قروا الله العديم في بستة كتابه مجرين والطول كالحق والاستقل القائلين عودوا بالله من الشيطان الهديم اسم الله الرحمن الرحيم والذي بعته الأمين رسولا منهم يطلوا عليه معاياتي ويذكرون ما يعلنونه من كتامه والاكنتر وإن كانوا ينقبلونه في ذلاء الممين من عبال الله ستقطوا الله العالم الرحيم نصول الله على محمد الله وعالي محمد فرماد The human being in everything and in every facet of one's life needs to be in a state of precaution so that we don't fall into either of the two extremes to the right or to the left The human being must always keep his mind focused on the path in which he is walking what should be the mission, know the path that you want to take and take that direction Focus on that which is important and if you focus on anything else in the mix of you walking on that path potentially you might fall away from that which you are seeking today for instance if I leave the message and I get into the car and I begin to drive and go back home for one moment I lose focus what can potentially happen at the very least you lost your destination you took a long turn, you went down a wrong valley and all of a sudden you no longer are able to reach your destination at the time in which you desire but on a larger scale if for one moment in the mix of your driving you lose focus not only on where you are going but on the actual activity that you are performing in for example you are driving it for one second for one and a half second you turn to the valley or for one and a half second you fall asleep what could potentially happen a tragedy which doesn't only inflict your household with the one perhaps you might hit when you enter into a car accident you might lose your life, you might lose your family's life you might be the cause of destruction for another family for a community and so on and so forth only because of a lost focus for one moment in terms of religion, in terms of our belief system it's exactly the same thing الله سبحانه وتعالى بحودي فاصل صم الله عاله وعاله نهر البيت علي المصرات وصران have presented towards us the roadmap towards the class but if for one moment for one moment we lose focus on this roadmap potentially what could happen a disaster which we can never recover from for one moment you take out your phone the text while you are driving you might lose a limb but you are never going to be able to recover from it again for one moment that we lose focus on the instructions the divine guidance provided for us by the whole of Qur'an and by the imams of the blessed علي المصرات وصران what could potentially happen also a tragedy which you could potentially never ever recover from we see for instance that there are those present I mean they are not sure what they have done they have studied opposing علي عبدالله وخسيره I mean صراته وصران they know the Prophet they know the Prophet they know him they know the Prophet they know that he is the one in the whole of the Qur'an الله وعاله و تعالى space فقلت عليو نجق و أبناءنا و أبناءنا وانسوا سنبينهم وانا بديهم لغاعدة that رسول الله برق حسين to represent his own sun. They know that this is the same حسين who Allah سبحانه وتعالى اشتكت toward the Holy Prophet. هل نعس عليكم عليهم يجرن ان المودكة في طورتها. They know that this is the same حسين who is part of the Ahl al-Bait whom Allah سبحانه وتعالى has purified. They are the reciters of the Qur'an. They call themselves Muslims. Yet they stand on the other side of the moment and say, are they in Salat or in Salat who are ready to shed his pure blood? Because perhaps for one moment many of them, they lost focus. They lost attention on that which is the truth. Now brothers and sisters, today this world is a very confusing place. And when we narrow it down and present it in terms of the microcosm of our religion which is our ideology the school that we date we found that that in its sense is also becoming a very confusing place. Because everywhere you go to every masjid, to every Hussainiyah, to every center on every link that you click on YouTube you find someone presenting a conflict in you about the Imam of the Prophet. One seems that there is no need for instance that we constantly recite the Qomar out of Amiran. One time it was forth and still but there is no need for manjai in this day. I don't know what people say but we can only take a look or we should only take a look at the religion of Islam and the jurisprudence contextually because it's limited to a time and a space and all of this other nonsense that goes on. These are for individuals who have limited the position of the Imam of the army to date any of these things. And we come and we see that we potentially can lose focus at any moment like this. Which is why for instance we see that some of the Qur'an which we read in the Marajah they state that some books that are books of religion books of philosophy and so on and so forth which contradict the teachings that have been date علي مصرات المصران they are forbidding for one to read and study unless they have studied the Qur'an and the narrations first because easily someone can get caught up in semantics if someone sits on this billboard and speaks with very nice language uses some really nice witty remarks and presents some large philosophical terminology to explain religion naturally the human being is going to be like oh this guy is really smart because he's presenting all of these massive words and I've never heard anything like it he's giving us something new that we only see never preach that method and when they علي مصرات المصران they present it towards a very clear path unless it's on the Qur'an and the whole of the Qur'an time and time again he presents towards the Qur'an the Holy Prophet some of you are and some of you are in the states in me فارق فيكم افتقني كتابو what it's like I'm debate but I left behind these two things the Qur'an and the authentic do you need anything do you need X and Y the text to explain to your religion when you have but look about Allah سبحانه وتعالى and when you have the Imam to be in the debate علي مصرات المصران we come forward to be seen at the main judge during the time the main hafqa during the time of Imam al-Hussain علي مصرات المصران is the man by the name of the Adhavi al-Shura'a the right authority this particular individual is the one who is responsible for being paved by Imam al-Wa'b and Fiat and Khunfa to release a sect that states that it is a wajib to kill Imam al-Hussain علي مصرات المصران because he refused to give the debate the Adhavi al-Hussain was it was his name sayal al-A'vi this jurist during the time of Imam al-Hussain under the authority of Adhavi al-Hussain we come forward and we see that some of Imam al-A'vi the Adhavi the Adhavi is a greater criminal than should of the nature of his life because he is a man who was a jurist he is a man who took a position of religion he is a man who was a leader of the community and yet would come out and do the first one to kill Imam al-Hussain علي مصرات المصران and the last nature of committing such a crime they state that he is a greater criminal because he is an individual who has taken up the position of religion and used it for his own material gains and used it to preach for a lot of the better word not on the day which Imam زين العبدين علي مصرات المصران علي مصرات المصران is in the court of the Yazid bin Mu'alli and he asks to come and present that sermon toward the congregation what are the words in which Imam al-Sajan states to his he said ادني هت اشتع ها ده لخوات he says او يزين permit me so that I am able to climb on top of these pieces of wood where is your going to sit where is your going to sit I am going to sit on a mamba just like this a mamba which I have used to praise Allah عصب على it which I have used to send salutations upon the holy Prophet الله علي ر Bank which I have used to preach the message إدعى إنه يكون في أحسيننا كما ترزينا. وإن يكون في أحسيننا كما ترزينا. وإذا كانوا بنا يصرحون باستيقافة من الأكثر. إنه يصبح لن يكون في بيوثوث أو أكثر. لا يكون لدينا أشياء في هذا الشيء. أمي أنا أيضا. كما قلت هذه السحف, إنها موضوع. وإذا كنا لن يستطيع أن نتذكره.  Allah, all things are due to you! And You have allowed us to come to the Majessional of theShiva of the Majestic of the وارعِ الهِيِِ truh. كما حدتنا ليس البيتكات المككرين المحتوى وال puisquن ليس مبدورówه انطني نتيب اسثول الممكن بأسفل الأقله بأس تاليو تقلبي حردت من الوريد ثوى ترصيين ضخم故ொ خھیف друг ورد تلاد الش�� بل أمر تالي اولوجه يَن洲وهم بأسفل الأقل يرد يومLikeAnd Compared لمساق بها و ت��은 بمنامه خرفنا載نا somebody who is not here with us, has created us with the heart. What is this intellect? This great asking of Allah SWT that Allah has provided for us is that means for us to be receptive toward the el nine j limiting. By means of the human intellect that are known, reconditioning, we see that many people they come and they present this question, or they present this doubt. They comfort in theret that Allah SWT هو اجنا الضر هذه البلادية بحقوق نضيفية but at the same time the intellect is limited it can only take us toward a certain land it can only take us toward a certain destination and one's will reach that destination and cannot take us anywhere that destination that it can take us toward according to our teaching in the Kitchen of the Alliance is the fact that the intellect takes us toward the belief بشكل يديه أمام عمرك ، all just towards him. The intellect leads every human being. No matter whether you believe it or whether you don't believe it. The intellect leads you toward a belief in a divine creation. The belief leads you towards a belief in God's restaurant. In no time and extension, the belief in the divine representatives which allows a kind of a work. And now we go into this point because the being يجب أن يجد شيء أخرى لإمكانه إزالة لتأكد من نفسنا. وما هو ذلك؟ هذا هو رفلكش على القرار وعلى ناريشين that we are going to debate about. يجب أن نرى هذه الموضوع. بعض الأمر يجب أن نأخذ الموضوع. نرى من الموضوع من الموضوع من الموضوع. about the importance of reflection about the importance of contemplation وكلما يأتي إلى سنة العمال السنة و العمال السنة، أن تساعدة مدينة أحد أحد مجالة من تساعدة سنة. نحن نرى هذه العمال السنة، أقل، ما نحن نساعدة؟ ما نحن نساعدة؟ نتكلم عن هذا الإنسالية، نتكلم عن مجالة أخرى. أن الإنسالية يتحرك، ونحن نجمعه بحيث نجمع هذا الوصول للجميع ونجمعه ببقية المستقبل ونقوم بإمكانه بسرعة لأن الوصول يتفعين في our heart ونحن أن الوصول يتفعين only toward a particular location ولكن لجمع هذا الوصول to shine through our heart and through our eyes, through our ears and through our entire existence نحتاج لكي يكون في مدينة المدينة المدينة من المدينة التي تدريها وتعرف وردون يتكلمون في رقم الله ولا يتكلمون في الله، فإن الكلام في الله لا يرداد فاهبه، إلا تحيوره، إمامس بيحرين بيت أريم السرات و السرات، which is why we see, for instance, this يارة، one of the يارات of the meeting with Meen. We state أفرام العريكة يا آيات الله، and of Allah. Peace be upon you. The greatest sound of Allah سبحانه وتعالى أو أريم الله تعالى. The greatest sound of Allah سبحانه وتعالى are the imams that they have built. As the channel of his mind and channel of heart. So that he does not fall into the wrong footsteps like we mentioned. As to always be in the state of precaution to make sure that he is aligning himself with every single step taken by the imams of the heart. They are the Holy Prophet Muhammad. We need to make this covenant not toward the household of the Holy Prophet and make a promise toward them that we will return back toward your teachings and your teachings only. During these days that we mentioned yesterday, that the جانب السلمان are the same. أليه السلام والسلام are a means to educate. Are a means to gain and to increase in our knowledge. But to gain and to increase our knowledge which is in reality true knowledge. A knowledge that comes from the Qur'an and that comes from the Al-Bait is something very challenging. It is something extremely difficult and it is said that one day. There was this student who had come toward the Holy City of Najaf. A city with a need and a desire and a hope to join this Islamic seminary. So he came to study the sciences of the other things. He enters into the city of Najaf. He enrolls himself in the university and the house. And he realizes that he does not have enough money. He does not have the resources to take care of himself so he can rent an apartment. So what does he do? He trains the house for those of you, for instance, who have been to work between the city of Najaf to see if it comes out in the middle of the summer and July and August and June and September. It is extremely excruciating. It is unbearable. He enters in the summer time. It is extremely hard. He cannot figure out what to do. He says the only place where I can, the only place where I can find a place that I can sleep that I can rest is in the grave. For those of you, for instance, who have been to other centers. This massive grave yard.  One day in the middle of the night he begins to walk and looks for a place to sleep. He says he is too embarrassed to sleep on the streets. So all these over here in the middle of the night, no one is allowed to come. It is said that he finds one grave that is dug but no one has been buried in it. So he goes and lowers himself into the grave. And for several weeks he begins to sleep. And he keeps all of his books and his belongings there. And everyone who would climb out of the grave, go towards the house and go to his community. And pray to Allah سبحانه وتعالى. And go to the house of the believer. And he receives some sort of systems that would take him. It is said that one day passed. Two days passed. Three days passed. And you realize that he not only does not have a place to live because he is living in the grave yard. But he also runs out of money for 40 more. And he said one night he is sleeping in the grave. And I am not sure he was extremely depressed. And look at the struggles of those who desire to study or in reality those who try to walk in the first step of the amount of money. It is something that requires every effort of ours to make sure even in this part of the world that we are walking on this path for the success. Walking on this path toward them and not following into the laps of this preacher or that preacher. A preacher other than the other. He goes towards his grave yard. He goes towards his grave. He makes a prayer to Allah سبحانه وتعالى. When I wake up in the morning, please present to me some sort of a miracle. When you move away from all of these trials and tribulations. I have left my home. I have come to visit you. I have made a deal. Help me. And he said that he is sleeping. And all of a sudden he is walking up to water being poured into his mouth. Allah سبحانه وتعالى he has sent a miracle to our grave. He gets up from the grave and you see that there is a water dripping into the grave and so on and so forth. It climbs out of the grave. And he begins to trace back where is this water coming from? And what if you find that it is coming from somewhere who is performing a lesson of the dead body of their relative and the water began to drain and to walk on the path toward you. It is something extremely difficult. And it is not in another occasion that there is once this individual. Once this out of him. He wants to take his son the lesson of walking in the footsteps of God.  The scholar is telling his son let's go with me and we are going to go and visit the home of my teacher. He said that they go and they enter into the home for lunch and they are sitting in the living room and the food is being served and the boy observing the room. It is very beautiful. There is a very nice carpet of books everywhere and has nice architecture and has nice pictures and so on and so forth. But in the middle of the room is a table and on that table is an ugly looking part a part of the whole something. He is looking around and so on and so forth. And then he whispers to his father which is dead. This room is really nice. Is this really going over here? In the middle of the room I come to your house. Thank you for inviting us for lunch. Your house is really beautiful but why in God's name do you have this thing in the middle of the room? Doesn't it make any sense? I do the science and I do the debate. I lived in a one small room apartment. I have absolutely nothing in my house except for this part. Through this part I would go. Through this part I would drink water. Through this part I would date my father. Through this part I would wash myself and everything would come from there. So I kept it as a reminder for myself of exactly what I had to go through to again. The legacy of having to date before it was brought to Islam did not reach us by coincidence. We go forth and we take a look at history. And I again advise everyone of you and I advise myself personally that make sure that on these days on these nights we take every precaution to be on the side and be on the behind the scenes. Because like we said throughout history we see the trials and the tribulations of those who desire to become amongst the followers of Allah. Or how these narrations how these majars were transmitted toward us. Not by coincidence. We see that during the time of Baba Omega what must have happened that those who desire to hold the legacy for the Imam of Hussain they were considered enemies of the states. During the times of Baba Abbas they seemed exactly they were a man by the name of Abdul Abbas Astaghfar. Astaghfar the leader of Baba Abbas this land would blow and would kill the Shi'a of Ali bin Adha other than the Shi'a I'll say the Safar. It would take their life's food after you had finished his meal he would stay like God I've never eaten a more delicious meal than this individual who has constantly made their positions in community upon repelling the attention of the Imam of Hussain which find that by the Imam of scholars and scholars of the Imam they don't try to narrate toward us the traditions of the Imam they would be ticked on the streets and they would be abused in their own homes their bookshelves would be burnt and so on for thousands of years for hundreds of years this issue this circumstance has been surrounding the 5% of the debate and now we can fortunately see that while we in this part of the world may not necessarily have these type of issues for 100 of us were able to preach openly and so on and so forth but we have movements from the inside of those who have absolutely no idea about the teachings of the people who come in this state and the name of progressivism and the name of liberalism and the name of all of these other labels they come for in this state but we need to reform the teaching of the Imam and the teaching of the Imam they are limited toward the time and the space only doing that time and now we need to project it differently in this part of this the Imam of the Imam they offer every individual offer every community that is us who have marginalized teachings for now now we come forth and we see at these days there is this this system in regards to spirituality there is this term that's after being drawn around these beliefs in terms of defining spirituality everyone wants to become a more spiritual creation let's go come forth and you see that there's a movement among some celebrities called fine apology because everyone desires to become religious over something we come forth and we see everyone is coming with a brand new method in terms of how to get closer toward God because they themselves they want to feel better about themselves we come forth and we see in this school that I have been and I am not denying that these things might have some sort of a good effect on those who fulfill these practices but within this school that I have been by God and swear to you we have no better means of reaching Allah SWT without if you want spirituality go and read if you want spirituality go and read that the house that the mom has said about and teaches you everything we need to know about their responsibility to Allah SWT go for instance and read and not only you will know your responsibilities toward Allah which you will know what Allah SWT does for you in terms of his blessings and in terms of his Nettinati presents to you in this if you want spirituality like the Nettinati read جعار جعار يوم العراق this most beautiful supplication it explains to you exactly who is Hussain who are you who is Allah what are your responsibilities toward him everything is within جعار about Hussain about Hussain about Hussain about Hussain about Hussain about Hussain about Hussain about Hussain about Hussain about Hussain about Hussain about Hussain about Hussain about Hussain about Hussain about Hussain about Hussain about Hussain about Hussain about Hussain about Hussain about Hussain about Hussain about Hussain about Hussain about Hussain about Hussain about Hussain about Hussain about Hussain about Hussain about Hussain about Hussain about Hussain about Hussain about Hussain about Hussain about Hussain about Hussain about Hussain لن يتخلق إلديس فهذا هو مانونة إلينا لكي يتكلمون كونهر ويكلمون بالمحاولة من الذي يتكلمون هذا الآن كونهر مانونة سماعتنا عندما نرى الدخول بين المحاولاتين مثل هذه إذا كانت تكلمون تقلق مهمة لأننا يجب أن نتكلم في هذه الماء لأننا يجب أن نكلم كونهر خارج آية ومية modulus ، وكذلك ذا keeps the knowledge of this reward and have this reward. And then he began to say that to Adam the one who seeks knowledge is greater than the one who seeks wealth. And so on is so forth and if you go toward the books of Ahadi and if you go for instance to your Na Khadr-e-Bana Muhammad you will read exactly what are the most acknowledged according in the Mali and the Islamic's advises. Then he said to Conan and he said Yaa khamin and he begins to utter some very الحضور الأمر مهمة لطاقة أمر. أمساً المشاكل في تزمالي متوضي الله في الشيطان التجاند أمساً لإيجاد الجميع في أجل الأجل الحركة ليمكن مستمتع الداخل الأجل في برصة أمر لللء للغاية. والأجل الخاصة هو ومنين يتبعون في حالة العربية. ونحن نعطي كبارة الناس من فعارة. فعارة مرمبارية. ومتعلم عن أسرير المجات ورحمة جميعا. يميونون أمع كمارية. يقول كبارة. الناس من ثلاثة مختلفة. الناس من أول قلبي. الناس. الناس من الثلاثة من يريدون أن يتعجبون على أسرحنا. وانا�� يتوقف ، مجانب ، مرحبا הاتبه ، يقول ، وانه يتوقف ، ساق وإذن النبي ، يقول ، إما الله يتوقف ، ساق وإذن النبي ، ومهما يتوقف ، ويمكنه ، الميت ، يضشف ، وإذن بشديد ، هو يدخلنا بعض السائرين ، وبعض الناس ، وبعض الناس ، وبعض السائرين ، سلسلة بكتبه ،いた. ان النبي يطلب ، ان يذهب ، وسلسلة وهناك أصدقائق ، ونهر ، سلوني عن طرق السماو فعنني أعلم بعام من طرق العرق. أسجلني بسلول يلوزني. شالي أعلمون نوجبون التعذن؟ أنا أعلم about this one. What have we done to seek from Ali ibn al-Tahari? كم بإمان ذا بيهر الديد عن مصر السرات والسلام؟ صلى الله عليه وسلم. Not taking much of your time. We unfortunately see that the imans of the Ahl al-Dayt themselves are not provided for us knowledge in many different phases and many different phases. And again it becomes our responsibility on these nights to return back toward the imans of the Ahl al-Dayt. To seek from them and to seek from them only. First of all we see that the imans of the Ahl al-Dayt are left behind the legacy in terms of the religious itself. The imans of the Ahl al-Dayt have taught us how to live every single phase of our lives. They've taught us how to get married. They've taught us how to deal with our friends. They've taught us how to sit in the benches. They've taught us how to speak toward others. They've taught us how to pray and how to fast and so on and so forth. We come forth and we see that the imans of the Ahl al-Dayt they're presented toward us a worldview in every single thing but in every single phase of one's life. We've only seen, for instance, when I was one of the companions of the Imam of Sadr. Ali Salatu Israam. أمان مدنين محمد بالمسلم. He goes toward Imam Sadr. And he states. He said He says They're nothing came into my heart. Nothing came into my mind. No question came to me. ولكن كان لسه 40 سنة هل يرسلوا مهمة؟ كيف يمكنك المشاهدة إلى المشاهدة؟ كيف يمكنك المشاهدة إلى المشاهدة؟ بسيطة Now that was a lot of you want to finish that time of house After studying it for 40 years when people have been performing or when creation of Allah al-Sadha had been performing the Allah around the whole world about 2000 years before the creation of Allah Where is the knowledge of Allah? Where is the body creation? far beyond this dunya The Imam al-Sadr He said that Imam al-Sadr Of course we know that he established this university in Medina He has according to Shah al-Muqib 4000 close students but according to Shah al-Muqib has 20,000 of those who actually would attend this classes 4000 of those who are old or those who are ready I said it's absolute supporters of the students 4000 close companions of Imam al-Sadr And he would find that Imam al-Sadr was already in his world He would stay till the war on the streets in Medina till the end of his life and he would stay I think 5000 students of Imam al-Sadr surrounding him Imam al-Sadr al-Muqib still I am complaining toward you that Imam al-Sadr They would claim to be the followers of Imam al-Sadr Imam al-Sadr They would claim to be amongst his students but they would not understand exactly where he was present in the process of Imam al-Sadr And he begins to present his own Sata'a And he presents it to He pretend to demonstrate himself as the manager of the world and he states that every single odd in the last 1400 years and I've got it right all of a sudden Don't you think that Imam al-Sadr has been complaining about individuals like this who go out and they preach in the name of the rules for this is like that and the rules for this is like that This is number one The first type of the knowledge presented by the Imam al-Sadr are knowledge in terms of that common Knowledge in terms of religion Knowledge in terms of what is known as self Secondly, we come forth and we see that the Imam al-Sadr who also present toward us in worldview in terms of the natural sciences though we're having to see that western orientalists and academic scholars they go and they write dissertations and books about the scientific achievements of an Imam al-Jahra of Imam al-Bakr of the medicine and the approaches to medicine of Imam Ali al-Musa'ala of Imam al-Sadr What have we done to write about the economic advancements made by Imam al-Bakr What have we done to speak about the achievements and the legacy of the Imam al-Bakr that they are presented toward of the question Are we also a person that believe that Imam al-Bakr, Imam al-Aqa Imam al-Aqadi, Imam al-Jahra these Imam al-Bakr that left behind to us a legacy that left behind to us scientific achievements in the social sciences in the natural sciences What have we done to go back To be in perhaps the most important in terms of the role in terms of the sciences which the Imam al-Bakr has left behind for us or those which we can call spiritual sciences those which are known as أع or أمه in our nation states أع or أمه All knowledge is contained with the Imam al-Bakr Ali al-Sadr in the Islamic State أع or أمه أمه أمه go and travel to the east and travel to the west and you will never find knowledge which is pure it's like that knowledge which is found in our hearts on the bottom of the points they are the means to take this back for any other source except for their sources you want to go back to Allah you want to fulfill your responsibilities toward your religion and take them in demands of those who have been baited we have said that this compound that we mentioned yesterday جابر أبن يزيد أجب this great compound this man who understood أسمار أبن يزيد جابر أبن يزيد جابر أبن يزيد جابر أبن يزيد جابر أبن يزيد not me but we have not allowed to speak of them in public جابر أبن يزيد أجب for one day while sitting at the mosque and he is giving a class toward his congregation and he said that at this moment an individual walks in and he is about to sit down in the class جابر أبن يزيد جابر أبن يزيد he closed his book and he points towards his friend and he says don't be any introspective وقام بعمل جابر وطلق مدينة وقال ماذا سنفعل؟ جابر وطلق ماذا سنفعل؟ هذا الشخص الذي أعلم أنه جابر هو قرر وطلق ماذا سنفعل؟ في المجتمع أن يقول قرر جابر قال قرر وطلق ماذا سنفعل؟ وقام بعمل جابر لا تنسى المزيد. now is the time for you to go and fulfill your mission. Now is the time for you to go and become a martyr. And now is the time for you to go and fulfill that promise. ناريش ينفذ في هذا الموقع. يقول إنه يكلم. يرسل أخيه أسعار على أصدقائه. ويبدأ يتعلم على أسعار العالم. وردت بذكر التجديد قد يتبعونه ومرأده في حسن وخبرته أنه يتبعون لصوته بلسوء وخبرته في حسن ومرأده في مدينة الباب المتحدة تقول أنه يدفع بشكل بطريقة حيث يدفعون بحيث المدينة ومدينة تتبعون لأساقية مكة في ومن العالم المنطقة تبعون لأساقية مكة مكة ومدينة كل بط Okay has been told by Sayyid al-Rabah Some it is said that at this moment The Imam of Hussein on that journey on the way toward Tehrabarah A Messenger comes toward the Imam of Hussain the Imam of Hussein be alight from his course He goes toward the messenger He says, oh my brother What can you do for me? What message do you have for me? He says at this moment The Messenger went toward al-Aadhaand كانوا يقولون لي أن أمام preparation مهنان ودى رجعون وادأنا ربما بأمر بهم ولمسلمة دهده كان جدًا بإمام preparation يكpis لي أن أمام preparation으�ه أن أمام preparation ي goes towards الانتماعي يجالبون الانتماعي يقول لي يملكون رجعين


Last night's trap dropped specs of information about the future of the game and paving the road for Shadowkeep and this includes a brief glimpse at a few new mods which we will discuss today and try and put a few names and uses to said mods. Has it gone guys? My name is DPJ and I'd like to thank you for stopping by and checking out my video.  Okay so over the coming weeks we will be getting new information on the next major DLC expansion for Destiny 2. Seen on screen now although on that exact date given these are a few of the things we can look forward to. Next week we do have a live stream which we can look forward to though which will showcase armour customisation and building a better monster killing machine. This happens on August 14th, 10am pacific, untwitch youtube and mixac. With this information we see this gift which you can see on screen now which we can see rotate between current mods and all new mods. Today we're going to hopefully put names and usage to said mods. Okay so I've broken down this gift into a few images which I believe we can see every mod it showcases so we can speak of the said mods today. I will however state I do believe this won't be the entire collection of armour and weapon mods come Shadowkeep as within the viadark a while back we do see other mods not on this list which you can see on screen now. So getting into this list firstly we see many new additions as well as some I believe just revamps also given mods that had the same icon with different effects their own personal image. Those we will skip firstly I noticed trace rifles have their very own mods now because currently I believe it's auto rifle mods which work alongside trace rifles it's good to actually see trace rifles getting their own set now what this actual mod is and what it does I have no idea but we do see it represented by every weapon type. Now I'm sure this back image behind the weapon is the same image used in their ammo finder perk already in game so I'm thinking these new mods will be some kind of enhanced ammo finder for said weapon or it could combine ammo finder and scavenger into the same perk for said weapons that would be badass. We also see what I believe to be enhanced reload perks yes that standard variant we have in game now these are seriously important for certain loadouts we see new versions represented by a plus sign on the same icons so I'm pretty certain what we're seeing here are enhanced versions of the reload perks we do see yihang cannon grenade launchers rocket launchers and shotguns now like I pointed out earlier I'm certain any weapon we don't see represented by a mod here we will see when a shadow keep next up we see this new mod type a school with certain icons within them we see melee grenade health reload ammo and so forth what I believe these are our finishing move mods so finishing enemy restores health reloads weapon refills current quick weapon recharges grenade and so forth so these could be pretty cool and useful for that matter this next set of perks I believe could be one of two different things or they could indeed represent two different things but just look very similar the top on the left we will start with first looks like a class item perk but the icon within looks a lot like the hive invigoration perk we have in game now and saying this to on the right also seem to represent that same icon now I think what we could be seeing here are gambit specific perks as this icon could represent moats but this is just me guessing at this point people I have no doubt that the hive invigoration perk or mod will be back but seeing four different variants of it doesn't make sense to me these next two mods are clearly a standard and enhanced version obviously something to do with ammo could we be seeing a mod which represents all types of ammo because we know kinetic special and power ammo finders are already there could these represent ammo as a whole that would be seriously interesting to think about these next set of mods for some reason scream transcendent blessing and reference curse at me those are still here though but I have a feeling these mods we see might have something to do with the new black garden raid the garden of salvation or they could be tied to the moon and what we will come to experience and unlock there again with this next set of new mods the five on the right which do share the same kind of design theme of the ones I just covered they scream moon at me something about this design just reminds me of cruelty eris morn the moon what do you guys think the two on the left I have no idea what these could be tied to maybe a new blessing or curse of some kind who knows next up we see another new set of mods I believe that these four perks again seem to be a standard enhanced version of one another if I had to guess again I'd say these are tied to a certain instance of the game maybe a new activity or again they could be a part of the raid or even moon related maybe exclusive weapon related to top which we will get from the new raid or the moon we will see it's just that the design of these it's just way different to everything we are used to and see here now we are coming to an end people what we can confirm traction is returning this over the past month I've seen loads of talk on some people want this to be a standard default setting that we can toggle and lock in our settings some people complain and about it on pc saying it don't work properly and other people like myself just really ain't bothered but for those wondering traction it seems is making a return now people do probably a few mods here which I've missed if you do want to point them out and tell me what you think they could be let me know down below in that comment section next week with armor customization we should see a lot more about these which I as usual will have you covered right here on my channel and if anything else comments people over the next coming weeks again I will have you covered right here on my channel so make sure you subscribe if you are new around here on that note guys we have though come to the end of the video tell me what you think about these mods the ones I've covered tell me think I'm wrong tell me what you think they could be and just let me know your general opinion on the new mod 2.0 system on that note guys we have come to the end if you enjoyed it leaving a like really helps out if you are new around here and enjoy daily destiny videos be sure to subscribe and if you never want to miss a video I upload you can turn notifications on by hitting that bell button but guys thanks as always for stopping by hopefully you enjoyed the video and hopefully I will see you on that next one


Coming up on the Sporting Chef. Today on the show, I'm adding Asian flavors to my fish and game. Also, I've got Susie Jimenez, Jeff's Colin Ducks, Melissa's Talking Deer Health, C-Dubs Making Chili, and Buddies Cooking Cajun in Mexico. What do you get when you find the best fish and game chefs? Cookbook authors, award winners, fish mongers, outdoor experts, and put them on the fastest half hour on outdoor television. Hosted by one of America's best known wild game chefs, Scott Lacy, the Sporting Chef. Brought to you by Camp Chef, the way to cook outdoors. So I really like Asian flavors, whether it's with fish and game or domestic meats. I don't like to overpower my food, but I like the flavors of Asian soy sauce, pickled ginger. I'm a big, big, big fan of fish that's not cooked, sashimi, which shouldn't surprise people that watch the show because I don't cook the stuff that should be cooked all that much anyway. The critical component for cooking any kind of Asian stuff, stir fry, fast cooking stuff, is to have all your ingredients chopped and on deck. It moves really fast. This is fast and hot cooking when you're doing a stir fry, for instance.  Today I've got three Asian inspired recipes. And they may not be authentic Asian recipes, but they're my take using Asian flavors. First is a Korean bulgogi that I'm doing with venison. Soy sauce, sesame oil. It's kind of sweet in there also, so it's got some brown sugar. It's a good marinade, especially if you have a stronger tasting animal, like perhaps a rangey antelope or sea ducks that require a little help, a little bit more marinade. I also have a foil wrapped pheasant.  It's got some sauce in there, it's foil wrapped, and then it's going to be deep fried in a western fryer. And finally I have Osabi salmon balls. And no, that's not a medical condition. It's a spicy use of some leftover salmon. I'm using smoked salmon in this case. I'm going to get to all of that right here on the show, but first I want you to check out Susie Jimenez, one of my favorite Latina chefs who has risotto cakes. Chef Scott, sometimes we have a hard time creating this starch that's going to go with our wallet game, right? So I'm creating some risotto cakes, and when you get a box of risotto, follow the directions. I mean, you're cooking it. Risotto is like a pasta rice, so it takes a lot of time and patience, but it's got a lot of starch, so you'll see that you can form great little cakes like this. Now honestly, I did put an egg in there to do it very well, but once you get the toppings on this, you're going to love it. So we're going to sear them with a little olive oil on medium-high heat until they're golden brown, flip them over once, and they should be ready to go. In the meantime, we're going to go ahead and work with this wild turkey drumstick. Now, these wild turkey drumsticks are very, very tough, so you've got to break them down a lot. I placed mine in duck fat and put it in the oven and cooked it for about four to five hours, and now it's a little tender it is. So you're just going to grab this leg and you're just going to pull all this meat off of there. And what we're trying to do is just saute this. You'll notice too that the wild turkey like drumstick, it's like pink in the inside. Don't be discouraged by that. It does not mean that it's not cooked. That is the color of wild games.  I'm just going to add a little bit of salt and then I made a mint cilantro chutney. Now, I tend to use a lot of cilantro, but sometimes it needs to be powered by something that's a little more refreshing.  Once you get the risotto cake, so they're nice and golden brown and they're heated up, they're ready to be served. Put the risotto cake right at the bottom, turkey confit on top of there, and then you're going to get your mint cilantro chutney and pour it right on top. Now, remember, you don't have to just use turkey, you can use duck, you can use rabbit, elk, whatever. The whole point is you get to start to the bottom right so that you can start adding a little different spices to your dishes every day. So, thank you so much for the awesome tip of the day and how do you start on your every day recipe. You can find out more about Susie on her Facebook page. Stay with her. Like her. We love her. I like rice. And if you're going to be cooking Asian food, rice seems like a very natural to go with it. Now, if you're in a hurry, sometimes making rice doesn't seem like something that you're going to have time for. When I make a big batch of rice, what I like to do is put it up in a game saver unit here. But the most important part is that your rice comes from the USA. Make sure that your rice says grown in the USA. Make sure it's grown in America, raised in America, made in America. Let's support us, not them.  True that. I've learned that. What I like to do when I do take rice is I like to leave a little bit of room in it. Don't feel like whenever you use a game saver that you have to squeeze the life out of everything. What it does is it seals it and once you put it in this bag and you seal it, stop it before it gets all the way there and so it'll leave a little air space in there. When you want to have rice, you drop it into boiling water. When you want to have rice, you drop it into boiling water then buying it already pre-made. You can make it taste better because you're making it yourself. We're just getting started with the Asian thing and there's also a calling tip. Melissa Bachman, C-Dub and Buddy. I'd highly recommend a cold Japanese beer and I'll meet you back here in just a couple of minutes. Welcome back to The Sporting Chef. Apparently, yes. Venison bulgogi. That Korean marinated venison that you can use actually with any kind of dark fleshed game meat. It's got a lot of flavor. I've got some already done here. This is venison hind quarter. You can tell how tender it is. So if your venison hind quarter is not tender like this, what happened? You probably overcooked it. I've got garlic, ginger, brown sugar is going to obviously give it some sweetness. Sesame seeds you can add at the end or in the beginning doesn't matter. Here's some crushed black pepper, green onions, pickled or fresh ginger. A little bit of sesame oil and a little bit of sesame oil goes a long way. This is low sodium soy sauce. Leave this in here for at least six hours. We want this to have a lot of flavor. I have some right here. I'm going to put it over here on this Camp Chef stove in a cast iron skillet. You can use a wok if you happen to have that at home. While I'm getting that ready, I want you to check out Jeff Smith who's got a calling tip. The big question I get is, Jeff, how do you do a feeding call? What I like to do is just say, tip, tip, tip, tip. I like to cup my hand down real tight to get some back pressure. I do this rolling feed which is tip, tip, tip, tip, tip, tip, tip. So by just saying, tip, tip, tip, tip, tip, tip. Tip, tip, tip, tip. And then putting a single hint in there. Tip, tip, tip. It's very, very realistic. What I like to do is just basically throw that into my routine where I'm calling out a duck and just basically fill it. So I want to keep a duck's attention. If it's on the corner and coming in, yards, it's cupped up. I'm just going to cluck at it. Okay, with a rolling feed chatter, you typically hear ducks doing that when they're flying. And a rolling feed chatter is tic-a-tic-a-tic-a-tic-a, or do-ga-do-ga-do-ga-do-ga. Jeff Smith is a very important part of the California Waterfowl Association. I've got the marinated bulgogi venison that's going to go into the hot skillet. This is only going to cook for a minute or two, just enough to get it lightly browned on the outside and still very, very tender. And now some greens, kale, spinach. I added greens and shiitake mushrooms, and I got the bulgogi out of the pan. Now quickly into the pheasant foil-wrapped pheasant. A little pheasant breast. Don't need the leg, the wing. I'm going to cut this into small pieces, depending on how much you want to put into your foil-wrapped little pheasant package here. There's the pheasant. Over here is the sauce. I've got some oil in the skillet. I've got garlic and ginger, and that's going to go quickly because I do not want to burn my garlic or ginger. Pheasant pieces. Just want to get them a little bit brown because they're going to deep fry once I wrap them in foil. I want them to be lightly browned, but still not all the way cooked through. Soy sauce, green onions, a little bit of hoisin, and some chili garlic sauce. Take it off the heat and let it cool. You know one of the things that people asking about is, is venison safe to eat? Are ducks safe to eat? Well, given the option, I would much rather have a duck that's flown back and forth from Canada a couple of times as opposed to a six-week-old chicken in the grocery store. We don't shoot three-legged deer with mange. We shoot healthy animals, and nobody knows the importance of having a healthy deer population more than Melissa Bachman, and she's got a tip on how to have healthier deer in your own deer lease. If you live in a state where attractants are illegal, one thing you may want to think about is using those attractants paired with your cuttybacks. Now in this situation, I've got a cuttyback on the tree. It's probably about eight, nine feet away from where I'm at, and what I like about this location is deer are already naturally coming through here. I have two trails right behind me that intersect, so I've got this on the a couple feet off those trails. Now what I'm using today, I've got the Analogix Braggon Rites Acorn Attractant. Now as a hunter, you all know that white tails, they love acorns. So with this attractant, it's really a grain-based type of attractant, and like all their quality products, it contains Anishield TX4, which is a deer-concentrated power pack to promote good health. If you've got strong, healthy deer, you're going to have bigger deer, which equals more meat, and you're also going to have bigger racks. So not only will the smell draw in, but once they eat it, they will keep coming back for more. So not only are you giving them something that's going to taste good, but it's really good for them too. So I'm going to put the rest of this here, and then I'm a head-off hunting, and hopefully I'll get some nice pictures of some big bucks in here. I'm going to finish up the foil-wrapped pheasant, and then get to work on the salmon wasabi balls. C-dubs got chili and buddies in mazatlan. Up next, right here. Welcome back to The Sporting Chef. I'm Scott Laceff. I have three Asian-inspired dishes today. Did the venison bulgogi? This is the foil-wrapped pheasant breast. I've taken the pheasant. It's been sauced. It hasn't been cooked all the way through. It's been cooled. Take a square of foil. Place pheasant that already has the sauce in it, in the square. Fold it over into a triangle. Seal both sides, and this part might seem a little odd to you. I've got a bunch of these already made. It's going in the West in deep fryer. Only takes a couple of minutes. These are going to drain. I've got one more recipe, wasabi salmon balls, but here's C-dub with some Texas chili. Scott, one of my all-time favorite meals in camp is cornbread and chili. We're going to do something with our chili that's a little different. We're going to just show you the difference between Yankee chili and the way a Texan makes chili down there without beans. We want to get our cornbread started first, and we're going to do that in a 12-inch dutch oven on our stove, and we're going to use the dome. We don't have to fire up any charcoal. All my dry ingredients are in here. This is just C-dub's version of the cornbread mix that you buy in the store. I'm going to take this out of my food-saber bag and give it a stir in case we have our dry ingredients all mixed up. And what we're going to do, we're going to take two eggs here. I'm one of these guys that don't like to do a lot of dishes, so I need about two tablespoons of oil. Our buttermilk is acidic. Our baking powder and our baking soda are both basis, so that chemical reaction gives us a little more lip. Come in here with about two cups of buttermilk. Here again, we're using our dutch oven dome. Our dutch oven is sitting on the diffuser plate, which is on the burner, and they're going. Okay, so we're going to just take our wet ingredients and mix them in here with our cornmeal. Our cornbread's ready to go. We're going to get our lid on, and we're just going to bake it stovetop here.  To go with our cornbread that we've already got started, let's make some genuine Texas chili. We have a dutch oven going here, and our oil's hot, and here I have some coarse ground elk burgers. While we're browning our meat, let's go ahead and get some of our other ingredients in there. And we're going to take and start with some garlic, and then we have some onions here, and we're going to get this, and we're going to brown this all together. And we're going to start with a little bit of Mexican oregano, and I just use about that much. We're going to add just a little bit of cayenne pepper, cumin, and it gives that very distinct Southwest flavors. So let's just start adding some liquid, and I'm going to start here with just a little bit of water. Okay, we're going to add just a 12-ounce can of tomato juice. Now we're going to add about a quarter cup of chili powder, and we're going to add some tomato sauce. Okay, now this is starting to look good. Tomato paste. We're going to get our tomato paste pretty well stirred into there. And then I'm going to add a little bit more water, and we're going to let this simmer for a few minutes. There you go, chili and cornbread for supper tonight. All right, this is going to go fast. Pay close attention. I have cooked salmon. This was smoked salmon, ran it through a food processor. It's dump and go time. Green onions, pickled ginger, sesame oil, lime juice, crunchy water chestnuts, a little corn starch to help bind it, one egg, wasabi powder. Mix cold water and egg, salmon, wasabi balls into the egg mixture. This is panko and sesame seeds into the Western fryer. Time's up. Here's buddy. You know I might have crammed too much into today's show, but I have complete confidence that our editors will make it work. Right, guys? Come on back for the big food shot. Welcome back to the Sporting Chef Bulgogi Venison. Right here, lots of flavor. One of the camera guys at during the break, he started eating it and went wow and it is good. Here's the crispy crunchy salmon wasabi balls, crunchy on the outside, salmony on the inside, the foil wrapped pheasant. When you serve it, people just unwrap it thusly and on the inside, you have the delicious marinated pheasant already in its own sauce and since the salmon balls are a little bit spicy with the wasabi, I have some chili sauce that I'm going to dunk it in. I guess that's it. A big thanks today to everybody that was on the show. Susie, Jeff, Melissa, C-Dub and Buddy and as always, I want you to thank our sponsors that make it possible for me to invade your kitchens, your living rooms, your wherever it is you watch this every day and if I do this a lot, well, you know it's me. I'm Scott Layseth, the Sporting Chef and we'll see you next week.


Welcome, welcome. It's wonderful to see you all tonight. Third annual, Morton Marcus Memorial Poetry Reading. I see a lot of familiar faces in the crowd, but for those of you who are new to this event, this reading series has been organized to bring imminent poets to our community annually. Our inaugural poet was Robert Hass. Last year's reader was Kay Ryan. And tonight we are very excited to add Arthur Z to this illustrious list. Every year the Morton Marcus Memorial Reading Series honors one of the country's premier poets, but more pertinent to us, it honors a man who left an indelible mark on the cultural life of our community. A reading series is a very fit memorial for Mort. The poetry series that Morton organized at Zachary's back in the early 70s was instrumental in galvanizing our nascent literary community here in Santa Cruz and in forging our local literary identity. Morton was a masterful poet, but he was also a well-respected novelist, memoirist, movie and literary critic. You can take a walk in Santa Cruz County and not, you cannot take a walk in Santa Cruz County without meeting someone who adored him as a teacher during his 30 years here at Cabrillo College or listened to among KUSPs the poetry show, the longest poetry show in the nation, or delighted in his talks at the Nickelodeon or his reviews on cinema scene. Mort received a Gail Rich Award and was honored as a Santa Cruz County artist of the year, and he is still very much of presence here and is still much missed. Tonight's reading would not have been possible without the hard work of many people and the support of several institutions and I would like to thank our many sponsors, the Owl Family Properties, Cabrillo College English Department and Cabrillo College, UC Santa Cruz, Bookshop Santa Cruz, Poetry Santa Cruz and the Cultural Council of Santa Cruz County. I hope that all of you are familiar with Frenzy, which is the new online literary magazine dedicated to showcasing the work of Santa Cruz writers. It's a marvelous site and if you haven't visited yet and bookmarked the site, I encourage you to do so as quickly as possible. Frenzy has established a national poetry contest to honor Morton, the Morton Marcus Poetry Prize. And tonight we'll hear the winner of the first contest which was judged by a past Poet Laureate of California, Al Young. Dear friend Jory Post, whose generosity and energies are behind so many literary and educational endeavors in our community, including Santa Cruz writes, and Frenzy will do the honors. Thank you, Gary. As Gary said, I'm here tonight representing Santa Cruz writes and the Frenzy Online Literary Magazine. Last year when we founded Frenzy, one of the first topics that came up for co-founder Julia Keopella and myself was the influence that Morton Marcus had over our lives and the memories that we had of Morton. Julia remembers that she and Sarah Willborn worked with Morton on a multimedia project. And I remember that in 1969, when I left Soquel High School and went to Cabrillo, my first writing class was with Morton as a teacher. Which was thrilling for me and has caused me to continue to write throughout my life. One of the things that we decided when we launched the first issue of Frenzy in February was to dedicate two projects to Mort. The first was a floodlight feature that ended up being an 80-page website dedicated to Mort's live and work. It's still up there on Frenzy. If you haven't seen it yet, go check it out. And as Gary said, the second project that we launched was the Morton Marcus Poetry Contest. As we started figuring out how to produce that, we had the great good fortune of working with Morton Marcus Memorial Committee. And if that wasn't enough good fortune, we also got lucky enough to have found a great judge for the contest. Renowned poet, teacher, friend of Mort, and the California Poet Laureate from 2005 to 2008, Al Young. Al, are you here? Is he not here yet? We'll introduce him later. David's here a little early, but that's okay. We're going to leave him here to be a good presence on the stage. In addition to having Al as a great judge, I'd also like to thank another key contributor. Contributor Gary mentioned him earlier, but George Al Jr. and Al Family Properties helped made this event successful this year by donating free copies of Mort's memoirs striking through the masks to every entrant of the Poetry Contest. We also learned in the last couple of days that George and Al Family Properties will expand their support of the contest by making an annual contribution toward the first prize. So George, thank you. When the submission deadline passed on September 1, I bundled together about 200 pages worth of poems and shipped them off to Al. It was a blind competition. He had numbers and letters and had no idea who had written the poems. After about six weeks of deliberation, he got back to us with three runners-up and one winner. And you'll actually be able to read the three runners-up and David's winning poem on Frenzy in the fall, 2012 issue, which comes out next Thursday, November 15th, online at Frenzy, friend-z.org. I know that hyphen gets a lot of people. I guess we might change it. And now I'd like to introduce the winner of the first annual Morton Marcus Memorial Prize, David Allen Sullivan. I know David's bio is in your program, but you probably haven't had a chance to read it yet, so I'm just going to tell you a little bit about David. His first book, Strong Armed Angels, was published by Hummingbird Press, and two of its poems were read by Garrison Keeler on the writer's almanac. Every seed of the pomegranate, a multi-voice series of poems about the war in Iraq, was published by Talbot Bach. David teaches here at Cabrillo College, where he edits the Porter Girls Review with his students and lives in Santa Cruz with his love, the historian Sherry Barkey and their two children, Jules and Amina Berevon. Now to check. David, on behalf of Frenzy, Santa Cruz Rites, Al Young, and the Morton Marcus Memorial Committee, I'd like to congratulate you for your winning poem, Takeaway, and to present you with this $1,000 check. A little miscue in the back room. Did they say his name? They sent me out. Thank you so much. It's really wonderful to be honored with this. When I threw my hat in the ring, I figured there'd be many hats with a $1,000 prize. I had no idea that I would actually get this award, but as Donna sent me an email quickly afterwards when it was announced, she said it does seem appropriate since I now have taken over Mort Marcus' office, a very prestigious kind of corner office in one of the buildings, and I also teach the History of Film class, which Mort really brought to the fore in Cabrillo and made famous. Wonderful to get to know Mort a little bit, and he was a wonderful supporter of other writers. Sometimes I thought Mort would only talk about himself, but as soon as he found something that he really believed in, he had me on the poetry show near the end of his life, and just wonderful the way he would attend to the words I'd put on paper. So I feel really honored to read some sections from this prize-winning poem called Take Wing, and I wrote this. My partner's mother was dying of cancer, and I got to know her the last eight years of her life, and she was just a wonderful presence, a kind of complex, interesting woman, and so this poem in the series is my attempt to kind of try to look in on this other life that I just got to know a little bit of. And one of the things that I really remember about Mary Barkey, she was a wonderful singer, and she sang in the church all her life. She had sisters that she would sing with, and these amazing wonderful harmonies, and when her daughters got together with her, they would sing. And she taught my children various songs. So hopefully, though I can't sing, hopefully the words sing a little bit on the page. So these are some sections from Take Wing, and I'll read the numbers so you can kind of imagine what happens in between, and then go online and read it later. Take Wing. For my mother-in-law, Mary Elizabeth Bradley Barkey, 1936, 2008. One. Seed Time. Blackberries with one grandmother aware the others dying. Pluck as first hits the pale, softer rustling as they rise higher. My kids smeared purple, tongues taking in the nearest fist of juice they snatch. How do we hold such contradictions in our hands, cut of thorns' sweetness? Nothing stops for death. Blackberries we strain between fingers in streams cold pop into others' mouths. Tongue soft nodules break open as we close our eyes. The cold water runs purplish for a moment. Then it clears again. Three. The girls sing at the reunion at San Luis Obispo, 1999. Mary mouth the count. Then faces with shared features broke open in song as they rode the rounds' repetitions. Boar words aloft like a yeast-filled bowl, too large for one pair of hands to hold. Together they lifted it higher. Their grinning almost upended what was contained, what warbled the edge, that close to tipping. But they brought it home again, and the packed rooms sang in the after-hum of song what heaven must hold. Leavening, non-stop. Six, last prayer.  Press her backwards into a sea of arms. Her closed eyes can't see. Her body can no longer feel. But she knows they're there. Her three daughters who have returned from their worlds to tender hers here. I hope her last breath comes soon. That the upper room she once sang about opens its locked doors for doubting Mary so she can touch those wounds like burbling lips until nothing remains but their song opening. All hands. Don't fight what's coming, Mary. Cristen it goodbye seed time when it tastes the sea. Decorate railings with multi-colored streamers, then burn it with all hands on deck, waving at those left ashore. The collected dead going down together, their non-waving hands entwined. No longer alone in their dying shrouds, those catch fire too, but there's no suffering as wicks of bodies ignite. Their raised hands become torches, vision turns blurry. The pressure we feel in our chests as the ship sinks artificial sunset is the pressure life exerts, rushing to hollows, driving the blood on so that when we turn back home, ashes on the waves sink down to their source. Fourteen all day rain. Come down with the rain, fill hollows, overflow drains, let it pool until it falls into itself, changing timber as it deepens. Let sadness rule me. Nothing left to do that will erase her dying. Even this singing hurts. Even if it were beautiful, I'd long for what I've lost. Though it can't be true, I can't imagine a place where it's not raining. Don't ever want to. This drenched song is around each of us owns part of. Needle and thread stitch green tinge sky to ground until nothing's divided. If only I believed Karate Metaphors could make it rain all day. If only I could believe that this overflowing cup held something of her. Seventeen, no finish line. Life is not a race, but a relay. You're handed a rod to carry a little further on, place in a back-stretching palm, and for that second it's not clear who holds what you're holding. Then they're gone and you fall away. The hollow baton makes a whistle. You just hear above your panting. The rhythm is what matters. Not the receding footfalls, the crowd calls, or even the race, but that thin sound disappearing. Travel on that song.  The beautiful house of the spirit sets up camp wherever there's air and water and song. The beautiful house is made between third and fourth ribs when anyone weds themselves to another, costs next to nothing. In the beautiful house of the spirit, the dog barks, relents, licks hands. The beautiful house is painted with shreds of cloud, bells build fugues. In the beautiful house of the spirit, the men come in without clothes. The women take turns washing their bodies, drying them with scented hair. They switch positions and the men dip in a hand, anoint the anointer. The beautiful house of the spirit is cardamom, roses, wild thyme, sap and syrup, birds nest in portabellas, blue notes and a mason jar of mint tea. Drink it. You're not going anywhere you haven't been before. Thank you. Now that we are enjoying our third Morton Marcus Memorial poetry reading, I suppose that I can safely say that it has become a tradition to read Morton's poems before the featured reader. It's something that I really look forward to because I really loved Mort and I love his poems. Morton's Moments Without Names, his new and selected poems, was published by the Marie Alexander poetry series and I was on the phone a couple of days ago with Robert Alexander, the editor of that series book that Robert put out of Modernist prose poems. And we hadn't been talking for a minute before each of us interrupt the other one saying that Morton would have loved this book. So I think I will begin by reading a couple of prose poems by Mort. This first one is called In Autumn and it's from his book Pursuing the Dream Bone. In Autumn, on late afternoons, I stand at the window watching the yellow city's collapse in the sun. Prayers go unanswered in the corn's cathedral and in the hallways of flowers, bees are browsing with heavy heads. Somewhere at the end of the house, a door closes, a room is dark. And for those of you who ever had the pleasure of visiting Morton and Donna at their house on Walnut Street, you remember the great oak tree. I can't resist reading the tree. It's one of my favorite poems of Mort's. It's in four parts. Tonight I said goodbye to the tree whose branches cover half my roof and half my neighbors. A blue jay must have dropped an acorn in the path between both homes before I bought the place, even before I was born. And now it's a 40-foot oak you can see for blocks around, all the way to the sea, rising like the antlers of some giant prehistoric beast buried beneath the house. Some nights I think I can hear it snuffle, but this is earthquake country and the landscape can fool you, slipping and shifting overnight and waking you up in the dark to sounds that aren't quite right. There's a beast beneath the house, though I'm sure of it, a gentle one, who's allowed the house to rest on its back and birds to twitter and build nests in its antlers for almost a hundred years. But the antlers have grown brittle, some have snapped in the wind and others are pushing up through the house, so there's nothing to do but bring the tree down and dig out its roofs for the safety of everyone who lives above ground. I talk to myself a lot these days and maybe that's what I was doing last night when I stood out and stood with my hand on the trunk as on a friend's shoulder. What I said wasn't no worthy or memorable in any way was between the tree and me, but I can tell you I used words like thank you and sorry a lot. Words I find myself saying more and more these days to the land and neighbors and to people I hear about on the news reports in countries far away.  I guess the worst part was when they went after the taproot beneath the house with the grinding machine and scoured out the stump like a rotten tooth.  It's gone. It. Whatever it was. Look at what's left, not scars, just a pit. An archaeologist may squat and reach out one day, even pat this depression long after the house and neighborhood have gone back to fields once more or as some have predicted to hillsides beneath the sea. For me, it's another loss, a nothingness where something used to be. For you, it's empty sky that was always here if you had never passed this way before. I'll read one more poem from Mort's last book, The Dark Figure in the Doorway, Last Poems. Ladybug, today as in none came visiting. Actually she had lost her way and wandered into my yard carrying on her back a lacquered orange begging bowl large as a shield. Had she hauled that bowl all the way from Japan on a pilgrimage neither she nor I could understand? I couldn't ask her that. I asked myself, and now you.  I lifted my pin like a hobo's stick and with this bundle of words set out toward you as lost as she was. It's spring again. No, it's that moment when I'm reminded and set out to remind you that we're on a pilgrimage neither our words nor intentions can comprehend. It is now my very great pleasure to introduce tonight's reader Arthur Z. There are many things and many virtues that I look for in poetry but chief among them is clarity. At a moment when literary tastes tend toward obfuscation, obscurantism, and the dismal pleasures of ironic hocus pocus Arthur Z's poems are unambiguously open, clear, and generous. Marked by a range that is almost dizzying his lyricism is matched by a probing, compassionate intellect that brings great depth to poems that simultaneously challenge and soothe. Arthur Z has been honored with a litany of words too daunting to read in its entirety but which include the Lannan Literary Award, a Guggenheim Fellowship, an American Book Award, a Lila Wallace Reader's Digest Award, two National Endowment for the Arts Creative Writing Fellowships, and a grant from the Witterbender Foundation in poetry. Z is the author of several books of poetry including The Ginko Light, Kipu, The Red Shifting Web, Holmes 1970 to 1998, and Archipelago. Some earlier collections include River River, Dazzled, Two Ravens, and The Willow Wind. Arthur Z is also a celebrated translator from the Chinese. His The Silk Dragon translations from the Chinese has been widely praised and his work is one of Western State's Book Award for translation. He was recently named as a Chancellor of the Academy of American Poets. When I try to characterize Arthur Z's poems, words come to mind that might more readily be used to describe a young woman. I think of them as shapely, calmly, beguiling in their beauty and in their mystery. Please join me in welcoming Arthur Z. Thank you. It's such a great pleasure to be here this evening. And I just want to begin by thanking Gary for that wonderful introduction and Joe Stroud and the selection committee for inviting me and Jana Marcus and Donna Meckis for making everything possible. It's just such a great pleasure to be here. As I told one of the reporters who interviewed me before I came, I was, years ago when I was a student at the University of California at Berkeley, I used to just look forward to every issue of Kayak magazine and that was the journal in which I discovered Mort Marcus' work and I had his early book from Kayak as well and so it's really just such a great joy and honor to be here. And I thought of him then as such a force for poetry, just someone who cared so deeply about poetry and literature. So again, it's really a great pleasure to be here. I'm going to read this evening across books including some new poems and I'm also going to read across cultures and time so I'm going to be braiding in translations from ancient Chinese and weave them back and forth. I'd like to start with this first poem. It's called The Shapes of Leaves. Ginko, Cottonwood, Pinoc, Sweet Gum, Tulip Tree. Our emotions resemble leaves and alive to their shapes we are nourished. Have you felt the expanse and contours of grief along the edges of a big Norway maple? Have you winced at the orange flare searing the curves of a curling dogwood? I have seen from the air log islands each with a network of branching gravel roads and felt a moment of pure anger, aspen gold. I have seen sand hill cranes moving in an open field, a single white whooping crane in the flock and I've traveled along the contours of leaves that have no name. Here where the air is wet and the light is cool I feel what others are thinking and do not speak. I know pleasure in the veins of a sugar maple. I am living at the edge of a new leaf. In 1980, New Mexico had the worst prison riot in its history and I was scheduled to start a poetry workshop for incarcerated men that following week but as I listened to the radio the news just got worse and worse and of course most of the institution was totaled and I ended up working with women in prison and then men in prison about a year later and the impulse came out of that poetry workshop with men one morning, you'll see. This is called horse face. A man in prison is called horse face but does nothing when everyone in the tailor shop has sharp, cold scissors. He remembers the insult but laughs it off even as he laughs a cataraugus Indian welding a steel girder, turns at a yell which coincides with a laugh and slips to his death. I open a beer. A car approaches a garage. The door opens. A light comes on. Inside rakes gleam. A child with dysentery washes his hands in cow piss. I find a trail of sawdust walking a dead killer's hardened old shoes and feel how difficult it is to sense the entire danger of a moment. A horse gives birth to a foal. Power goes out in the city. A dancer stops in the dark and listening for the noise that was scored in the performance. Here's only sudden, panicked yells. Here. Here a snail on a wet leaf shivers and dreams of spring. Here a green iris in December. Here the topaz light of the sky. Here one stops hearing a twig break and listens for dear. Here the art of the ventriloquist. Here the obsession of a kleptomaniac to steal red pushpins. Here the art of the alibi. Here one walks into abandoned farmhouse and hears a tarantella. Here one dreamed a bear claw and died. Here a humpback whale leaped out of the ocean. Here the outboard motor stopped but a man mated to this island with one oar. Here the actor forgot his lines and wept. Here the art of prayer. Here marbles, buttons, thimbles, dice, pins, stamps, beads. Here one becomes terrified. Here one wants to see as a god sees and becomes clear amber. Here one is clear pine. One of my obsessions has to do with what I like to call cultural parallax, looking at things from different points of view or different angles and I find it endlessly fascinating how in one culture or something can be done that can honor someone but someone outside of that culture could see it as intensely cruel or vice versa you could be outside that culture and see something as intensely cruel but it could be a form of honoring too. The setting here though it's not mentioned is Tokyo in Japan. It's called In Your Honor. In Your Honor a man presents a sea bass tied to a black lacquered dish by green spun seaweed. Ah is heard throughout the room. You are unsure what is about to happen. You might look through a telescope at the full bright moon against deep black space. Sea from the Bay of Dew to the Sea of Nectar but no, this beauty of naming is a subterfuge. What are the thoughts of hunters driving home on a Sunday afternoon empty handed? Their conception of honor may coincide with your conception of cruelty. The slant of light as sun declines is a knife separating will and act into infinitely thin and lucid slices. You look at the sea bass's eye clear and luminous. The gills appear to move ever so slightly. The sea bass smells of dream but this is no dream. Ah such delicacy is heard throughout the room and the sea bass suddenly flaps. It bleeds and flaps, bleeds and flaps as the host slices, slice after slice of glistening sashimi. I'm going to jump to ancient China. One of my favorite poets is Tao Chen. He's a dropout in the tradition. Woke up one day and quit his job. He bought some land in the mountains. He built his own house. He planted chrysanthemums, drank wine and wrote poetry. It amazes me that these poems are written in 417 Common Era. In my introduction to the silk track and I said translation's an impossible task and yet we need translation more than ever, it seems to me.  Tao Chen. A green pine is in the east garden but the many grasses obscure it. A frost wipes out all the other species and then I see its magnificent tall branches. In a forest men do not notice it but standing alone it is a miracle. I hang a jug of wine on a cold branch then stand back and look again and again. My life spins with dreams and illusions why then be fastened to the world and one other from that sequence. I built my house near what others live and yet without noise of horse or carriage you ask how can this be? A distant mind leaves the earth around it. I pick chrysanthemums below the eastern fence then gaze at mountains to the south. The mountain air is fine at sunset, flying birds go back in flocks. In this there is a truth I wish to tell you but lose the words. And here's my poem that connects to classical Chinese aesthetics. One day I opened up a calligraphy manual and it was a found poem I looked and I saw this list of all of the mistakes you can do as a calligrapher and I'm a terrible calligrapher and I looked at this list and I said this is a poem right here. It's called Ox Head Dot. Ox Head Dot, Wasp, Waste, Mouse, Tail, Bamboo Section, Water, Caltrop, Broken Branch, Stork Leg, A Pole for Caring Fuel. These are the eight defects when a beginning calligrapher has no bone to a stroke. I have no names for what can go wrong.  Bronze slivers from a gimbal nut. Jam the horizontal stabilizer to a jet. Make it plunge into the Pacific Ocean. Hyena!  Stunned I hear a scratching. Know that I must fumble, blunder, mistake, fail. Yet sometimes in the darkest space is a white fleck. Ox Head Dot. And when I pass through, it's a spur of match into flame. Glowing moths loosed into air. Air rippling, roiling the surface of the world. I talked for 22 years at a college for American Indian students in Santa Fe, New Mexico. It's called the Institute of American Indian Arts. And I wrote this after leaving the institute, looking back at some of the Native students and some of their experiences. And it's called Looking Back on the Muckleshoot Reservation from Gallisteo Street, Santa Fe. The bow of a Muckleshoot canoe blessed with eagle feather and sprig of yellow cedar is launched into a bay. A girl watches her mother fry venison slabs in a skillet. Drops of blood, sizzle, evaporate. Because a neighbor feeds them, they eat wordlessly. The silence breaks when she occasionally gags, reaches into her throat, pulls out hair. Gone is the father riled, arguing with his boss who drove to the shooting range after work. Gone, the accountant who embezzled funds displayed a pickup and proclaimed the winning flush at the casino. You donate chicken soup and clothes, but never learn if they arrive at the south end of the city.  Newspapers, plastic containers, beer bottles fill the bins along this sloping one-way street. I do a lot of divination practice with the each-ing, and I experimented with writing or trying to find a structure for a longer poem, and I wanted a kind of poem that unfolded with a continual motion. I was thinking of almost like gamelan music, the way that those blocks of sound, you can sort of hear them transitioning and changing, and they have a kind of continuous motion, but they also kind of suspend time. So some of those ideas and thoughts were in the background, and this poem is called Chrysalis. Corpses push up through thawing permafrost as I scrape salmon skin off a pan at the sink. On the porch, motes in slanting yellow light undulate in air. Is Venus at dusk as luminous as Venus at dawn? Yesterday, I was about to seal a borax capsule angled up from the bottom of a decaying exterior jam when I glimpsed jagged ice floating in a bay. Navel sonar slices through whales even as a portion of male dorsal fin is served to the captain of an umiak. Stopped in traffic, he swings from a chairlift, gazes down at scarlet paintbrush. Moistening an envelope before sealing it, I recall the slight noise you made when I grazed your shoulder. When a frost wiped out the chalk blue flowering plant by the door, I watered until it revived from the roots. The song of a knife sharpener in an alley passes through the mind of a microbiologist before he undergoes anesthesia for surgery. The first night of autumn has singed bell peppers by the fence while budding chimesa stalks in the courtyard bend to ground. Observing people conversing at a nearby table, he visualizes the momentary convergence and divergence of lines passing through a point. The wisteria along the porch never blooms. A praying mantis on the wood floor sips water from a dog bowl. Laughter from upstairs echoes downstairs as teenage girls compare bra sizes. An ex-army officer turned critic frets over the composition of a search committee, snickers and disparages rival candidates. A welder who turns away for a few seconds to gaze at the sangria de cristos detects a line of trucks backed up on an international overpass where exhaust spews onto houses below. The day may be called one tooth road or sixth thunder pain, but the naming of a day will not transform it nor will the mathematics of time halt. An imprint of ginkgo leaf, fan-shaped, slightly thickened, slightly wavy on broad edge, two lobed with forking parallel veins but no mid-vane. In a slab of coal is momentary beauty. While ginkgos along a street dropping gold leaves are mindless beauty of the quotidian, one's thought extinct, the ginkgo is discovered in Himalayan monasteries and propagated back into the world. Although I cannot save a grasshopper singed by frost, trying to warm itself on a sunlit walkway, I ponder shadows of budding pink and orange bougainvillas on a wall. As masons level sand, lay bricks in horizontal and vertical pairs, we construct the ground to render a space or own. As light from a partial lunar eclipse diffuses down skylight walls, we rock and sluice, rock and sluice. Fingertips fan, the fan fingertips debush into plentitude. Venus vanishes in a brightening sky. The diamond ring of a solar eclipse persists. You did not have to fly to Zimbabwe in June 2001 to experience it. The day recalls 13 death and one deer when an end slips into a beginning. I recall mating butterflies with red dots on wings, the bow of a long liner thudding on waves, crescendo of water beginning to boil in a kettle, echoes of humpback whales. In silence, dancers concentrate on movements on stage, lilacs bud by a gate. As bits of consciousness constolate, I rouse to a 3 a.m. December rain on the skylight. A woman sweeps glass shards in a driveway, oblivious to elm branches reflected on windshields of passing cars. Juniper crackles in the fireplace, flukes break the water as a whale dives. The path of totality is not marked by a shadow hurtling across the earth's surface at 3,000 kilometers per hour or eyelashes attuned to each other. At the mouth of an arroyo, a lamb skull and ribcage bleach in the sand. Tufts of fleece caught on barbed wire vanish. The shun carved characters in the skulls of their enemies, but what transpired here? You do not need to steep turtle shells in blood to prognosticate clouds. Someone dumps a refrigerator upstream in the riverbed while you admire the yellow blossoms of a golden rain tree. A woman weeds, sniffs fragrance from a line of onions in her garden. You scramble an egg, sip oolong tea. The continuous bifurcates into the segmented as the broken extends. Someone steals a newspaper while we doze. A tiger swallowtail lands on a patio columbine. A single agaric breaks soil by a hollyhock. Pushing aside branches of Russian olives to approach the Pauaki River, we spot a splatter of flicker feathers in the dirt. Hear chants and fate in mesh.  Aroma of emptiness. We rock back and forth, back and forth on water. Finns of spinner dolphins break the waves. A whale spouts to the north-northwest. What is not impelled? Yellow hibiscus, zodiac, hairbrush. Barbed wire, smog, snowflake. When I still my eyes, the moments dilate. Rain darkens gravel in the courtyard. Shriveled apples on branches are weightless against dawn. I'm moving back to Tang Dynasty, China and in 753 Common Era there was a period of civil war and Dufu was separated. The great Tang poet Dufu was separated from his family and was eventually reunited with them and he wrote this poem when he comes back and I need to say just that the word Li is a Chinese mile. It's about a third of a Western mile and the poem's called Return to Zhang Village. Shaggy red clouds in the west. The sun's foot is down to level earth. By the wicker gate, sparrows are chirping. The traveler returns from over a thousand li. Wife and children panic at my presence. Quieted, they still wipe tears. In this age of turmoil I floated and meandered a miracle of chance to return alive. Neighbors crowd the fence tops and also sigh and sob. In the deep night we are again holding candles facing each other as in a dream. And this is another quatrain written at this period of civil war and the kind of compression that Wang Wei can do is just startling. And here in contrast to Dufu instead of asking about how the friends of his village are you'll see what he does and he even chooses deliberately to call the poem untitled. Sir, you come from my native home and should know the affairs there. The day you left beside the silk-pained window did the cold plum sprout flowers or not? I want to read from a new manuscript, Compass Rose and this next poem is inspired by travel in India and it's called Sarangi Music and the Sarangi is an East Indian instrument and it's been said that the way the strings are strung and the kinds of melodies that you create with it most resemble the human voice. And what I did was traveling in India I just each day wrote down an image that came to me and then eventually the poem became this collage or this music, Sarangi Music. Black kites without stretched wings circle overhead sticking out of yellow tongue flames on a left foot. Near a stop bus one kid performs acrobatics while another drums. Begging near a car window a girl with a missing arm. Mine a bird sipping water out of a bronze bowl sprinkled with jasmine petals. Twitching before he plays a Sarangi near the temple entrance a blind man. In relief a naked woman arches and pulls a thorn out of her raised heel. Men carry white-wrapped corpses on bamboo stretchers down the steps. She undresses a scorpion on her right thigh.  She rings her hair after stepping out of a bath. A portion of a leograph visible amid rubble. A woman avert her gaze from the procession of war elephants. Two boys at a car window receive red apples sipping masala tea in an inner courtyard with blue-washed walls. An aura reader jots down the colors of his seven chakras. A bus hits a motorcycle from behind and runs over the driver and his passenger discussing the price of a miniature elephant on wheels. Green papayas on a tree by a gate. Lit candles bobbing downstream into the sinuous darkness.  The limp tassels of new Ashoka leaves in a tomb courtyard. A cobra rises out of a straw basket before a man plays a bulbous instrument. Corpses consumed by flames and in all stages of burning. The elongated tip of a bodhi leaf arranged in a star pattern on a white plate five dates. On a balcony in the darkness, smokers staring at a neem tree.  A naked woman gazing at herself in a small circular mirror. At sunrise a girl rummages through ashes with tongs. Along the river men and women scrub clothes on stones. I think the three last poems, this one is called at the equinox. The tide ebbs and reveals orange and purple sea stars. I have no special theory of radiance, but after rain evaporates off pine needles, the needles glisten. In the courtyard we spot the rising shell of a moon and at the equinox bathed in its gleam. Using all the tides of starlight we find vicissitude is our charm. On the mud flats off Homer I catch the tremor when waves start to slide back in. And from Roanoke you carry the leafing jade smoke of willows. Looping out into the world we thread and return. The lapping waves cover an expanse of muscles clustered on rocks and giving shape to what is unspoken for scythe of buds and blooms in our arms. I was talking earlier this afternoon with Joe Stroud about mushroom hunting and this one is called Mushroom Hunting in the Hamas Mountains, something I love to do each summer in New Mexico. Walking in a mountain meadow toward the north slope, I see red-cap amanitas with white warts and know they signal seps. I see a few colonies of puffballs, red ruchelas with chalk-white stripes, brown gild, poison pie. In the shade under spruce are two red-poured boletes, sliced them in half and the flesh turns blue in seconds. Under fur is a single amanita with basil cup, flaring annulus, white cap. Is it the Rocky Mountain form of amanita pantherina? I'm aware of danger in naming, in misidentification, in imposing the distinctions of a taxonomic language onto the things themselves. I know I have only a few hours to hunt mushrooms before early afternoon rain. I know it is a mistake to think I am moving and that a garrix are still. They are more transient than we acknowledge, more susceptible to full moon, to a single rain, to night air, to a moment of sunshine. I know in this meadow my passions are my carousel with nature. I may shout out ecstasies, aches, griefs, and hear them vanish in the white, poured silence. And I'd like to close with this poem that I wrote after the poetry festival in China. It's called Pig's Heaven Inn. And I need to say there's one Chinese word, a shun, which is an ancient ceramic instrument. It's just a small vessel with holes in it, and you put your lips to it and then you open and close the holes. And that's the shun, and they're in different sizes. Pig's Heaven Inn. Red chilies and a tilted basket catch sunlight.  Enter a courtyard, notice an inkstone engraved with calligraphy, filled with water and cassia petals. Smelming dynasty redwood panels. As the musician lifts a small shun to his mouth and blows, I see kiwis hanging from branches above a moon doorway. A grandmother, once the youngest concubine, propped in a chair with bandages around her knees, complains of incessant pain. Someone spits in the street. As a second musician plucks strings on a zither, pomelos blacken on branches. A woman peels chestnuts. Two men in a flat-bottomed boat gather duckweed out of a river. The notes splash silvery onto cobblestone, and my fingers suddenly ache. During the cultural revolution, my aunt's husband leapt out of a third-story window. At dawn, I mistook the cries of birds for rain. When the musicians pause, yellow mountain pines sway near bright summit peak.  Someone blows his nose. Traces of the past are wisps of mulberry smoke rising above roof tiles. And before we, too, vanish, we hike to where three trails converge. Hundreds of people are stopped ahead of us. Hundreds come up behind. We form a rivulet of people funneling down through a chasm in the granite. Thank you. And I look forward to seeing you next year. Good night.


Erica can you tell me what's happened yes it's the police Erica can you tell me what's happened you've fallen down a few days ago all right that's all right we've got we've got ambulance on the way okay I'll be here soon okay Doma are you here by yourself you remember when you fell down four or five days ago yeah but you just have a bit of a drink for me that I'm just small sips don't drink too much just little small drinks okay I can hear sorens so hear that yeah so they're coming for you they won't be too far away now thank you yeah don't they're here for you now hello straight down what I'm guys thank you no you Max we can't hug you as boys leave no we have to keep our social distance sing for these are for you if you wouldn't have come I don't think I'd be sitting here with the doctor said to me every doctor who came here he said you don't know how lucky you are that you're alive I just slept out of bed which I always do the same and know what happened if they must have performed unconscious because there's some time I can look comfortable for us to have an opportunity to come here today and see her and present it with some flowers and see the smile on her face and you know a lot more color it's it's great for us it it's really fulfilling for us in our role in the end I mean I'm still alive can you mention a week nearly lying here without help day and night I can't comprehend it how that all happened look the government's been brilliant instrumenting the care army and so on and trying to contact the elderly and frail people with the community and it's a great initiative and if we can get that message across from this then that's gold that'll help out immensely and hopefully help save more lives


Hello everybody good evening. So let's talk about does your child need to be put to sleep for any dental work. Maybe you've just taken them to the dentist. Your child has six cavities and it's recommended that the child be put to sleep to fix those cavities. So I am not a dentist. I am a dental hygienist. I've been a dental hygienist for about 17 years now. And I currently have my own dental hygiene practice and I see a lot of children. I see a lot of families where they want their teeth cleaned all in the same day. Well, I'm there. I'm going to see their child as well. It doesn't matter on the age. They could be 18 months. They could be three years old. I love to see children and make sure their teeth and oral health are doing amazing because it's good to prevent. I always want to prevent cavities and children. But what do you do when they get something? Do they need to be put to sleep? I have parents messaging me where they're told by their dentist they need to have cavities fixed. Their child needs to have cavities fixed. It's going to be $5,000 because they need to put them to sleep. That's just how it is. And parents want a second opinion. So I talk about a couple things. First, I do need to come and see the child. I need to see what those cavities look like, which teeth those cavities are in. There's a couple things you need to think about. Is that tooth going to fall out next month? If it's going to fall out next month, why even fix the cavity because the tooth is going to fall out? It's not wrong to fix the cavity, of course not. But why would you spend the money if the tooth is going to fall out next month or within six months? Why would you? But if the child is in pain because the cavity is so deep it has now affected the nerve of the tooth, then yes, you need to get that fixed because you don't even want to wait another day if the child is in pain. I always ask the parents, is your child in pain? If they have 20 cavities, I ask them, is the child in pain? I let them know. I show them a chart of when each tooth is approximately going to fall out. If it's going to take three years, then yes, those cavities need to be fixed because they're not going to stay the same. Most likely they're probably going to get worse and they're going to cause pain eventually. And if they're going to fall out within six months, why put you and your child through that? Having to put them to sleep, you're paying $5,000, why? But there is something that I do as well. So I would never say you have a mouthful of cavities. Let's do nothing because you're going to lose, the child is going to lose those teeth within six months. Let's not say that. There is actually a liquid that we can apply with a little micro brush to those cavities to kill the bacteria that causes the cavity and that will prevent it from getting bigger. But the catch is it has to be reapplied often. After the first application depending on the cavity, that liquid might have to be reapplied in two to four weeks. And then after that, it might be best to have it reapplied once a month. The cost is different depending on which office you go to, but I charge $25 for that each time. But that's killing the cavity, killing the bacteria. It's not making the cavity or tooth look different. It's going to look exactly the same. It's not a filling. The filling is when the dentist takes out the cavity with the high speed handpiece so the cavities not there. They clean out the tooth and then fill up the tooth so it looks like a nice normal tooth again. Okay. The liquid that I apply is just a little liquid with the micro brush. I can do it on a two year old, no problem. It takes half a second. I can do it super fast. I just have to open for a second and I go super fast. The liquids applied and it's already working. They can eat, drink anything right away. But again, it has to be reapplied often. But parents much prefer that method than the method of having their child be put to sleep, spending $5,000. Yes, the cavities are fixed. The cavities are done. But sorry, the cavities are fixed. The cavities are gone. But $5,000 later, the child was put to sleep. That's very traumatizing for both the child and the parents, usually. I shouldn't say always, but usually, of course, that would be traumatizing to me to be honest. Whereas I come in with a liquid with a micro brush, it's killing the cavity, stopping it from getting worse. Yes, it has to be constantly reapplied. It takes two seconds. And that's it. The appointment's done. The child's happy. They're not spending $5,000. They're spending $25. But we do have to monitor it. I let the parents know. You can monitor your child look every night at those cavities. If they're getting worse, I'm probably going to tell you this isn't good. You might have to go to the dentist to get them fixed with the filling. But if they're not getting worse, if they're staying the same, there's no pain and they're going to lose that tooth soon. This is the better option, in my opinion. So if you have options, please explore your options. Talk to your dental hygienist. There are other things you can do so you don't have to traumatize your child or traumatize you. Because, believe me, when it comes to dental work, health care, anything like that, once there's a bad experience, especially in children, they don't forget it, okay? Or it's going to really hinder their next experiences, right? I hope that helps you guys. Please comment below with any questions. Thank you for watching, and I'll see you guys in the next one.


This paper investigates deep neural networks for accurate detection of building rooftops in aerial ortho-images using manually, labeled data in the Kitchener Waterloo area. The three methods UNET, FCN, and Dplab3 Plus were compared with training, validation, and testing sets. Dplab3 Plus achieved 63.8% IOU, 77.8% MIOU, 74% precision, and 78% F1 score. Improving performance with focal loss reduced training loss and increased convergence rate. Dplab3 Plus reached 93.6% average pixel accuracy with 65.4% IOU, 79% MIOU, 77.6% precision, and 79.1% F1 score. Ablation study showed that decreasing data volume negatively impacted performance with IOU, MIOU, precision, and F1 score mostly decreased. This article was authored by UACAI, HomeJahi, Guyan, and others. We are article.tv, links in the description below.