Hello, I am Michael J. Caboose, and welcome to The Price Wheel of Cash. I love the clapping part. Now onto the contestants! My name's Sarge. I'm Colonel Sarge, actually. And I'd like to completely lie and say that I'm just overjoyed to be here. And then we have door number two! What?  What are you saying? I can't hear anything.  Oh my God! It is Dexter Griff competing to earn back his title! Caboose, I think you forgot air hole! And now, that's your number four! Now, Lopez, we actually had a meaningful conversation backstage. It sounds like you're playing today for your sixth sister. Okay. No tango, wanna earn mana? Incorrect! Would you like to steal? I'll take things that rhyme with cheese for 16. Survey concludes! Oh, come on! This is rigged! What? As a question, please. Um, this is rigged? That's correct! Guys, seriously! I really can't breathe in here! Clues the first round of whatever this is! Can we please take a look at the scores? Thank you. Okay, before the show, we talk to the contestants on why they wanted to be on the program. Here is what they had to say. I'm only playing this game for the prize. What prize? Well, of course, the blue Bambino isn't gonna just tell us. But I have a certain suspicion. I know exactly what it is. It's a car. They always give away free cars on these things. It'll be his base! That means, finally, after years of my trial and my subordinate's errors, I'll have two bases in the middle of a box canyon! It's a foolproof plan! What do you mean, then what? No key or a S.R.I. key. Alright, so we forgot to stop playing during the break. So scores now, 8 to 8. For the team round! We asked Griff privately a series of questions and then asked you also privately how Griff would answer. It's incredibly convoluted and is also the truest test of a loving relationship. Relationship? Loving? Good! You're already finishing each other's sentences. This is gonna be good. Now, first question. What did door number two say was Griff's favorite food? What did you say? Survey confirmed! We asked you both the same question. What is Sergeant's favorite food? Sergeant, your answer? The most red cake you can possibly eat! Wait a minute! No! I forgot about red velvet! I need to change my answer! And don't miss, you said? And correct! You will both be eliminated if you don't survive the second egg round! No!  We won? That's right, Griff! I'm so excited! Are you too excited? Uh... Tell me you're excited! Uh, yeah! We're so excited! Okay, final question. This is for all of the marbles, including the one I ate 40 years ago in that blueberry eating contest. Which may or may not be the prize. Is it the prize?  Get ready for the last question! Yeah, door number two. If you do not answer this question correctly, then Sister dies! Uh, guys?  How did you- Sir, question. Should you choose to accept? What is my middle initial? Is it A, D, E, C, minus, four, or pi, purple? Really? Choice E! Is that your final answer? What? No, it's a... it's a... um... oh, damn, test anxiety. Door two locks in choice E! Griff! Aw, man. What in doubt? Always pick C. Also locks in choice E. C! No! I know this! I know this!  Hey, get off the stage!  Answer locks in choice D. Answer is... I am sorry. We forgot to put the right answer up there. It was actually choice... K. J. What? Which was also our daily double trouble with cheese. So it might follow the person with the most points gets to steal. A. Yes! That's right! It is K! Congratulations, Joe Pez! You have won! What do you have to say for yourself? Odio esto espere, K. Subtitular incorrecto. Yes! No, Pez! You make the best new friend ever! Please be allowed to best friend crown! K. No. No, por favor. Incorrecto, Subtitular. So the prize was just to be Kibusi's friend? No car? For money? Ah, door number two in the game's over. You already picked choice E. What? No! No! Stop laughing! Por favor! No quiero! No quiero! And that's it for whatever this show is called! Please don't forget to like and subscribe to your pets! Bye bye! What do you think he's dreaming about? Simmons, some questions. Like how he's constantly able to get through our defenses only to sleep in our newly installed heated linoleum. Our best just left unanswered. Come on! Grab his ankles! Aw man, how come I always get the heavy part? Thanks for checking out that episode of RV Beat! You can find the playlist to watch more below, or you can go to roostateef.com to check out the latest RT shows. Also, don't forget to like, subscribe, and hit that bell, or leave a comment.


Felly yn y toffi TV yw'r hyn sy'n my three things from Everton One, Crystal Palace One, that goes on tonight, another poor performance that goes on, another disappointing result for Everton. Leans are European hopes hanging by a thread but it wouldn't be Everton if they didn't make sure that things were difficult. Let's get on with it, let's begin with the front two who have missed a guilt-etched opportunity as far as I'm concerned tonight. The two in the first half from Dominic Alder Llewyn, Amryd Charleston were really poor, better strikers score both of those goals and easy tapping for the two good strikers.  He's just not in good form for us, he really isn't. Burnley came, he was guilty of missing chances and tonight he's missed two, one in the first half, one in the second half, he should have scored both of them in the game, would have been done and dusted. But Charleston as well, he's had three or four chances tonight and missed all of them. The one in the first half when he's running through, the opportunity to pass it beyond Gwata to give us the lead, he cuts back and said if he rolls that square for Dom he's got a tap and it's one-nil, doesn't, it is straight at the keeper and it's just really, then he comes back to his touches, woeful. He misses a head of that, two headers that he should have done better with and then a one at one-nil, which he hits into the floor again, the keeper makes a good shape, but he's got to be finishing then, that's not clinically enough and it ended up costing evidence tonight and it wasn't a great performance and we should have had a palace under more pressure than we did but we still could have ended up with five or six goals with better finishing and we've ended up throwing the game one-one and it's hugely frustrating and it's probably why we need another centre forward in the squad in the summer as well, someone who can be a threat to both of those players, someone who can come on and make a difference or someone who can keep those players out of the start on the eleven, maybe the man has to look at it like that, now it doesn't seem like Josh King's in his plans at all, he can't even get on the pitch tonight when he should have done but come on to that in a minute but just not good enough at the end of the day, frustrating from those two because we know that they do have goals in them but when you're going for things like Europe and these games are on knife edges, they have to be put away, you hope your big players will get you those points and those two unfortunately you fluff the lines tonight, so disappointing second thing I want to talk about is the home form which is utterly pathetic really, from a side that has had a lot of money spent on it to be as poor as we are at home as criminals really, one win at home since December is as bad as it's been for a while really and that win was a navy 1-0 win against Southampton the other week, tonight should have been the second win and they've blown it by not being able to defend it I don't know what the manager can do because the squad is there, Alan was missing tonight, he'd have made a little bit of a difference but it's just a general play, we've got no real outlets, we've got Hammers Rodriguez coming inside brilliant and he's really skillful, he's showed a crack in gold tonight and he's a real threat you've got to have people who can get up with them, you know Sheamus Coleman I thought did a decent job so I put a great ball in for Richard Lleson in the first half, in fact Sheamus had a good game but it's still not enough we need you know Andre Gomez was on and went off injured and Guilfe come on and was okay, Tom Davis was okay, you know we've got to have more options, you've got to be able to look at that bench and go right we can really change this up here we need to bring him in on and let's push these right back and we haven't got any of those options and that's affecting the home form, I think our wayward is sticking to a game plan and it's can we nick one and then can we defend, that's fine but we really have got to sort this out but before games to go we've been saying it we've got six games, seven games left can't we win them, six games to go and the games are going by and it's the same results so really frustrating tonight third and final, well I'm going to do four but three is the substitutions, I don't know man has he got the subs wrong tonight, I really did, the Gomez won he had to make, no problem in that he had to do that, Gomez ham sing it gone I think, Guilfe come on wasn't many options on the bench, get back mum is never coming on that early so Sigurd didn't come on, no problem in that but the two in the second half I really didn't get on this and Seamus Coleman didn't look injured, in fact he didn't look happy to be coming off and I thought he'd had a good game and I think it was the manager again trying to be defensive mind the day when he should have maybe thought about pushing Christop all his faith abach, when instead by being defensive we allowed him on to us, you know took Coleman off and put Goffrion and right back, not something like that don't and then he took Hamers off and put John Philippe Goebbamon on the pitch and it was great to see Goebbamon and I will touch on that in a minute it was a negative sub for me, it should have been in my opinion it should have been Joshua King coming on the pitch and us trying to win the game but he put Goebbamon on to try to close the game out which I just didn't really get, now this thing I thought it was a massively negative substitution for the manager but so one of them isn't it finally I know this is for but I just wanted to just quickly say it was great to see John Philippe Goebbamon back, it was great to see him, we're never getting kids on, it was great to see him on the pitch and he's had about 15-16 minutes there which is great for him being off for 18 months it's brilliant for him to actually get some 13 football back under his belt I think probably one or two of the medical people were watching through the fingers because he's only really been back for a couple of weeks so and then ideally did a left him for another couple of weeks but he's playing tonight and if we just take our time with him then we can see the physical side of him, we can see he's got the physique, we can see when he gets fit he'll have the power to cover the ground and he'll be an important player for everyone but we just need to take our time and it was really good to see him back on the pitch that's it listen and I'll be honest I'm absolutely furious tonight with them I think it's just not good enough and there's only so many times you can make excuses and that is bitterly disappointing tonight for us that we've not won that game, it really is just blown what was a really good opportunity we've got ourselves into a great position this season to really do something and slowly but surely we've allowed that to just ever way to nothing so hugely frustrating and I can't even stand in and say at least we're good to watch because we're not and I think that's the thing that's frustrating but there you go there my thoughts let me know what you think in the comments section below subscribe if you're having to give the video a thumbs up check out the other aftermath reaction stuff and see you later


As we observe the space around us, we see our solar system, our galaxy, and our local group of galaxies first. We then see significant numbers of large, well-formed galaxies in our local supercluster. The further out we see, the further back in time we go, and the further back in time we go, the more we notice a reduction in the size and structure of the galaxies. Eventually, we reach as far as the first galaxies to ever form from the first stars that started to shine. Before that was just hydrogen and dark matter. No light was being created for us to see. As we look back in time, we are also looking back at an ever-shrinking volume because the universe was getting smaller, and its temperature was getting hotter. Eventually it reached 3,000 degrees. At that point, hydrogen atoms began to disassociate into protons and electrons, and space became opaque. Coming back the other way, the surface, with the transition from opaque to transparent occurred, is called the surface of last scattering. At that time, all the photons in the universe were released. These photons are still with us today. We see them all across the sky in tremendous numbers. They are the cosmic microwave background photons, CMB, and they tell us a great deal about the past, present, and future of the universe.


Have you ever wondered how spacecraft maneuver while they are in orbit? They have small groups of thrusters known as reaction control systems or RCS that can control the orientation and in some cases translate the spacecraft. They work by ejecting mass to create a reaction force that can move the spacecraft around its center of mass. Can we examine such a design problem using what we've learned in STATICS thus far? Examining a complete spacecraft in three dimensions is perhaps a bit too complex for us at this moment. But we can look at an overly simplified case to understand the analysis. What I will call the wonky space capsule for reasons that will hopefully become apparent in a minute. Our hypothetical spacecraft is illustrated here. It has a main thruster that is aligned with the central axis of the spacecraft and two smaller thrusters that are oriented at an angle of 70 degrees and 55 degrees with respect to the central axis of the spacecraft. Our problem statement for this spacecraft is what is the equivalent force couple at the center of mass, or point O, as a function of the magnitudes of the three thruster forces. For this we will define an axis system aligned with the central axis of the spacecraft. We then need to determine the location of these thrusters in our defined coordinate system which is provided here as coordinates from the center of mass in the units of meters. We now have all the information we need to determine what the resultant force R and resultant couple M sub R acting at the center of mass due to the thrusters is. Now that we understand the problem statement we now have to choose a solution methodology. We have seen that we can analyze what a resultant force moment system is by using vector formulation or vector decomposition. We've already looked at an example that uses vector decomposition so we will use the vector formulation for this example. We now examine our equations to find our resultant force and moment and the resultant force comes from summing all of the force vectors. So our resultant force R becomes F1 plus F2 plus F3. We will call this equation I. We also can look at some of the moments that tells us that our overall moment couple M R will be the summation of all the cross products of the position vector R crossed with the force of the thruster F where the position vectors will be defined as the distance between our center of mass and our thruster. Now we can already see a simplification in this problem in the sense that force F1 passes through the center of mass. So it will not actually create a moment about that point. So we see that R1 cross F1 will actually be zero. So we can already simplify the equation. We will call this equation equation two or sub-II. Now that we have our two summation equations we know what vectors we need. We need to determine what these vectors are. We can start with the force vectors and very easily see that force vector F1 will have a magnitude of F1 and it is acting completely in the y direction. So it will have a direction cosine of negative one. If we look at force two it will have a magnitude F2 and it will have an x component of the sine of 70 degrees but it's in the negative direction, so negative sine 70 and a y component in the positive y of cosine 70. We can then evaluate those expressions and get our numerical values. Again, similarly for F3 it will be in the positive x and positive y and we will get the x component will be sine 55, the y component will be cosine 55 and there is no component in the z direction because it's acting within the plane. We can then calculate those numerical values. Now we also for our moment equation here we need two position vectors R2 and R3. So we'll start by defining R2 as a distance between the center of mass and our thruster F2 and here we can see that we can actually just use our coordinates for the location of the thruster because that actually defines the position vector because we conveniently located our coordinate system at the center of mass. Similarly for R3 our position vector will be given by the coordinates. So x is one meter, y is four meters and z is zero meters in this case. Now we can go on to calculate things because we've determined all our vectors. So we'll start with calculating the reaction force which will be F1 plus F2 plus F3 subbing in our results that we calculated for our vectors here. We will get the following equation and we can see here that you're going to get a complex summation of all these magnitudes and we see that the z values are zero. So to clean up the notation when I add them I will break it up into the x and y components. So the i components becomes zero F1 minus 0.940 F2 plus 0.819 F3. So that's this component here. We can then add the y component from this line and our z component is zero in this case. So don't be afraid by the alternative formulation of it. It just saves a little bit of space here. We can now look at our resultant moment from our equation two where the force one component we said was zero or the cross product so we only have two cross F2 plus R3 cross F3. So we can now evaluate each of these cross products. So R2 cross F2 we can determine using the Amsterdam method where we stack our position vector on top of itself twice. So that's just R2 here stacked on itself twice and our force vector F2 right here stacked on itself twice. And in this method if you recall we cross out the top and bottom row and then we evaluate the cross products of the various rows. So we'll get minus two times zero minus zero times 0.342 F2 which ends up just being zero minus zero. And similarly we will get zero minus zero for the next evaluation next line of the evaluation and the last one will be non-zero. We will get minus one times 0.342 F2 this value here minus negative two times negative 0.94 F2 and this is in the K direction. So this gives us our three components and we will get that it's 2.22 F2 in the K direction. And note here that I've put units of meters not because the units of this whole thing is meters but the units of the number F2 we can still put the units in which would have newtons so forth. So our result so far is just from this cross product we need to evaluate the next cross product. So to do that again we can use the Amsterdam method and I'll go through it a little bit more quickly but we get those first two components are zero because of the multiplication of zero on each line. And then our last one we will get one times 0.574 F3 minus four times 0.819 F3 which results in negative 2.70 F3 in the K direction and then we can add this in and this becomes our final expression for our resultant moment. Again the units meters reflects the numbers we would still have to substitute in the units of our force when we place those values into the equation. So here we have our final results we should take a moment to think whether they make any sense and we can actually look at a few things since our model is two dimensional we would expect our resultant force to be contained within the XY plane and indeed it is to have an X and Y component to our resultant force. Similarly if you think about the resultant moment it should be causing a rotation or would tend to cause a rotation within the XY plane so about the Z axis coming in and out of the page and indeed our moment only is acting in the Z direction so at least from the directions and all of that, that makes sense. Now it's hard to evaluate the numbers because we did not actually put thrust values in here we kept it in parametric form and you may ask well why keep it in parametric form you'll see a lot of examples within the textbook have numbers and you're evaluating an actual fixed value we do that in a lot of textbook problems to practice but I wanted to show you this parametric form because this is very useful in an engineering analysis and I will show you that in the next few slides but I will warn you this kind of goes a little bit beyond what you would do in most problems but it shows you how applicable such a parametric equation is so let's take a look we can first look at our moment equation this was the moment equation for the function of our two thrusters f2 and f3 remember f1 was aligned with the center of mass so it would not cause a moment I can plot this as an actual contour surface so here we see a contour plot where the color is showing you the value of the moment and then I have on the x-axis f2 so I treated f2 as my x variable and f3 as my y variable starting this function now why is this useful well you can imagine you might want to create a certain resultant moment to cause a rotation of the spacecraft but as you can see here these contour lines tell me that I have multiple thrusts that can give me that value so I can look here for instance and at this point of the contour line it's approximately 275 newtons for this thruster or sorry for the for f2 and approximately 600 newtons for f3 alternatively I could produce the same rotational moment but with a thruster force of 650 newtons and 900 newtons now obviously hopefully it doesn't come as much of a surprise to you that this would be way less efficient you have to apply two larger thrusts so you would have to eject a lot more mass or use a lot more fuel to get that rotation so such a plot could help you evaluate the efficiency of certain maneuvers it also allows you to observe something else and that is what this plot is missing this doesn't show us the resultant force so if we did certain maneuvers you might get a different translation out of it but what we can observe is a particular line where our resultant moment is zero and in this case that is where f2 is equal to 1.22f3 you can actually solve for this line with this equation equal to zero and solving for f2 as a function of f3 this is an interesting line because along this line this is the combination of thruster forces that would not cause a rotation so the spacecraft would only translate so what we could do is examine all the possible maneuvers where you would avoid the rotation we could take our resultant we already came up with parametric form if we apply the condition that f2 is equal to 1.22f3 which was the condition where our resultant moment was zero then this equation simplifies a little bit and we get that our reaction force is negative 0.324f3 in the i direction plus 0.99f3 minus f1 in the j direction I can now see that this isn't a simple magnitude value this is a vector equation still so what I can now do is plot a vector field so if I look here on one axis I have f3 and on the other axis I have f1 and I've plotted for different combinations what the resultant force would be of a vector field so obviously if we're only applying thruster f1 and 0 on the other thrusters then I'm only going to get a downwards thrust because our thruster is down here it would be pointing downwards but you can get different combinations of translations without rotating the aircraft you could then evaluate the aspect of fuel efficiency but you have to be a little bit careful here this axis is only showing f3 but we also have to ensure that f2 is equal to 1.22f3 so there's actually a lot more thrust than what is shown on this axis so we could draw an alternative axis which would be f2 plus f3 and here you see the total thrust from the two smaller thrusters corresponding to this vector field and you could see if I wanted to translate the aircraft or apply a downwards force the thruster 1 would probably be more efficient but if I wanted to go in the other direction I could go here but now I'm using up a lot of thrust from my other thrusters so that's not so fuel efficient you might actually want to rotate the aircraft first to get into orientation where you can use this more efficient direction so hopefully that gave you an idea of some of the things that you can do in terms of further analysis I admit it goes a bit beyond what we would expect for you to be doing within a lot of statics problems but I think it's really important for you to see where the skills and tools you are learning now are going towards so that you will be able to see that you can apply it to much more interesting problems, design problems and decision making situations which is really the crux of engineering


This is stock number 11071. We are here at Summit Automotive in Fond du Lac, Wisconsin. You're new and used heavy-duty truck and RAM headquarters. Today we are checking out this super clean 2018 RAM 2500 mega cab short box Laramie. This truck has the 6.7 liter Cummins diesel. It has been fully safety and inspected by our service shop. It has a fresh oil and filter change. All the fluids have been checked and topped off per the state of Wisconsin inspection process and this truck is 100% ready to go. Bright white is the color. We shoot all of our videos in 1080p 60 frames per second. So if you have HD capabilities on your computer tablet or smartphone device turn them on right now because it is definitely your best way to check out the quality and condition of the vehicle before seeing it in person. If you want to check out all the photos on this truck in the upper right hand part of your screen is a link right to our website. Click that and check us out there. This one comes with the 18 inch polished aluminum rims. Really nice condition. No scuffs or scrapes on them and it has Goodyear Wrangler Dura Track LT27570 R18 tires. These tires have probably about 70% of the tread left and it does come with the Bilstein shocks part of that 4x4 off-road package. Front fender no dents or dings on that. Comes with the projector lamp headlamps the LED running lights. Headlight lenses are nice and clear. Front bumper is in excellent condition. I didn't see any dents or dings on that. Front bumper parking sensors you do get the chrome trimmed grille and the hood is in excellent shape. Didn't see any dents or dings on there. Passengers side front fender excellent condition. Passengers side rim no scuffs or scrapes on there. The only thing I did notice a little bit on that fender flare just a little bit of a nick but other than that nothing too bad down this side of the truck. No dents no dings. You take these HD videos so if you're far away or even if you're close by you just can't make the trip down but you're still interested in purchasing the truck you can see the truck hear the truck and of confidence in the vehicle that you're looking at before you even get here so that when you do get here there's absolutely no surprises that's why we offer the Summit Auto Fastpass option in the upper right-hand part of your screen a link to our website where you can apply for financing get pre-approved see a payment quote even appraise a trade all from the comfort of your own home so when you get here all you got to do is drive the truck love it you'll be all set to go. Lower rockers look great has the nice wheel-to-wheel side steps frame and under body looks really good has all the remaining factory exhaust hasn't been altered in any way and the back tires have just as much tread as the front tires frame and under body back here looks good very little to no corrosion and you do get those Bilstein shocks back here as well as the coil springs and that back rim no scuffs or scrapes on there and as we come around to the back of the vehicle rear bumper is in great condition no dense no dings tailgate is in nice shape as well do you get the full towing package which includes the receiver hitch four pin and seven pin wiring backup parking sensors backup camera locking tailgate very nice spray and bed liner that's in pretty nice condition does have LED bed lighting you can turn those on with the buttons there which I think they added for 2018 otherwise you always have to use the cargo lamp but there's lights on each side beds in pretty nice shape that spray and bed liner looks really good as you go down the driver's side just as clean as that passenger side no denser dings on the box and for full disclosure this back rim is in excellent condition as well down the rest of the side of the truck looks really good does have the heated fold-out tow mirrors they do have directional signals in those mirrors they fold up like so and I believe they power fold in yes they do just press that button and I always like showing that both sides are working good so you know that all the functions are working on the truck that you're looking to buy power windows power locks power mirrors get the nice wood grain trim and chrome trim on the doors Laramie package gives you the black leather interior there are no rips there are no tears on the seats you get the Laramie embossed back rest very nice and clean memory driver's seat with lumbar we have weathertech floor mats route on this truck auto headlamps audio controls in the back of the steering wheel and as we hop inside the truck here you can see that this one has 21,998 miles there we go dimmer works a little bit better you got digital speedometer compass outside temp range to empty trailer brake and you can change those corners to read whatever you want instrument cluster is very nice and clean comes with the heated leather wrap steering wheel cruise controls on the right Bluetooth and information center controls on the left comes with the six speed automatic transmission with the optional tap shift this one has the factory navigation system on the 8.4 for C radio AM FM and serious XM radio capabilities on here you can also have your climate controls and you can do your heated and cooled seat buttons as well as your backup camera those are dynamic grid lines mean that they're going to turn as you turn that steering wheel and then you can also do your apps here and this one has projection manager where if you got Android auto or Apple CarPlay on your cell phone you can project it to the screen so if you have a different navigation system that you like to use better such as ways or Google Maps you can project it to the screen and use it through the screen on your phone basically which is pretty cool and we actually did a demo on Android auto if you want to check that out in the upper right hand part of the screen this one also has the Alpine premium sound system now if you don't like using the screen you can use the climate controls down here as well as the volume and tune controls turn dial four-wheel drive factory brake controller does have the downhill assist control stability control tow-haul factory exhaust break you can turn those front and rear parking sensors off you get five auxiliary switches and 115 volt 150 watt plug-in passengers side weather tech floor mat and seat are in excellent condition smells very clean inside this truck I don't think it's ever been smoked in the headliner is in really nice shape and you do get a power sunroof map lights power sliding rear window button home link buttons for your garage door security systems and lane systems and assistant SOS buttons in that rear view mirror pretty neat system there we'll take a quick look at the back seats and then we'll check out under the hood the back seats are just as clean as the front seats no rips or tears back here you do get the latch child safety system for any child car seats you may need to put back here power sliding rear window with the built-in rear to frost we do have weather tech floor mats throughout back here these seats are heated on the outboard side meaning the driver and passenger side and you do get your heated seat buttons there now these seats do fold down two different ways the first way puts your seat and the backrest down lower and they go down like so and then if you need a higher load floor just the back rest goes down like that which is pretty sweet and then you do get storage back here there's a bin and then you also have your latch tether anchors get child safety locks in the back doors bottoms of the doors all look really good and we'll take a quick look under the hood I would personally like to thank you for checking out the video today and hopefully from this HD video you will have been able to tell just how clean this truck is all the way around inside now under the hood we have the 6.7 liter Cummins diesel engine base very clean runs very smooth this truck has been fully safety then inspected by our service shop has a fresh oil and filter change all the fluids have been checked and topped off and this truck is 100% ready to go see more pictures of this truck or one of our other 450 new and used cars trucks SUVs minivans Wranglers half tons three quarter tons one tons you name it we got it go to our website right there www.summitauto.com full pictures and descriptions of every single vehicle from two locations all at summit auto.com and if you'd like to check out more HD videos you can go to youtube.com slash summit 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Eve Arden was born Eunice Mary Quiddens on April 30, 1908, although some sources say 1904. Over a six-decade career, Arden made a name for herself in nearly every performing outlet available to her. In a later interview, Arden claimed to have earned her first role at the age of seven in a performance sponsored by the outdoor art club of Mill Valley, California. She worked up and down the California coast as part of a four-member troop playing in hotel lobbies. Arden's professional acting career began being chronicled in the acting trade publications by 1928, where advertisements show her appearing under her birth name of Quiddens in Mr. Henry Duffy at a Hollywood theater. By 1929, Arden, still known as Eunice Quiddens, was appearing in motion pictures, including Song of Love. Other early stage shows include Desperate Sam in 1932 and Low and Behold in 1933. Sometime in the 1930s, Eunice Quiddens decided a name change was in order and combined two names from some cosmetic bottles, and Eve Arden was christened. A complete list of her professional productions, from stage to radio to television, would fill a small volume. Her television highlights include Armist Brooks and the Eve Arden show in the 1950s and don't end until a falcon crest roll in 1987. Arden's dozens of film roles are highlighted by an Academy Award nomination for Best Supporting Actress in 1945's Mildred Pierce. After a number of one-off radio appearances in the mid-1930s to early 1940s, Arden was cast in her first regular role on The Danny Kay Show from 1945 to 1946. This led to a run on the Seeltest Village store, followed by her career-defining role as schoolteacher Connie Brooks on Armist Brooks. Eve Arden was married twice to Edgar Bergen from 1939 to 1947, and later to Brooks West from 1952 until 1984. Arden had four children, three of whom were adopted and a fourth with West. With two stars on the Hollywood Walk of Fame and a spot in the National Radio Hall of Fame, Arden's professional accomplishments are widely recognized. She died on November 12, 1990, just three years after her final television performance.


Hello. One. Yeah, hello. Hi. And live. Hello everybody this is again the Segal talks and my name is Frank Hedgekram, the executive director of the Segal Centre here at the Graduate Centre CUNY in New York City, New York City, which is a ghost town. is closed, theaters are closed, clubs are closed, restaurants, like so many places around the world and we decided to create the Segal Talks so we know what questions these situations pose us for artists and how can we create meaning in this time and also what can artists do to create a meaning we need, as always, to listen to them. I think we also need to find a space to really think what is happening and to processes. We are so overwhelmed with everything. We had our start yesterday of the Our Talks, the great Taylor Mac and Kristin Martin from the Heer Art Center in New York talked about their new initiative, which was that brilliant idea of Taylor to have a kind of a Netflix for performing artists. People pay $10 a subscriber base, support artists who will be commissions to do work and people can go online and see up to 50 different artists creating something. We said yesterday already Brecht said we all need new theater for new times we live in and he did theater for the children of the technological age. We entered the digital age, it's dancing and it poses so many questions and we heard about the situation in New York, people are out of jobs, what they do, how they survive, how they are. Now we have the great opportunity to hear from Hong Kong and China on the situation there. The Stiegel Center is a global center we bridge academia and professional theater, but always international in the American theater and we have done that for over 10, 15 years. Now we have with us here Shuyi Liao, a choreographer from Beijing, we have Hunchen Feng from Beijing and Mark Xiu Yuhaz from Hong Kong who has been an activist for a very, very long time. So welcome everybody. Thank you. Hi, can you all hear us and maybe let's start with the situation in China, Hunchen, maybe give us a little account of the atmosphere, what's happening in China and the performing arts and in the theater scene? Well actually things are eventually getting better even in Milan now, you know schools are going to open and then people are returning to their jobs bit by bit. Beijing here on the other hand is slower than other provinces because this is the capital and the strategy here is more rigid and conservative. But speaking of performing arts actually it's still, you know, nothing here, nothing in Milan, nothing in Beijing of course and it's not a good thing. You know for theater people it's not just a post, I heard someone said you know that the post button has been pressed but it's not just a post, it's a totally shut down, you know, because certain people in Beijing they are a lot of them are just independent artists, so situations go wrong, they're really doing to, you know, experience this severe phenomenon, so it's not a good time and the national theaters on the other hand they're quite okay but still they're losing money now because they're not open to the public. So after all people are trying to ask for help from the government, they're hoping the government will reduce some taxis, provide some stipends, right now we don't know what would happen. And still I'm not sure how many theaters are there in Beijing but I think approximately there are 300,000 seats in Beijing and they're all empty now and the theater will not open until May. That doesn't mean we will reopen the theater by May, that means we will have to make another evaluation by May. So my guess is you know the theater will keep closed for a long time. We got a question from a listener, we by the way have our email you can write to with questions at seagulltalks, talks with us at the end at gmail.com and Yun Tian said how do people in China engage in this theater during this plague? What do they do? How do they engage with the world? Yeah that's a good question. If you want to say engage into theater actually you cannot engage into a real theater because the theaters are all closed but of course you can engage into our real life. You just said you know this is a digital era and the whole world is changing and the theater is changing as well. We have this famous cell phone application called TikTok, I think that's also quite famous in the Americas and people are shooting short videos, short dramas and upload it to kill time and kill pressure which is precisely what we need during this plague. And yeah I think the whole situation is more immersive now. The whole world is a theater every day you wake up in the morning and you switch on your cell phone and a lot of news has popped up and it looks like they're trying to throw a drama right in front of your face and tell you okay this is the drama for today, react and people will do this you know maybe online talk maybe maybe even fight you know fight a war that doesn't exist and this is the way they how to the the engagement to the drama show here today. I think we seem to have lost Shu Yi Liao maybe she will be back soon but of course we have with us Mark Shiyu Yuhaz who is a director, artist, festival organizer for many years over decades, a staple of the theater scene in Hong Kong. So Mark give us a little atmosphere what's happening in Hong Kong? Well the situation is getting more serious actually now you know just several days ago you know people like 60 or 70 000 people came back to Hong Kong from England, Europe and the United States for example and and all of a sudden you know the number of positive you know COVID-19 cases you know have jumped actually today is around about 700 and and this is stretching you know our medical facilities and that you know there are people who found they are positive you know in the test they had to stay home for two or three days before they were actually admitted to hospitals but we haven't closed down everything actually all a lot of restaurants are still open except that over the weekend the government has decided you know that people should not gather together in four more than four actually you can four of you you know can go to a restaurant and then you know the tables had to be 1.5 meters you know separated. Yeah couples are separated but how is the performing arts scene is there what's happening with the performers the actors directors playwrights what do you hear what how do you stay in contact and what's well actually there are still people rehearsing and there are people who are thinking yet that may can be okay for performances right now of course the government once again closed down all its theater and its sports playground recreation centers and so on and all the cinemas are to be closed or have been closed so theater people you know they well all the international tours and exchanges had to be stopped you know we cancel for example our Hong Kong arts festival and and we ourselves you know had to cancel a tour made up of some 12 young people young in the late 20s and early 30s you know last September they actually gathered together in northern France and they devised a play called the spice road and which was to actually this this guys are to were to reassemble at the middle of March in Nepal to rehearse again and then make their South Asian tour different cities and then came and then they would come to Taiwan Hong Kong and Mattel but you know our French director he arrived you know on about 14th of March and he discovered then actually that our actors you know even from India were not to were not able to go into Nepal and then people from other father places you know like from Uganda from from Egypt from Peru you know they were going to go to Kathmandu and they would get visa on landing but this was not possible anymore not possible tell us a bit about the theater we had to defer the tour now hopefully you know from from January to March 2021 from now tell us a bit about what company is rehearsing and what play are they doing do you know the artists who are rehearsing and how does that work they have a rehearsing studio and they can stay together in the larger group yeah yeah um they they stay to yeah they they can work you know our offices are open our workplaces you know are open for work and even if there are more than four people you are not liable to be prosecuted but one thing very interesting actually is that the Chinese University of Hong Kong which runs a department of cultural management they were to stage along the edge festival and then they decided you know because of these events it now has become a digital festival which is going to happen late April and then until early May good send us the link we can post it on our website and on they they would be very interested in having people from the US you know to watch yeah yeah I think we are all in this together and there is we share in a way our also the loneliness and also which is up there now and the kind of feeling of one of the groups I'm involved in is the cinematic you know theater company they actually were looking forward you know to go to california or san francisco to join the san francisco international arts festival but now cancel and cancel again you know is rehearsing a play and it depends on the situation because they are going to perform in this theater which is not run by the government so it still is in operation so in two or three weeks time you know when they actually stage this uh uh play they they actually you know uh would be selling tickets you know to those who are brave enough uh to come to the theater wearing a mask and then you know so the distance and safe distance yeah and at the same time you know uh having a hand wash uh but at the same time again you know they they try to engage professional uh people to live them uh to to what's the word live stream stream stream yeah live stream yeah and what they do is that you know they manage to find a platform through which you know people can pay to see uh to see that yeah the live stream uh you have a choice of either risking yourself at the theater paying 200 dollars hong kong uh or paying 80 dollars for the live stream show live stream show great yeah and also have a look at you know that what taylor mac and christin martin in new york created uh taylor mac mostly it's on um trickle up nyc.org that um kind of netflix model based and i'm sure they would be interested to have views from hong kong and maybe they also can look up um for your side so i hope that this will be a good enough distance between the spectators and it's safe um we have all have to uh acknowledge realities but let's ask shuyi liao can you hear us yes yeah and maybe speak a tiny bit louder um or the buzz up and so um from you from as a personal you are a young choreographer you are based in beijing yes i'm based in beijing and um and so tell us a bit what is the situation if you have earphones it's easier to put it on or speak a bit louder so we hear you um can hear me now as yeah that's better um so my situation is like uh like because i'm a free lancer and many project has been cancelled or postponed rescheduled so um in this specific uh period of time me personally i i was already dead or at home for two months so two months yeah almost two months i think and many of my theater friends uh have similar life as me it's like uh we live with the family or individually and maybe do some individual practice um so what do you mean individual practice you dance or yeah for me yeah for me for example i focus more uh as my body as the only medium now available for me so i observe myself my movement uh my daily life more and i do some solo practice every day so every day i have my uh small topic small thing to look at so i try to develop based on the individual um body yeah so what's the small what's the top what's the topic for for example today or yesterday what is the topic you look at for example um i look at uh different system of the body that for example the the skeletal from the skeletal perspective or through the fluidity of the body or through the organ the gland the more inner side or um or some the articulate some very small uh subtle thing or for example very simple walking standing i just try to bring all the uh concentration more uh in world instead of out world yeah and you rehearse in the living room or outside in the garden or where do you do the movements most of the time i use the living room and not everything but one week i will go out like two or three times so i also do some outside outdoor improvisation in a park close by or um the parking lot or just in the yard of my apartment what what are you i tell you one very interesting thing you know that's happening in hong kong with the dancers you know uh whether they are professional amateur actually you know uh nowadays you know everyone in hong kong has a mobile phone which can record so you dance at home okay and you upload you know what the small fraction to someone who coordinates this someone will will get you know the short dancing segments you know all together and she will add it all together and then you know she will put it on youtube uh for everyone and these are these are not just professional dancers you know they're just can be just common people so the invitation is to all uh actually yeah so they have been doing this you know several times already i just so go ahead please i just saw a piece from mathogram dance company and this is actually from the video it's like one dancer do a small piece of movement and they try to make it together as the whole piece so they try to do it in their living room or in a garden and in different backgrounds so but the sequences can be uh smoothly getting together so i just saw it today yeah but uh shuyi has a question what two months being in an apartment as an artist who is chose dancing for movement in space to be at home what did it do to you what does it do to your mind to your thinking how do you look at the world i found a very interesting thing is before um my perspective in terms of creation is more about the style or aesthetically preference if i want to start a piece but since the two months uh in the apartment my perspective my concentration my focus change i become not paying much attention to athletic preference or the style or what's kind of original contribution for this particular style or is filled um this kind of thing before i think is very important but for these two months i felt is not important i become more come back to the simplicity to the root or to the initiation of movement or of the body consciousness or just really go back to the root mok how long are you also in isolation or do you go out in hong kong well we have been doing uh home office you know since how long since how many since February uh quite a long time you know and and there's a lot of things you know that can be done at home you know and the artist you know uh they they can read they can watch you know things on on on tv and also your internet and so on all of a sudden actually you know people are telling you hey uh it's on the online you know uh who's uh mahabrata by peter brock or einstein on the bridge you know by robert wilson or all this great ballet you know done by bolshe ballet company and and of course you know we now can of course go to your website and see a lot of things you know there are many things you know coming from different parts of the world uh from the us you know and also uh from hong kong actually you know there's uh uh so many so much things to to be done actually in at home um uh well of course you know uh one of the things uh that everyone is thinking of is going digital you see uh what do you think about it what normally from the first to the third of may we're supposed to be organizing you know the 10th anniversary of the hong kong international deaf film festival but of course now it has been postponed but meanwhile you know we have these seven rooms in a hotel booked for five days okay and we could not get refund so what we are going to do is that i have invited seven people uh people who do storytelling people do performance art people who do theater people who can compose song people make video and so on you know seven of them they will stay in the hotel taking the place of the visitors you know it will stay in the hotel and they each you know will do a performance 15 minutes for four days and and this will be live streamed also yeah uh so this is kind of taking the inspiration from uh deca maron deca maron okay the bocaccio tale which was written in the play times yeah yeah that's right you know instead of you know 10 people telling one story for 10 days we have seven artists doing their own thing 50 minutes for four days and then you know the other thing i'm thinking of actually you know in this virus this epidemic or pandemic you know make us think about you know that in future you know we we should be focused on uh digital creation and i i i am not i'm talking about you know uh in a communal way all right community uh part of what i do is community art you know that means you know gathering people together doing things you know but in this times you know how can you gather people together except in the cyberspace you know so i think you know we can learn from you know the digital storing approach we should be telling people or educating people how to use your phone you know to make to photograph or to to make films and so on and how to transmit it through soon so that you are not alone i mean i hear stories of people who continue to do whatever online dating they meet new people but they don't meet them in person they meet them on skype they won't see them and have artists uh done that in hong kong or i'm basing a question to all of you do artists who do not know each other have forged uh new connections or do you're saying this is reinforcing only um not only but enforcing um networks that are already in place that is a little bit hard to answer because you know uh i don't i don't know their lives but i know there is one there is one show that is still ongoing now perhaps the only one in mainland china uh which is a government sponsored play uh about this it is happening now it is happening now it's happening on stage with bodies on stage or digital oh actually it's not it's quite like what we are doing now here you know like we're doing this this this online rehearsing you know let's say i'm a i'm an actor so i'm going to perform in front of you and you tell me where i do wrong where i do right and the others you know the same situation and uh uh they are rehearsing it in xta you know online shanghai theater academy in yeah they're doing it now uh but i don't tell us about the play do you know what it is about well it is about the name is called as let me think the dairy of a nurse i think that's that's the you know english name so it's about a nurse who is in the in the in the uh during the outbreak working in the hospital and what she saw what she feel and how things get worse and how things get better yeah it's all like a dead dairy you know but it's a quick job you know the writer wrote this whole thing in a very short period and now they're rehearsing it they're doing they're doing the online rehearsing but nobody know what will come out you know what the outcome will be because you can't you can't be in person but i i'm i'm also not sure if they knew each other i mean this group not sure about that and does the government created this to create jobs for artists as you said it's government sponsored there it is from an arts fund in shanghai or the university pays for it how does they work well i think that the government pays for the for the for the whole process but it's not like to to to create more opportunity but i mean it's a it's a good example to test if we can do this you know long term online rehearsing online dancing online staging but it's just a test you know there's a prototype and the news about this show is not too many so i can not find more information about it i'm not sure if things will work out or not you know so there there's still chance that this thing will just you know break and that's it comes out it's very interesting i mean to our listeners again we have our seagull talks at gmail.com if you want to send in questions but i think this comment brings me to an important question um can we just go on and do theater like we we did or also what would a theater look like for that healthcare workers who are under extreme stress right now should be something created for them do we think of them as audience have also theater people have we forgotten about them the workers you know as much as most probably politics current police have left them behind at least in america for a long time and the healthcare system has been stopped so also what has theater performance done in that whole thing that fraction idea for the workers for the people do you do you feel um there should be a new connection also to the people who are now really essential we are not we are close life goes on um they are so what's will that change will we create work and if so what would that look like i think that you know art workers you know are a quite vulnerable group in in in society actually you know in hong kong there are quite a few theater workers who are freelancers now uh you just now asked about government support uh actually you know in hong kong the government has lots of money we have lots of reserve uh being accumulated services you know over the years and also you know you might know that the hong kong dollars are backed by american dollars that the banks you know issuing hong kong dollars uh they actually have to have american dollars of equivalent amount so through that exchange fund you know we also have a lot of american dollars so there's a lack of money in hong kong and of course you know it's it's in a way you know doing its duty by offering relief to the art workers uh you have to apply if you are successful you get seven thousand and five hundred dollars which is about one thousand american dollars as a kind of relief for over the period uh have you gotten that me yeah no no no i i have worked for three you know all these years for some time now but anyway my organization as as a group uh we get three months uh rent not uh having to pay you know uh the the art center so this three months rent you know amounts to 120 hong kong 120 thousand hong kong dollars so it's four thousand dollars a month actually uh 40 thousand dollars a month it's it's five or five thousand american dollars so that that three months rent have been waived and so that's quite and then also as a group that employ you know a lot of people well say when i say a lot you know we actually have about seven people who are paid and we we also get the another uh chunk of money which amounts to 10 000 us yeah shuyi how is it for you as their support for for your work for your freelance dance work before corona and after corona can you give us a little uh insight how that works for you in Beijing um yeah as a freelancer before and after i think is quite similar because we we survive for we need multiple work to sustain and like so me for example i do i i teach i coach um actors for uh other theater companies i this is a sum of income for me and i also do i work as a performer so i earn some money for from performing for other people's peace and in the end i create uh i call i do some choreography for my own so this part is the most not for profit part personally so i have to use other sources of money to support this part of me as an independent artist i think many independent artists have the similar situation like me sometimes uh luckily we we can have some fund uh for some specific projects for example some theater festival um uh but it's limited so i think basically multiple sources yeah some some we can get some of the funding and a little bit from teaching a little bit from other uh work so yeah i think it's i'm sure you are in contact you know with your fellow artists whether they're i think directors or choreographers and dancers or actors what is the mood in Beijing what do people talk about how do they see the situation will that are they hopeful that it will change past will it be um a real uh uh interruption uh and not just a temporary pause what what is the mood and the feeling between artists well for me because i i don't really talk with too many people um but firstly for me personally i felt uh one month ago i had the i had a feeling or expectation it's like on march or april everything will go back to the normal but things getting changed gradually and so far i i don't have the expectation like i felt it's gonna be a really long term long a long journey so it's not like sort of go back but it's really like it's a kind of unknown future it's it's not about go back for me now so um for me i really spend a lot of time in terms of observing instead of doing or try to figure out the solution and i really want to find out the what is the necessity to making art um for me now becomes very important instead of i want to do this i want to do that a new project but now i'm trying to figure out the necessity what did you find so far what is what is the necessity what do you think it is um so for first is what i mentioned before i i really thought i don't have the strong impulse as before to think about the aesthetically preference the interesting not very as strong as before in that level so now um i felt i would like to figure out what is the nature or what is the real resonance between different community what is the the real connection or the common resonance some simplicity um not very fancy things or not even artistic like but something um something simple but really hardcore i felt and for some of my friends i talked with and some of them they've changed their original schedule for example they want to do they have a theme they want to they have a plan for this year but since the situation like that they don't have the mood to continue the theme topic so they would rather to talk with people talk with people from different discipline and try to understand uh what's their situation uh what's their attitude they found is more important than to uh insist their artistic work so for me i'm also open now for this situation instead of to trying to figure out what i'm going to do i would like to more listen and to hear what's happening now both outside and inside of myself that's an important important discovery and to really go through for two months and to stay to listen and to observe and to connect to the inside instead of that onslaught normally what comes from the outside of news and work and emails and so but do you feel you will be fundamentally changed as an artist when you come out of this in the very early stage i don't feel it but more and gradually i felt it might fundamentally change that is what i said the next the necessity i really think about it what it is that i don't really have an answer for now but really the necessity become a question for myself um man chen um you have been to new york also in london um what is your evaluation of the contemporary theater scene also the pre-scene experimental scene or in china um is this a something that pause now will also help to reflect to think do you think it was good before or what could be what could be different or what could be also come out of this crisis that perhaps might change as shuyi said you know that she will be changed will the theater be changed in beijing after corona will it be like it was before well actually theater will be theater is forgotten now you know in beijing so theater will be missed in the near future so from my perspective i do think it will fundamentally change it's really i think something i don't think it will be i don't think it will be fundamentally changed but i think some small changes will happen you know like this this online programs you know online performances i did uh i did a show like six years ago in 2014 that's that it's the first o2o theater play in china back then it was not that successful but now take a look at tiktok you know that's maybe o2o you mean online to online to offline online yeah but you know tiktok may be a more mature type of this uh this kind of play uh but no one speaking of theater theater is changing since theater never stops changing since there's total so uh yeah but theater is is still theater i mean when the when the when the virus just gone i'm sure it will be gone theater will be open and the people will miss it people will flash back into the theater for a certain period and that's for sure and for your early question i i i think you know as far as i'm concerned the the mood around artists are quite complicated you know uh some of them are quite upset yeah they are upset about yeah i mean actually a lot of them are quite upset about about the situation you know they're losing money they're losing jobs so as a matter of fact that they join the online fights you know they try to figure things out by discussing with people and another group they are more peaceful in mind you know they're maybe like Shu Yi you know because they know this is another real fight that we're talking about here the real fight is it's out there in the hospital undertaken by doctors by patients you know i heard there there is there's a nurse in spain or italy i don't recall who was just a committed suicide you know due to the pressure so if you ask them they will certainly give you a different answer so this is another real fight what we are reacting now it's uh some social and cultural problems caused by the virus like frustration uh discrimination ignorance etc etc so we'll we'll need to find a way to deal with to deal with those problems with art with theater uh i am currently working with some friends who are not so upset who are quite positive about the situation and we're trying to create an online program uh maybe next month something one month later or or so we're trying to discuss there's also an online discuss like this we're trying to discuss how do we uh defend ourselves with theater in the play and that is uh one of the no positive ways to deal with the the situation yeah we talked about it yesterday that perhaps as a result of this crisis that theaters of European big theaters with ballet opera and the drama that there might be a new division of digital theater or digital drama that will be as a given you know as there will be playwriting there will be ballet and there will be perhaps as a as a box of its own and that offer crosses over but it will be perhaps become a mainstream what now is performed and done by by experimental artists that one day it will be uh normal to to to have that what is the role at the moment what do you think what does the Chinese theater make up apps also experimental money where do they fit in in society do you at the moment is that and also before what is the what is the role that art art plays in contemporary Chinese society well experimental theater in china has always been like like like the new leader of this army that they're trying to expand the the definition of theater through the uh experimentations of its form you know and i have a friend who's really like into this cyber space you know cyber show he's doing a lot of you know online shows maybe maybe i remember Peter Brooks said you know in the in the space there are two people one is watching another one is walking through and that's a theater but she is definitely talking about a real space where we can breathe where we can stretch our legs but even cyber space a real space now you know we're actually living in uh in uh in a cyber world so but i don't think it will be a mainstream because you know uh take a look at china we we sort of defend this this this virus in a very short period you know only two months now we barely have any domestic new confirmed cases in in mainland now so i think the the tradition is it's still a strong stream now the mainstream will not change in the in the in the near future and for the for the avant garde artists they're quite in a dilemma because you know if you don't act if you don't perform yourself you will be forgotten quickly because you are i think there you are not i think there are many different kinds of art workers or theater workers you know there are people you know who who look at you know art for art sake you know and then you know there are people who really who want to use theater to change the world i mean i talked about this group of young people they actually uh were to tour this piece the spice role they're not just talking about history but they're talking about the contemporary world what's wrong with it uh they talk about refugees they talk about you know democracy revolutions in egypt and elsewhere uh so like for example i i have a group of performance art friends people do performance art you know and just uh on the 22nd of march you know at the equinox spring equinox you know they went out to do performances in the streets and this is supposed to be a day of international solidarity when performance artists you know will actually do art pieces that supports freedom and democracy that's that's the the commitment they have as performance artists in hong kong so there you are uh just now you talk about workers yeah workers of course you know uh they they they can be workers in the in the uh in the western society the workers in hong kong and there are different levels of workers you know some well paid some actually are facing the loss of their jobs like for example a lot of restaurants are closing down and these people are out of work and then of course you know we have the homeless who are very vulnerable at this time and this several hundred of them actually has been staying at night at the 24 hours madonna okay restaurants but now the madonna restaurants have been closed after six or eight or something all right where do these people go and the government has decided that nothing should be done or can be done so there are other other people elderly uh people who live under very crowded condition they don't have even the money to buy masks they don't have the money you know to buy things that watch that you're supposed to wash your hands right and they don't have money to buy so talking about digital cinema digital uh theater you know it's it's really something beyond them you look at india and other parts of the poorer world where where are we mock what do you have a hope do you have a hope for theater in Hong Kong that something comes out of this that might might be good instead of just all that i think you know a lot of artists theater workers you know they're under the present circumstances they're undergoing some kind of reflection about their own lives about the role of art in society about what kind of art to be done in future um i must say that you know that the stage is not just you know inside a black box or a proscenium theater the stage you know as as han chang said earlier you know he wakes up every morning he sees theater all around but in hong kong are we not aware that you know that well before the corona virus since june the young people and the people of hong kong have made themselves on a world stage okay and this world stage you know they say you know we want democracy we want freedom and now they say we want transparency uh and so on okay so even just today there are young people who went out just now okay uh in a kind of uh uh commemoration you know they brought flowers to a mtr station a metro station you know where seven months ago you know the policemen of hong kong brutally and this indiscriminately you know beat up people inside the trains yeah i mean after this uh epidemic or pandemic is over you know hong kong people it still has this stage to go back yes um i just want to say we get an email from janis poon who who commented on the hong kong situation and said the companies who tried to continue their rehearsals all were masks during rehearsals limited the number of actors in the rehearsal room one theater company named um onandom theater workshop is broadcasting a radio play this week and target to conclude the performance with the live performance in june so what they show now digital will then be shown live but most of the rehearsal activities have stopped i do remember one scene in a great video about an architect who uh studio who said instead of building the library they were supposed to build the library in the community they said very early on digitally they they shared the ground plans the different plans they decided to do the one they decided on then the material and then um how it's going to look like they shared the digital models how it was constructed and then when people in the community came to see the library they knew the library they were part of it in a way so perhaps you know that idea um also that hong kong does to rehearse to prepare to share it and then at one day everybody had come it might also be something that can be done or perhaps might also change a way of making theater normal the rehearsal process the process itself is hidden we think it's so important many theater artists actually say it's just a process that has to stop to finally open something they would like to go over but i think there are many many things to explore for you guys to the new york community or u.s community or european community what would be important for theater makers in china now was there something you would like to hear would like to have get help what is of interest and what could could be done and on something you would ask the global theater community who is listening surely yeah the hong kong people you know they they have been making contacts all over the world you know and in some places they're more successful than the others you know and they even got you know donald trump to uh to finally sign you know that uh that uh legislation about human rights in hong kong anyway uh do people rehearse with mask i think so uh they they wear a mask at workshops as well okay uh but the workshops you know where you actually uh do things face to face it only reasonably stopped okay um we wear a mask and from the very early on you know we learned from happened 17 years ago when sars happened and our medical doctors told us that we should wear masks yeah we were really surprised that the western people you know they they didn't wear at all you know and and then some people uh say that you know you only have to drink walker and uh and do sauna actually you know and then you will be rid of corona virus so so that's good advice yeah maybe to all the all the listeners all the artists do wear mask when you go out there's a lot of research that suggests it might help not to spend but also not not to get before we close down we are close to the end maybe we can donate if anybody wants to donate something to mocks organization in hong kong um we will have the um uh uh information on our website and on hull rounds thank you for joining us but maybe in the last minutes tell or what are you working on how do you keep your mind busy what are you reading listening and also is there a project what you are pursuing anyway what you work on right now um shu yi maybe we can start with you uh you mean what i'm reading for example yeah what are you reading what are you listening to and what project are you working on besides observation is there a concrete project you are working on well uh basically basically i'm concentrate on the uh body consciousness so from different perspectives so every day um actually i have a schedule is like some i some books related to the fundamental foundation of the physical body and some of the body mind centering based practice and some of the body consciousness philosophy so i have different layers and perspectives to look at to concentrate to the body and so i divided a day into different sections to to look at them so you do the movements but you also read thank you mark is there what's your project you are really working on at the moment and what do you read and what are you listening to oh uh today i listened to a song you know send through the internet to me it's it's it's uh it's an italian song it's called uh well is it called anyway it's devoted to bagamol uh where a lot of people die from epidemic you know that this is still sort of very uh beautiful song that i like actually but i is in italian uh it's called i i i am reborn you are reborn you know one of the 70s song actually right and then i read actually is um something called the um the donut economics i think you know we really have to think hard about you know how capitalism goes or how our economy off to go and i think rainbow economics you know provides a good good answer actually uh and then the project i'm working on actually you know different projects you know which are installed uh that are stalled actually you know we have this play called uh it won't be known now it's about you know japanese uh prisoner of war camp actually inside and outside and we're to take it to south korea the adam raw festival and so on and and and i just wonder if it would happen and then we have this play called you know the um the the white shadow is about about a ghost you know in this area called sanctuary pole where i live and it's through the ghost you know she sees past persons and and the reason you know the fighters of of uh democracy and so on you know this is the uh shown one way or the other but then you know uh in this area there is a temple nearby not really far from where i live you know it's called temple of the third prince the third prince you know happened to be a a deity and he was invited to hong kong uh from somewhere in china and he was becoming the resident god you know in this temple the reason why he was invited to come to hong kong was because you know there was a play okay it was a play at the end of uh the 19th 19th century yeah amazing so uh i want to do a play about that you'll play about that that's great hansheng what's on your mind oh actually in order to prepare for the for the online project i'm currently rereading albert cameo and artel now seems like only in the in the time of play can you understand the artel's theory yeah yeah i think judice miller from n y u she once wrote over in exchange she said we all live now in artodian times but we have to stay on the right side of madness and not go to the wrong side of madness so thank you all again for coming joining us here this is important that we hear from hong kong and china we are connected all together we share the suffering and and also the joy i think of being alive and this is an important conversation tomorrow please do tune in the great tomas austermeyer from shall be in a buladin will be with us well we have tiato del alba from italy they are based in ravena ermana and marco will talk about life in italy what it means to do the danta project just now a 700 years after it was written and then we have to a great toshiki okada from japan who moved his family out of tokyo after the fukushima event and very much the environment and is on his thinking so i can't wait to hear what what is on his mind so again thank you for participating and sharing your experience and i hope to see you all in new york one day under in life so again thank you so much and thanks to hall around thank you for hosting us and emerson college and our supporters at the seagull center and to your listeners i know there's lots to do even so we are in our homes some have even more to do than before they feel so thank you for taking the time to listen thank you goodbye thank you thank you bye