but I think she is some of the inspiration why I slowly got into politics. Well, that's good to hear, Christina. I always say that parents are leaders, and I like that you mentioned your grandmother. I want to thank you, Christina, for taking time to be on the show today so people can get to know you. I mean, you have a lot of great, fresh ideas, and I wish you the best on your Senate run very shortly. Thank you. And thank you for watching Beyond the Lines on Think Tech Hawaii. For more information, please visit RustyKamori.com, and my books are available on Amazon and Barnes and Noble. I hope that Christina and I will inspire you to create your own superior culture of excellence and to find your greatness and help others find theirs. Aloha.


We've talked about how SDA needs to be user-centered and sort of on the margin you mentioned this issue that in many situations, in many territories, SDA's creators don't really get credited. So in a way you have a high profile thanks to media articles and you have been actually interviewed by Netflix but normally SDA's creators don't really get a credit so there's no way to check who created SDA or closed captioning in many territories whereas the standard practice is for translators who are working on subtitles to be credited. Do you find that a bit of a paradox? In this context you talked earlier about how creative SDA is and it is offered by a specific person. Should SDA's creators be credited in your opinion? I think so and it's something that I've been discussing recently with my peers and trying to work out how it might be a possibility in the future because like you say, it's a creative thing and it's just in my opinion, in my experience, having translated as well. I find it just as creative a process as being a translator and it's a very unique skill. You have to understand the meaning of sound for a start which not everybody realises and so yeah if it were up to me it would be something that we were credited for. Before we move on let's perhaps explain why SDA's creators are not credited and I think that's because many people in this tree have this perception that SDA's closed captioning is basically an automatic task in a sense that it's just creating transcription and there is no creative element to it and I guess you fully disagree with such a perception. Well it depends on the person that's performing the task. Like I have knowledge, background, experience and I've studied and learnt to do it a certain way so that I could incorporate the descriptors that explain things for the deaf community, the hard of hearing community. I work in a way to try and cover as much as I can and so I think that there's obviously a difference between someone who's performing their task that way and someone who is performing the task in a very automatic way where they're like just like they don't think of the intention of the sound and so yeah I can say I disagree with it in my view because I know what the way I'm doing it but I can't speak for everyone. So perhaps to recap we could agree that surely for entertainment content SDA's is a very creative task and the authors of SDA's should be should be credited.