When you put together a book it's really easy I think to become very myopic and think about the details because the details matter And they're important But I think every so often you need to zoom back you zoom out and kind of step back and look at the thing as a Cohesive holistic sort of endeavor So many will talk us through that Thank you. Many welcome Thank you, Eunja for defining what a narrator is because I think this part of the talk is the most sort of subjective and I Guess loose Angle of the discussion of designing a book. So I really think Ben and Laura for getting really deep into all the technicalities of designing I'm sorry, but I don't have a TOC for my talk And so but I have six parts in this lecture and I Will begin and end by talking about my work and in between I'll show you a lot of examples That can illustrate things you can do as a designer and editor to craft your story so according to Google I looked this up, but Historically storytelling by humans were first done Was first done over 36,000 years ago in the form of paintings Has found in Las Cua cave in southwestern part of France So that means storytelling came before humans learn to read and write And as dramatic as the sound that means also storytelling is essential to the side survival of the human race and to pass on lessons and for humans to evolve and So having a narrative is especially important also the making of creative work whether it's art architecture film fashion theater dance So when I talk about making a book as narrative medium I want to emphasize that designing a book is really about telling a story And that hopefully you can see this exercise as more than a representation of your work So I want to share this quote with you by Derek bird cell He's a British graphic designer who's known for designing a lot of books over the course of his career I found this in the introduction text of notes on book design, which I also highly recommend as a reference book for book designing He says I believe there is such a thing as a natural optimum layout for a book the design is not inflicted on the content It is derived from it The precise placement and sizing of pictures and text seems completely natural and enforced at a glance the structure of the Information on each spread is clear and unambiguous the layouts appear to have designed themselves so and later on he goes on to talk about how it's more important than ever for designers of books to Very vigilant to the content in the book because back in the day with printers There used to be someone who would read through The book before it went to print and nowadays we don't have such people doing that So designers really have control over the whole past beginning to the end and have to be really vigilant I'm going to start off by talking about this project that I worked on with wax studios a design studio based in Brooklyn, New York and it was for an Italian furniture brand called arbor. It's based in to a visa Italy and It's been around for multiple generations owned by family and they're designed a very Minimal and modernist in a way and they're very you know intelligent use of material and a really sensible use of color as well They actually designed for interest for all kinds of spaces like the home office public spaces like restaurants and schools So their whole collection of points include like chairs burnishings tables sound acoustic boards and So arbor as a brand their their ethos is The it's that essential forms can be versatile too. So essential is the key word for the brand arbor and this project was done back in 2015 2016 and Wax Studios was asked to design a Brief which is basically a short book that would tell the story of the brand in a very Clear and compelling way so that in the end when the book gets made It would be disseminated in places like you know arbor shows located in different cities around the world What design there was like the Salone the mobile and Milan Italy and other design first around the world. So so we had to work with the word essential and After and we worked with the strategist at 2 by 4 who weren't responsible for coming up with the strategic, you know, framework of the brand and But in terms of the creative storytelling You know after brainstorming with the teammates at wax You know the challenge was to come up with A visual way of talking about essential in a way that would connect to people in an emotive way So for me when I think of furniture There's been one image that really left a strong impression on my mind and it's this photo I say that Bruno Menari did back in 1944 for Thomas magazine and apparently at that time designers for furniture were Designing and inventing for invention's sake so they were not Designing furniture that would meet the needs of humans So he sort of made this provocative photo essay where he positioned himself in different uncomfortable Postures with the same chair. So it's a very strong reaction In terms of, you know, like the ease of being in furniture, so that I think so the This that image was also starting point for All of us kind of getting excited about the idea of telling the story of essential through the lens of human Ease within the world of furniture. So Basically, the idea is okay. Let's you know Bring humans into this world of furniture and tell that story in a more emotive way And so we did a whole image exploration for a while and we felt like you know We left no stone no stone unturned in this process. We looked at like fashion magazines campaigns artists books regular books fast like blogs photo blogs and We were looking for gestures of you know, sort of like every day human gesture just sitting people leaning over hands touching each other Legs folded on the couch and we try to avoid, you know, gestures that were not relatable like Aquabatic moves or like dance moves or high fashion poses. And so we really amassed hundreds of images through this research and This inspired this You know the actual art direction process for this book. So the frame it's a really short book actually but We had a clear structure for how to develop actually new content So it wasn't even about editing it was actually about creating new images for the book So luckily Arbor has at that time had a really nice collection of imagery of their own furniture shop by Shelton Evans and other photographers So our plan was to pair these images that wax studios with art director of humans engaging with each other or furniture with images of Arbor furniture And then just to show you You know a map of the six core chapters of this Arbor book These six chapters were based on the six core concepts that were very important to the brand and I'll read them out loud now So it's balance color intuitive play light and family And so under the word essential these were the six concept under which they would the brand would talk about Their values and in a way you could see these values as you know values and metaphor like metaphors for life values so that's what I find not found nice about the whole verb use of you know all of this and So the structure works with you know It shows each chapter basically starts with text openers and we worked with the writer to come up with Short paragraphs, you know talking about each of the core concepts And then we follow each text opener page with three spreads of image pairings So this is just to show you an example text opener page in this case for a sensualist balance And then we have this text on the right side in English on the right side is to Italian translation because it's The audience for the book was mostly Italian Given that Italian brand as well too And then just following up with the three spreads of image pairing So as with typical art direction projects the these images were planned You know very precisely in advance. So we knew which furniture image we would pair with the human images so The gestures that We planned ahead of the photo shoot. It was a fighter. It was a photo two-day photo shoot at the artwork showroom in New York And then we work the local like Brooklyn based photographer and the stylist Who else like a producer? It was just like a You know a nice like a typical photo shoot with always different players involved But on a much smaller scale and so anyway, so the images were really planned in advance and The gestures were inspired by some of the research that we did with all the images of human gestures So like, you know, the idea was to create nice visual compositions With these image pairings But to also clearly convey the concept that was that on discussion in that particular chapter Some of these just a more literal because essential is balance and then I'll just show you a few more Spread that I personally liked this is from with the colors essential chapter and color is Was one concept that was extremely important to the brand. So I'll show you so this was from players essential and Because color was such an important concept to our creative director at Arbor The whole notion of color was not just about oh, hey, I'll bring to comes and all these different colors They felt we're strongly about communicating notion of complexity of color as well So a color can be simple and complex at once and Then more a couple more spreads. This is also from players essential And then two more spreads from like families essential. So the summer parts, you know transcended something greater So, yeah, and then in the end we had this overview Of all these image pairings and what was nice about this was like I said before it was Just one of those rare instances as a designer where we're not just taking content from a client but all but we get to create the content ourselves and We work with the writer strategist at 2 by 4 we were photographer makeup artist stylist So it was like really comprehensive as an experience and in the end I Think we were pretty pleased in the sense that we humanized the story of a birdie to brand and then I'll show you one more Spread where in the back of the book there There was actually gatefold up an overview of all the furniture collections and then more text Translations of paragraph text in other languages like Spanish French and German Yeah, so next I'm going to talk to you about beginnings, which so this is that here I'm going to show you a lot of examples of the more practical things that you can do as a designer and This chapter is not so much about like the cover design of a book They say don't judge a book by the cover but It's more about the TOC actually and Ben did a really good job Going very deep into the design the different typology of TOC designs, but When you move past the front door, you know, I think people just appreciate really strong sense of wavefinding and Having a TOC is something that we like Ben said early retake for granted But when you see when you come across books with TOC designs that seem thoughtful or just well-designed It's evidence that the designer editor would you know a little bit more vigilant about the content abstract I'll start with this example With abstract because It's actually a book with a lot of information and a lot of different kinds of information And what I like about it is that the viral binding allows the book to be organized into different content sections by theme and To cover repeat itself So the TOC appears in the backside of the cover and then the frame around that particular section acts as a way Refinding device. So I think Ben showed this example earlier with a previous version of it's abstract and actually Eunji gave a really good talk about this project a few years ago and I Recommend watching it because it's a really good example of Again the process from content informing the form and materiality of the book and Then here you see behind the salmon pages like section D is outlined and then I am a camera. This book is a exhibition catalog for Photography exhibition at the South Sea gallery and it was designed by graphic thought facility What I like about this book is that you know, you know as an object It looks really nice and on the front cover It just got this nice image with two kids on a beach and it doesn't seem anything out of the ordinary actually when you look at the front cover design, but when you actually zoom in closer you see the above the image caption the title of the book is nestled in and Then you open the book You see another play an image caption. So you're just like, okay, this is a lot of photographs, right? But then when you get to the middle of the book, you see you come across the actual cover of the book printed on different paper stock with very special treatment to type and Following that you see the TOC and you know in the list of all the photographers grouped together by theme So when this when you come across this kind of moment in a book, you know one like you You realize oh, you shouldn't really take these things for granted But actually this was the intent of the designer to act they did these things because they wanted to amplify the reader's attention to all the other details of the book that normally people would take for granted so that was really nice and Moving on to another example project Vita. This is one of my favorite books not only for design, but actually content it's you know, Vita is another furniture brand based in Europe and This is a very comprehensive book about you know, this brand history the designers the products associated with it and What's also nice about this book? It's it's designed and edited by the same person. So Cornell Wendland is a British graphic designer and it actually shows that he edited this with the chairman of Vita Wolf-Bellbaum So then all this throughout the book in terms of like the chapter pages and this he'll see it's treated in the same Wait before I get to the part when you open the book You see an index of all the designers named the brands and products and keywords listed. So This is you know stepping back a little bit. The reason why I like this book is that it's just a lot of verbiage and big type and When you see things like this it just it gives you the impression that the editor is sort of thinking out loud and it feels more accessible approachable And so when you see a TLC on the left side So that's the main TLC with all the big sections and then when you get to the section They actually show you like a sub TLC and then when you get deep deeper into the respective chapters They have more list or that sort of act like an index of keywords that they mentioned in the chapters so I Just thought that this when I saw this book. It's just extremely transparent in a way and thoughtful and The content was also really good too. So and then another example of sort of this Transparency in the immediacy of the TLC with this older Cover design from Tate etc. Also designed by Tate Cornell Winlan I think Ben also showed examples of covers where they are just immediate and direct and show the TLC on the front cover design and You know, this means that they might be more economical with space. Who knows? But this kind of this just it just gives you the impression that they're more intellectual and about like conversation and TLC designs can be much more like it can be an opportunity for bigger typographic moments I found this book on office design at the Argosy bookstore in the upper east side And you know, it just I just really like these big, you know Chapter numbers and then the list of all, you know the content Mentioned in those chapters. So it's a bit old-school type But you know, it's got clear visual hierarchy and then this design this chapter example from Collider School Magazine designed by Okram is you can choose to you know avoid convention with TLCs and You know kind of play with words. So in this case, they have like Summary text like that look like quotes and big titer cards and then you deploy with our other information like the author name and the page number So just like Summarizing what this means for us, you know, TLC is a way to just organize the content but it once you have all of this organized depending on the typology in which you want to organize the information and Whether you have higher level groupings or typologies, this gives you it lays the groundwork for you to Maybe get inspired of what you can do conceptually once you have all this information So that's why your TLC is important and it's as you know, the reminder that we shouldn't take it for granted So it's a core part of the editing process So next though this leads us to talk about the sequence of the book and how it's important to you know Have a sense of rhythm and a good ones to you know, have their readers attention And I'll show you more examples of books that have very creative approaches to sequencing content all of you probably know this book SMX MLXL by for only designed by Bruce Ma and This book as you probably know It's over 1,300 pages raised almost seven pounds. The book is extra extra large and But and the way they sequence Their content Their projects were essays is by scale from small medium large to extra large I actually didn't know that until recently But because when you experience the book as you probably feel yourselves There's no sense of system or like even wayfinding in the book It's so massive and it's meant to get you lost in the book There's no consistency in the type treatment with these chapter openers. There are no formal chapter openers, I think but They just mix like a whole bunch of images drawings essays Travel logs everything and it really feels like an architectural odyssey and I think that's the intent to make the reader have this imaginative experience and being inspired about what was important to Rem Koolhaas in this art in articulating the His architectural practice in the context of you know, the global the explosion of the global market economy and all those You know, social political cultural factors happening at that time Another example with you know an interesting sequencing approach is perspective 35 designed by Solgi and Min perspective is the the student editor journal from Yale University and This book what's interesting is that it, you know, it just has You know two formats of paper and the main sort of formal well-polished academic essays are printed on these white sheets and then the more casual sketch like briefs are printed on these blue sheets and These blue sheets occur every 16 pages throughout the book regardless of the blow of the content So it creates a in a way consistent rhythm the design of the text on the blue sheets Just sort of change depending on what the content is So it's meant to sort of like clash against, you know, the typography on the white pages John Paulson is this book spectrum is another interesting example of a clear concept of sequencing You know as Many of you might know he's a he's known for minimalist architecture So one might not typically associate his body of work with color But he is actually I don't know if you've seen his photographs on his Instagram page But he's very skillful as a photographer and takes really beautiful photographs of textures details materials from his environment and He I think those photographs inspire his body of work as well So it made sense to you know sequence all his photos by color on a color spectrum You know very simple book design layout, but a really strong concept for this sequence of sequencing this content Yeah, so the book progresses from like yellow to reds to purple to blues and greens and Then the last example I want to show for this particular chapter is this old 1972 guide to the Metropolitan Museum of Art I I I really like just like floor plans of maps and color in general So I think I'm just showing you this out of personal bias but this is a You know they when you open it they show you maps of the different floors in the museum and then they color code the rooms based on the collection and So then if you go to the second floor, they show you, you know Other rooms and they have these like nice colors associated with these different collections like music instruments pink American ring Blue far eastern artist would be green and then when you go into the book all these sections They're like discreet chapters based on collection And then the chapter pages are printed in the respective colors as they were coded on the map And then they're they actually open as gateboards So you think you get a more detailed view of that particular room in the museum And then they have all this like these icons and symbols Designated to each chapter. So this was just like a nice Color folks made and it's surprising because the cover of this book is red and You wouldn't know that they use so much color in the book unless you opened it So what does that mean for us? It means that you know with when it comes to content You can be very creative and conceptual with the way you sequence your content You could organize it by time whether it's chronology in terms of you know, like when something was made or the duration of something You can organize project by space the location Graphically or proximity in terms of this, you know, how far it is from a central location Or this is the most common way of approaching I guess is by theme which you can decide what that theme is It could be by project or program Material or any dimension in which you want to talk about your work like cultural social environmental and the status of Whether the project was built or not And I mean this is just like a loose list so you can define it however you want you can Organize your projects by scale which is what we made it with SML extra large and Yeah, and you can and anything that can be put on a scale essentially like the size or like cost and Then finally you can organize things by spectrum Like the dawn part an example with color Temperature complexity of something again anything that can be put on a spectrum in terms of degrees of intensity and So next I'll talk to you about images and text and this is the most important part of the book editing process And I'm going to start by talking about images and Now show you more The reason why I'm showing a lot more examples with images is that I think I'm you know I know that you have to deal with a lot of images yourselves with your work And I want to show you actually two books that focus a lot of image pairings and I feel like Laying out two images on a spread is for some reason really hard like harder than laying out one image versus more than three or more images and the reason is that I've come to experience this myself But and maybe you don't feel this way But when you see two images in a spread you tend to make an association with each other And I think a lot of people do so you have to be very thoughtful and careful about which two images You decide to put on a spread And I want to share this example with you. It's a book called disobedient bodies Design my okay. I'm for an exhibition that was curated by Jonathan Anderson at the Hepworth brickpeel And the exhibition is basically it's they it's about the figure the human figure In the world of art and fashion So in that exhibition there were you know sculptor works by a lot of famous artists like John art Penny Moore about the Giacometti Barbara Hepworth herself and then they were situated in those space in those spaces well so fashion designs by prominent designers like How McLean, Christian Dior, Issey Miyake, Ray Kawabuko and so That was the exhibition and but this book catalog Is designed to be an alternative interpretation of the exhibition and so it's about like a hundred forty two pages And it's not bound in a particular way. It's not stapled or you know glued together. It's just folded in half held together by a rubber band and And the pages are interweaved with photography by Jamie Hawksworth But what I love the reason why I love this book is the images are so expertly paired together to really You know accentuate your appreciation for the human figure And you know the parents might be by color or form sense of gesture movement proportion and Then you know because of the way this book is constructed and folded together you see And the interweaved pages you see images in new ways and almost kind of pause here to talk about image cropping and And I think this comes from you know Maybe some of you already know how important it is that to crop an image and how much of a difference it can make But having worked on some fashion project in the last couple years Copping and fashion and beauty is everything like little image So the next time you see a fashion campaign or picture really look at where they cut off the head of the beat And it's there's it's an intense process and so I want to show you some examples. There's the statue of David So the you know the white the left examples, you know how you normally copy like full body But the reason why copying is important is maybe you have this image where you really want to Hone the reader's attention on a specific part of the image So maybe all that other excess stuff in the image doesn't really matter So it's worth copying in so for instance if I want to just focus the reader the Viewers gaze on his upper body. I can copy You know the legs out will go farther into the torso or the detail of the face Or focus on the lower body More torso detail hand detail or the leg detail so So even when you have a bad image for instance like Copping can make all the difference photoshopping can make a difference, but cropping can also make a big difference So it's worth trying out So I want to then I want to follow up with this example called the art of color for The house of Dura and it's basically a book about the history of color and style and makeup The house of Dura and in this book is full of image pairings Just to exemplify how different pieces of art by artists Inspire the work at the house of Dura is so Again cropping plate was played a huge role in presenting these images along with the selection of the images on the right side So just showing you these again how you are likely to make these associations in this case with color Form and then this last but really nice color strips And then moving on to image layout so again Ben went really in depth with you know the different ways You can lay out text and images on a book spread But so my emphasis will be actually more images again this time So it's one thing to have one image on a spread, right? This will mean that this image is really significant or meaningful to you in the context of this book or It's just a beautiful image. So it's worth thinking about, you know The image that you choose to devote a whole spread to right versus having two images on a spread again people may might Will make those associations so which two images will you put on this bed? Is it going to be about a conceptual connection or about formal? Association and then this example on the bottom from project of Japan That one's packed with a lot of text and images So in that case like in the image captions really help the reader understand, you know the meaning behind all of these images and Then just showing you examples of spreads with three or more images The first example here is from our world sees us a pull In the sea and it's a short book but what I really liked about this is the designer co-opped and place these images in a way that would control the viewers gauge across the spread, you know from From one corner to the next And then if you have like sort of more complex, you know composition of images again Like in the project depending example all these image captains just help sort of, you know Help the the eye blow across the page Different ways of image laying out images including like layering them to create a certain like a jagged effect As shown in this example from stealing beauty Or you could be completely linear the way you lay out your images This is spread is from the office of Kirsten Gears and David van Severen They have three books like three volumes That are basically there, you know, they're a portfolio of their works, but I actually recommend these books for references for portfolio design because it's actually very well organized and Super linear and clear and they have they also have a beautiful documentation of the work but anyway in this in this spread you have three different images of the same building and You know, they have a lot of white space So that's just something to consider like how much white space will you have around your images because? white space means that you treat the images with They, you know, they seem a little bit more precious Whereas if you have the images fully like this example The whole experience feels a little bit different. It's a little bit more immersive It's feels more immediate in a way having more white space has a very different effect so I will show you this monograph from David to feel architects designed by Don Morgan and You know, this is also like sort of in terms of graphic design style. It's very quiet and modest But I want to share this example with you because there's actually a diversity of you know layout approaches in terms of The number of images he may put on a spread and this is just a spread in terms of how project is introduced So there's just like two columns of project description. It's super simple and straightforward but When you go inside the book, it's just worth noting this, you know, in a good example of the image editing process for You know showing a whole you know whole like monographs worth the body of work, right? So you can make a really nicely drawn Building drawings like full treat them, you know, give them a whole spread in the book to really give it more gravity and If you have two drawings of the same building, it's worth considering Whether they might be redundant. So in this case one is treated in color and shown, you know The first point perspective and then the other is showing an angle in black and white So they feel like different images, but they're actually the same building and it's worth noting that sense of Sort of diversity even when you're talking about the same project Model photos, you can choose just one and make it look like a really beautiful handsome picture as opposed to showing You know 20 model photos and Then you can think about visual hierarchy and here you have two big images in a smaller image alongside text and captions and Then here you have even more elements on the spread drawings historical photographs More recent photograph the project and so I thought that this was also again a different a good example of Integrating diversity and talking about the same project and oftentimes I think It's easy to feel repetitive and redundant when talking about your work by showing climbing and all the you know the floor plans they models or the photographs and it's Worth while to edit out, you know, all of that down to the most essential and Sort of meaningful drawings or images This book is also one of my favorite books designed by Yoon-ja and the team at 2x4 It's full of Fondazione Prada and car corner Della Regina and it was its book basically about you know, the activities and The art at this 18th century Palazzo in Venice, Italy I'm just gonna show you one spread from this book and this is my favorite part of the book This is a little bit arbitrary But I actually just really like these white floor plans blue paper and they actually work as chapter dividers Correct me if I'm wrong, but I think they're four sections in this book and this page repeat itself with the beginning of each chapter and then These different rooms on depending on the floors are highlighted in a sky blue color to Make a connection between the content mentioned in the book and the maps and the location in the building Bootsy Vega this book is also designed by John Morgan and I'm showing you these examples because they have really also really beautiful documentation of and representation of their work But this book shows a really nice consistency in the way they present line drawings and plans In this case just like black and white Planned and then all the surrounding areas and blocks, you know covered in black ink Okay, so now that we've talked a little bit about images I just want to pause here to talk about the importance of image captions and Again, it's something that maybe some of us take for granted, but when you actually see an image with no caption You're kind of leading leaving the view up to guess what you know The image is about if it is you intend to leave the interpretation of the image up to the viewer then You can do away with the caption But in your case if it is really important for you to communicate what the significance of the images and it's worth while Having that caption so you could have a short caption As shown in the example in the middle or you could have a more descriptive sentence that explains the thought behind The the image itself So the other thing to note is that if you have a certain caption style in the book, it's important to be consistent And Then this is just a spread from I mean sorry a screenshot of what that particular project from her is I've been doing on that It's a project page from their website Also, it's worthwhile looking at these websites of different architectural practices to see how they talk about their work and And look out for any patterns that might inspire you and how you talk about your projects So I mean I think the pretty standard approach is to have a project title List the location the dates and then have a short description But the key really is to be consistent right in terms of the order of the content and the style in which all of this is written and I'm gonna follow up with a few more examples for this and this book I Believe is the first edition of this but for the architect Valeria Ojiati and it's a really It's a really nice object because all these Pages are printed on cardstock paper, but the double double-mounted and each page has a plate devoted to it What's nice about this is that This essay by Mario Carpo Runs across the entire book on the bottom. So it looks like a giant caption So regardless of where you are in the book you'll see this essay text from Mario Carpo and it feels like a global narrative and You know at glance at you know from a distance. It just looks like you know an enormous image caption when it's actually an essay The actual image caption or nestled above that text below the image But this book is also really wonderful as an object too And Then this recent monograph from Herzog and Jimmy on this is sort of like the polar opposite of most typical Architectural monographs. So this is a book called, you know one to five hundred and Basically, it just shows you the first five hundred projects But this went through an extreme editing process where they will show just one image per project So each bed will just show four projects So I met so that's a lot of pressure to boil down, you know, and What might be a more complex project down to just one image? And then each of these images have consistent ways of treating them with image captions a number name location and the dates and then lower show this example earlier with pre-Columbian art in New York this catalog Not only is it nice in terms of like the the way they treat the book as in terms of paper form and the materiality But I just want to zoom in on again with these image captions You have these black and white images these artifacts and then very consistent treatment of The captions but nestled next to the captions is that the ruler for scale measurements. So This just really emphasized that you can be More thoughtful and creative with it and caption is a very detailed element And I like what Laura said about treating her caption the same size as her text copy with one of her projects to Communicate sort of a designer's intent and so the detail is the work Next I want to talk to you about tone and character. So once you figure it out, you know This actually is not this is all this not meant to be a linear process internal work process But tone and character might be something you think about in the beginning of project it's important because It's sort of the impression that you want to leave on a reader and it's essentially like establishing a persona and everything that you do with the book design whether it's choosing a tight base to your layout design to images the content of the images The quality of the text the paper stock you choose the binding the book size all of that Contribute to a sense of tone and character and I want to show you two Two books that couldn't be more different from each other not only in terms of the visual of the book but the architects for which they're designed for and The book on the on the left is never modern design my John Morgan for six a architects and the book on the right is the archic comic book for Bianca English group called Yes, it's more so when you look at these they look really different right never modern has more white space It just seems more modest. It's in this service typography Simple and then you know has this quiet feeling yes, it's more is you know more dark There's more black ink on it the treat the type is this comic book style Treatment and it's just busy and it just it just feels ominous right and when you open the book They also look and feel very different right on the on the left side was never modern You have this essay text by in Renee Scalbert that talks about you know the Perspective of six a architects and they're approached architecture But it's in typeset in this big serif typography with a lot of white space and all the images are in black and white and then on in contrast to that with the yes This is more example. There are a lot more images for the most part packed into each bed and then all the text is in this speech bubble so it's meant to feel like a comic book and You know, they just couldn't be more different from each other in terms of the style on like the look in the aesthetic What's ironic about this is that I think when I look at these two books and you read about it a little bit The intent is actually the same they both want to seem approachable accessible and want to make a connection with the viewers so So what does this mean it you know, it's important to sort of verbalize in your head What those qualities are that you want to go for and there's no right or wrong answer It's all about where you want to be on the spectrum, right? So you could choose to be quiet versus loud soft hard simple complex traditional modern minimal maximal academic commercial Oh, sorry pretty ugly playful serious slow fast easy-going intense economical luxurious casual formal rough be fine Intimate cool, and then this list can just go on late So like I said, this is something that you can really think about in the beginning of the book design process, too and then finally I will wrap up by talking about one other project that I worked on and Once you've figured out all the details I think you need to actually just said this really well earlier before but once you've figured out all the details like you know The technical parts like the paper stock or like your typography and all except all of that Once you've made that book it really can transcend what it's you know The actual book itself for meaning and the value that it holds for people who may come across your book later on So I want to talk to you about this book project. I worked on with Martha McGill who is my classmate at Yale and we work with three editors for this project AJ Violet and Muscle and perspective like I said earlier is America's oldest student editor journal from Yale University and Because of school tradition the way it's done. It's actually a three-year-long project process and Before I go into detail. I want to talk show you this overview of some covers that preceded our Perspective so we worked on perspective 49 which came out in 2016 and And it's funny because I'm you know Ben and law I'm sure and you know when you work on a book the publisher might ask for the cover design Very early in the process even before you've designed it. So in the beginning we look at the covers Just to get a sense of what's been done before But the reason the real reason why I'm showing this slide is that Typically with prospectus they have like one word titles like money Amnesia agency taboo monster famous of building codes grand tour, etc and All of these words or most of them have very strong visual associations Tied to the word. So if you think of money, you know, you think of coins or dollar bills or hundred dollar bills, whatever Monsters, you know, again another clear visual association ours the title was called quote and We were you know, we don't really have a visual association with quote. It's more variable So, you know, it was the editor statement Which is crafted in the very beginning of process was very clear But you know, it was actually a pretty complex subject matter for us At the especially at the beginning when we had no content to work with in the beginning Anyway, so I'm going to read out really short editors a condensed editor statement for a quote And it is an exploration of quotation appropriation and plagiarism Arguing that quotation and associated operations are ubiquitous intentional and vital and architecture Yeah, so that's a lot of like words packed in and you know, you probably I still don't know what it means So I'll show you examples of What the editors meant by quote by showing you These things that we discussed in the beginning of the editorial process Quote as we all know it is, you know words paraphrase like words written by another person So when you write essays you and you quote someone you put that those sentences in between quotation marks Right, so that's the way we understand what a quote is But the act of quotation can mean many different things In this case it can mean plagiarism. So Maybe many of you know about this project, but the building on the left is this building designed by Zaha D. It's called one You can so how it's a multi-use complex built in Beijing It was controversial because I Literally exactly the same time the building on the right was going up in the city of Chongqing and so And I believe it may have been completed faster like Earlier than the Zaha D one, but it's the building on the right is called make one 22nd century biters developer and so people at Zaha D were ready to file a lawsuit and You know, it was highly suspected that the developer basically pirated stole the digital files from Zaha Hadid And so I don't know the full details of the lawsuit, but Going into that kind of process with the later construction process. So And I think I read this recently, but the developer wrote on their site Basically denying that they plagiarized and said we don't mean to copy. We only mean to surpass which is ridiculous But the buildings are identical And it's it's a notorious case, unfortunately Quotation happens a lot in fashion and in other fields creative fields as well, but a lot in fashion and the building That's like the code on the right is from saline by the phylo saline collection from fall 2013 and It's this great code with, you know, knotted sleeves and when it came out this fashion writer pointed out hey, there was this You know remarkable similarity to Jeffrey beans coat back from back in 2004 So people reached out to the team at Jeffrey beans So Jeffrey bean had already passed away by the time this coat from saline had come out But the representatives at that fashion house were basically like they were not surprised and they said, you know Jeffrey the late designers he's inspired many designers who came after him So it was seen in the light of homage and not plagiarism So it's a good form of quotation flattery Imitation to sincerest form of flattery. They say the best form of quotation as we understand is when you take Not the visual component of something but the ideals and ideas in some body of work or you know or something and Translated into something completely new. So look, you know, many architects were inspired by the Parthenon and You know, it's very well known that look of reserve was also inspired by the classical ideas of the Parthenon and Athens So there were associations made with his less of a building in France and the Parthenon and Then to us, you know with a lot of technological tools at all disposal Quotation can really mean replicating things really easily with, you know, the Invention of 3d scanning 3d printing sketch up all these software programs that allow us to really quickly make things and mimic things So that's the that gives you a better sense of what quotation meant in the in the context of this issue This is just an overview of all the content that we have to deal with so in the like I said in the beginning We get this TOC or a list of all the essays that we will deal with It's a three-year long process. So that means most of that time is spent With with the editors reaching out to different contributors for perspective the design itself does not should take three years and so The challenge for Martha and myself as we were working on this book Was how do you come up with the design concept approach when you don't really have the essays or the content yet? And and you're just working with the concept and sort of the list of You know essays and authors that you'll be working with later on But as I showed you through the examples So quote quote is not just you know a textual thing, but it can you know relate to the world of images as well So our challenge was to convey the concept of quote through the way we treat texts and images in the book Conceptively right so I want to talk to you about how we chose our Typefaces in this book and we chose to one was no house growth task and the other was optimal Nova The reason why we chose those two typefaces is Well after doing a you know a really Kind of an exploration of all these different possible sensor You know classical ones that we could work with we landed a no house growth task And we just knew we wanted to work with Revival funds a lot of funds actually are revival funds technically speaking because for instance, you know With the computer a lot of them have to be digitized so that's became an opportunity for type designers to work on spacing and Redrawing these things so that they will put people screens and printing in today's world But anyway, just a brief story about Helvetica. No house go task No house go task is a revival of Helvetica Helvetica used to be called no house go task Back in the 1950s Edward Hoffman of Haas type boundary in Switzerland Needed to come up with a grotesque typeface that would compete well with Occident's grotesque at the time Occident's grotesque was sort of the adored Sensor of typeface in Swiss graphic design at the time So he asked Max Midinger who's the designer in the far left corner To come up with the new grotesque typeface and he drew what became Helvetica was no house go task They changed the name to Helvetica because I believe was for marketing reasons Helvetica means the Swiss and But you know, of course with changes in printing processes from metal to line of type photo setting That original design for a no house go task underwent a lot of changes and compromises. So in the early 2000 Christian Swartz was commissioned to be by no house go task or Helvetica So the no house go test you see today is closer to the original designs for Helvetica so You'll see differences if you look really closely But anyway, so we chose no house go tasks over Helvetica As we buy typeface and then the other typeface we chose was optimal Nova Optima was designed by a German type type designer named Herman Zaff and He in 1950 here. Also. This was all designed around the same time both no house go task and optima But anyway in 1950 Herman Zaff went to Florence for the first time on holiday and then he went into this Cemetery and he saw these Classical woman letterings Stone carved in the cemetery and he really liked them in the way that it's a humanist typeface So the ends of the letters don't quite become serifs and he really liked that quality So he made sketches on a thousand Leroy note from back to Germany Respawn and he basically developed this typeface over the course of the next decade or so but Again with technological changes It was necessary for optima to revive to its original form So Akira Kobayashi and Herman Zaff work together to come up with optimal Nova so those were two typebases for this project and We had some restrictions for instance the book size had to be 9 by 12, right and This is not something I will not go into detail now, but Martha and I just decided to split the group the book grid system into six columns So it would allow for a lot more flexibility in laying out different kinds of content throughout different chapters And we really wanted tight margins. This is just random. We just want to tie margins and and the other thing is that something I discovered and I think it depends on the printer that you work with but Printing a thick book with a lot of pages can sometimes cost more than printing full color, right? So we want to be economical with space and the other thing to note is that We did have a printing budget limit, right? So we knew it would be expensive to print in full color So we decided to treat all our images in black and white This is just to show you a spread of how you utilize the six-column grid system And then the dotted line that you see at the top is our hang line And we use the six-column grid in a number of different ways throughout the whole book but it allows for a lot more flexibility and Because the book is called quote We we actually just you know instead of a standard Chapter opener where we start with the title of the article and author's name We actually prefaced each essay with a compelling quote That we thought was interesting and then typeset that in optimal Nova put them in big quotation marks and then Pair them with a footnote symbol. So actually no Haskell task and optimal Nova don't they don't have a ton of a footnote Symbols in the glyph system. So we went to other type bases and got footnote symbols from them. So print, you know, I shown here and Then just just to show you a close-up of the quote pages and we paper want We were able to get one Pantone color of mint green, which is actually also Random, so I'm just saying some things can be random like most things can be thought of or some things can be random But I actually I can rationalize this decision-making process, but that's for another time This is show you overview of all the essays With this mint Pantone green color treatment and the quotes and the footnote symbols And then when you go past the quote page, you will get The repeat of that footnote symbol on a smaller scale and then the beginning of the essays And then I believe we had a total of four different type sizes for the entire book and Any text that was quoted by you know words by somebody else we treated in a light, you know a great color So these were all these moves that we made to Make that connection like as from the design point with the book title in the concept quote So when it came to images that was a whole not a different set of challenges of how we lay out the images that would convey the concept of quote Quotation and this is an image. That was actually shown in the book. It's the exhibition wall from late 1970s exhibition on architecture from MoMA and it was controversial because basically I believe the exhibition was called transformation in modern architecture What the curator did was just put lots of images of similar-looking buildings on the wall so it was you know Controversial in in the statement saying that architectures has all the buildings are looking at the same and so what? You know visually it's kind of cool to look at and Martha and I were like It would be really cool to just have a lot and lots and lots of similar-looking images throughout the book Right and again when you are when you begin to design or come up with concepts for a book before even have the content It's kind of tricky because you don't you're not really responding to the content You're just kind of fantasizing and about the kind of visuals you want to make as a designer We also fantasize about having a lot of side-by-sides but the editors try to talk us down every time we try to propose that idea and But as I showed you with those examples of quotation what they mean It can mean armies plagiarism, etc The term quote in quotation actually much more nuanced and complex So it wouldn't make sense to have this one big gesture across the whole book in terms of image treatment So really what we were doing was responding to each essay and the argument at hand and the way to talk about quotation And we would lay out the images based on that concept or the argument So there are different things that we could do, you know with images that would metaphorically connect to the idea of quotation You could reprint images You could show the side-by-side You can show an archive of images. You can show repetition of images or a timeline You can also frame these various images Or you can imitate a visual style image treatment. You can cut out images and You can also copy or scan images And then I'll just show you how we actually did that in some of these places So this was the reprint of an essay from an older issue of perspective that the editors chose to include and then this is a side-by-side of You know art or artifacts replicated through 3D scanning of 3D printing. We showed archives from other books We show a bunch of similar looking images like repetition of similar looking buildings from Russia Or we could show a timeline of images This essay was about you know the influence of the Parthenon throughout time and how there were many similar looking Parthenons in different parts of the world You could also frame these images And then this was the This thing we made in imitation of Robert McStan's graphic design style Psychological style and it was something that was requested by the author of that article who was Thomas Weber. He's the editor of AA Files You could also show cutouts of these different images Or you can copy or scan these images So this was a proposal for the Young Architects program proposal for PS1 MoMA Yeah, and that's pretty much it and then I want to end by showing you this quote from the last essay in this book And I I want to read it because I think it's um I'll end with a quote because it's talking about quote, but it's I think pretty compelling It's just basically you know the argument at hand here and in a way I think it's the conclusion of the whole book is that quotation is necessary and it can be hopeful So in architecture as in life quotation is really all that matters and no Transcendental individualism can ever replace the richness of a world full of weapons nuance and illusion Yeah stack of books. Thank you


What's up guys, Michael with Jaspy's doing a quick recap for 2022 tops triple threads three box break random team number six This was done on fanatics live. Here is the list if you guys forgot your teams There's the recap some of the color Griffey trout out of 125 show a at a 299 chipper out of 25 Corbin Randy Get into some of the hits Keep Ryan Hayes Relic Joe Musgrove relic in auto Blue aureus triple relic had a Tristan Mackenzie white whale triple relic and autograph Beautiful patches there one of one then a Adrienne Beltray triple relic auto That is Rangers Edition as well Gavin sheets rookie relic my trout triple relic and had a redemption for a Single jumbo relic gold parallel of Zach Wheeler and the O'Neill cruise triple relic auto out of 35 Verdugo relic Luis Castillo relic and auto out of 25 and a triple relic of Andrew McCutcheon keep Ryan Hayes and really star Joe out of nine so that does it. Thank you to everyone who got into the Break. Thank you guys for watching and I'll see you guys in the next one. Bye guys


My name is Sam Vaknin and I am the author of Malignland Self-Love, Narcissism Revisit. Parents, primary objects, and more specifically mothers, are the first agents of socialization. It is through his mother that the child explores the answers to the most important vexing existential questions, which shape his entire life. How loved one is, how lovable, how independent one becomes, how guilty one should feel for wanting to become autonomous, how predictable is the world, how much abuse should one expect in life, and so on. To the infant, the mother is not only an object of dependence, as his survival is at stake, it's not only an object of love and adoration, it is a representation of the universe itself. It is through the mother that the child first exercises his senses, the tactile, the olfactory, and the visual. Later on, she becomes the subject of his nascent sexual cravings if he is a male, a diffuse sense of wanting to merge physically as well as spiritually. This object of love is idealized and internalized and becomes part of the child's conscious superego. For better or for worse, she, the mother, is the artistic, the benchmark against which everything in his future is measured. One forever compares oneself, one's identity, one's actions and omissions, one's achievements, one feels and hopes and aspirations, and one's partners to this metacon figure. Growing up entails a gradual separation from one's mother. At first, the child begins to shape a more realistic view of her, that incorporates the mother's shortcomings and disadvantages in this modified version. The more ideal, less realistic and earlier picture of the mother, he is stored and becomes part of the child's psyche. The later, less cheerful, more realistic view enables the infant to define his own identity and gender identity, and to go out to the world. Thus, partly abandoning mother is the key to an independent exploration of the world, personal autonomy, into a strong sense of self. Resolving the sexual complex and the resulting conflict of being attracted to a forbidden figure, is the second determining step.  He must thereafter choose to imitate his father, become a man, in order to win in the future someone like his mother. The third and final stage of letting go of the mother is reached during the delicate period of adolescence. One then seriously ventures out, and finally builds and secures one's own world replete with a new mother-lover. If any of these stages, any of these phases is thwarted, the process of differentiation is not successfully completed. No autonomy or coherent self are achieved, and dependence and infantilism characterize this unlucky person. What determines the success or failure of these phases in one's personal history? Mostly one's mother. If the mother does not let go, the child does not go. If the mother herself is a dependent narcissistic type, the growth prospects of the child are indeed doomed. There are numerous mechanisms, which mothers use to ensure the continued presence and emotional dependence of their offspring, of both sexes. The mother can cast herself in the role of an eternal victim, a sacrificial figure who dedicated her life to the child, with the implicit or explicit proviso of reciprocity that the child dedicates his life to her. Another strategy is to treat the child as an extension of the mother, or conversely, to treat herself as an extension of the child. Yet another tactic is to create a situation of shared psychosis or foliader, the mother and child united against external threats, such as the father. Or to create an atmosphere suffused with sexual and erotic insinuations, emotional incest, leading to an illicit, psychosexual bonding between mother and child. In this latter case, the adult's ability to interact with members of the opposite sex is gravely impaired, and the mother is perceived as envious of any feminine influence other than hers. Such a mother is frequently critical of the women in her offspring's life pretending to do so in order to protect him from dangerous liaisons, or from ones which are beneath him.  Other mothers exaggerate their neediness. They emphasize their financial dependence and lack of resources, their health problems, their emotional barrenness without the soothing presence of the child. There need to be protected against this or that, mostly imaginary enemy. Guilt is a prime mover in the perverted relationship of relationships of such mothers and their children. The death of the mother is therefore a devastating shock and deliverance. It's ambivalent. It creates ambivalent emotional reactions.  The ambivalence is a source of great guilt feelings. I am shocked and devastated, but am also relieved and delivered. With a person who is abnormally attached to his mother, the situation is more complicated. He feels that he has a part in her death, that he is to blame somehow responsible, that he could have done more. He is glad to be liberated, but he feels guilty and punishable because of it. He feels sad and elated, naked and powerful, exposed to dangers and omnipotence, about to disintegrate and to be newly integrated. This precisely, are the emotional reactions to successful therapy. With the death of his mother, the nausea system box for a process of healing.


Good evening. And welcome to the William G. McGowan theater here at the National Archives. I'm David Ferriero, the Archivist of the United States. And I'm pleased that you could join us to view the film, The True Glory, with our special guest, Chuck Hagel. Tonight's screening is presented in commemoration of the 75th anniversary of D-Day, June 6, 1944, and as made possible in part by the National Archives Foundation through the generous support of the Boeing Company. And we thank them for their support. Before we start the film, I'd like to let you know about two other programs coming up soon in this theater. On Thursday, June 13, that noon, author Tammy Visual will be here to discuss and sign her latest book, Moms and Chief, the Rhetoric of Republican Motherhood and the Spouses of Presidential Nominees, 1992 to 2016, which explores the function of spouses in recent political campaigns. Then that evening, at 7 p.m., we'll partner with the United States Association of Former Members of Congress with the 2020 Women's Vote Centennial Initiative and the National Women's History Alliance to present a panel of discussion, the female candidate for office, challenges, and hurdles. Washington Post columnist Alexandra Petrie will moderate the discussion, which will include Anne Lewis, former White House Director of Communications, and former members of Congress, Donna Edwards, Barbara Comstock, and Connie Morella. Both of these programs are presented in conjunction with our exhibit, Rightfully Hers, American Women and the Vote, upstairs in our Lawrence F. O'Brien Gallery. Check our website at archives.gov or sign up at the table outside the theater. You get email updates and you'll also find information about other National Archives programs and activities. And another way to get more involved with the National Archives is to become a member of the National Archives Foundation. The foundation supports our education and outreach activities and a little known secret that I keep repeating. No one has ever been turned down for membership in the National Archives Foundation. On June 6, 1944, Allied Forces launched the greatest amphibious invasion the world has ever seen. The historic D-Day invasion of Normandy, France was a turning point in World War II, but it was just the initial assault on a massive operation that liberated Western Europe from the grip of Nazi Germany on May 7, 1945. The true glory, a joint production of the U.S. Office of War Information and the British Ministry of Information, is the epic film record of the June 6, 1944 invasion of Normandy and the Allied push across Europe. The National Archives Motion Picture Preservation Lab in College Park, Maryland digitally restored the film in 2014 for the 70th anniversary, and that is the version we'll be seeing tonight. And I think we have some members of the preservation unit in the audience. Can you raise your hand if you're here? I guess not. But I thank them anyway for the work that they've done. And now it's my honor to introduce our special guest Chuck Hagel, who will deliver keynote remarks before we start tonight's film. Chuck served as the 24th Secretary of Defense from 2013 to 2015. He's the only Vietnam veteran and enlisted combat veteran to have served as Secretary of Defense. He represented the State of Nebraska and the U.S. Senate for two terms from 1997 to 2009. In the Senate, Secretary Hagel was a senior member of the Senate Foreign Relations, Banking, Housing, and Urban Affairs, and Intelligence Committees. Previously, Secretary Hagel was Co-Chairman of the President's Intelligence Advisory Board, Deputy Administrator of the Veterans Administration, a distinguished professor at Georgetown University, Chairman of the Atlantic Council, Chairman of the United States of America, Vietnam War Commemoration, Advisory Committee, Co-Chairman of the Vietnam Veterans Memorial Fund. He is a senior advisor to Gallup and distinguished statesman at the Atlantic Council, and currently serves on the Rand Board of Trustees, PBS Board, and American Security Project Board. Ladies and gentlemen, please welcome Chuck Hagel. Thank you. Thank you. Thank you. Well, I'm, first of all, very appreciative of the fact that David and his team asked me to come by tonight and share some thoughts with you about this important day in world history, in our history. So thank you for being here and your support of the archives and our veterans in the audience tonight. Thank you for what you have done for this country and the families of veterans. Thank you. Five years ago today, I had the honor of participating in the 70th anniversary of D-Day in Normandy with President Obama and the American delegation. I don't know if ever in my life I have ever experienced a more solemn occasion, one that truly riveted your attention to not just the day and the acknowledgement of what happened 70 years ago on that beach, but also what it produced, what was the consequence of that day and now 75 years ago? I thought the Washington Post headline this morning said it really pretty well. The Washington Post headline was a day that made today possible. And that really says it all, because it was June 6, 1944, that made today possible. And everything mankind has achieved in the last 75 years, imperfect, flawed, still have a lot of problems. But you think of the last 75 years what is not just what has happened and the advances in every discipline of mankind, science, food production, technology, made people's lives better, more people free, more people with hope, more people with education. But you think also of what didn't happen in the last 75 years, no World War III. We take that for granted today, but you all know the great leaders at the time all went to their graves very concerned that there would be a World War III and there'd be a nuclear exchange. We've had no nuclear exchange. That doesn't mean we can't have one or won't. But just those two facts are pretty important. In today's world of so much division and polarization, I also think of what happened 75 years ago. The world, most of the world, the free world at the time, certainly our European allies and others, had a clear purpose for what we did 75 years ago. It was a clear purpose of common interest. And that produced a world that was something that we Americans, all nationalists had never seen before. A liberal world order. A world order that was made up of institutions, what I referred to as coalitions of common interest that brought people together based on a common interest. Not that we would fix every problem, solve every problem, but we would start with our common interests as human beings and dignity and respect and freedom. That's where we'd start. And these world institutions were there to assure that as much as possible. Sure there was tyranny, authoritarianism, communism, but in order to deal with the realities at the time and put a totally destroyed world back together because America had the only economy that was still on its feet. These great leaders after World War II built this liberal world order. United Nations being the first institution. Imperfect, flawed. But think of the United Nations if we'd not had the United Nations the last 70 years. Think the world would be better? More peaceful? I don't think so. NATO, IMF, World Bank, dozens of multilateral banks and development institutions all with the purpose of trying to make a better world, give more people more opportunities, more freedoms, working together, not dividing each other. And that's probably as much as any part of today as we look back on this day 75 years ago that struck me is in this polarized, divisive world where there's so much volatility, combustibility, uncertainty out of all of that World War II, certainly D-Day, came a world order that gave man real hope for the first time. And it's worked pretty well. And it's worked pretty well. General Agreement on tariffs and trade, which is now the WTO, based on free trade, based on all people rising, economies developing, selling your product. I mean, for example, trade is not just trade, it's not just a commercial exchange of goods and services, it's far more than that. It's foreign policy, it's security, it's people to people. It goes much deeper than just trying to sell an automobile or soybeans, much deeper. That's what I take away as much as anything else from the review of what happened 75 years ago. I've always thought that what happened 75 years ago in Operation Overlord might simply be outlined in three different areas. One was the enormity of the task.  As David said, it was the largest amphibious military operation ever in the history of mankind. Over 13,000 aircraft were involved, almost 7,000 ships and Navy vessels involved. That day from England, we moved 176,000 men, put 155,000 ashore. That was an astounding, astonishment task and achievement that man had never known before. The second part of that, what happened on June 6, 1944, the second after the task was the risk, tremendous risk, tremendous risk. You go back, as you all know, because some of you are historians and know far more than I do about this. There was great doubt, there was great concern whether this could work. We were fortunate that the Germans made some pretty big mistakes. In their calculations. But that takes nothing away from the planning and certainly the courage and the commitment of the men and women who carried this mission out and had worked and planned and proceeded and cooperated to accomplish it. And the third part of this, which is always struck me is leadership. Leadership, not just one person. Yes, we think of Eisenhower of course and Churchill and Roosevelt and Bradley and others. But leadership I've always believed is as much about team building and bringing the people together for a common purpose, a common cause and accomplishing a common mission. That's leadership because no one is smart enough, good enough to do it himself or herself. It doesn't happen. But it's bringing all the people together in an effort and a team and believing in that effort and believing in that commitment and believing in that task. And those great leaders did that. And that was real leadership. And you all, I know I've heard some are very familiar with it. The actual note is housed here in the archives that Eisenhower wrote to himself that and put in his pocket of the day of the invasion. I've read that, that small note many, many times over many years. I was always so impressed with it that when I first got to the Senate in 1997, I had it calligraphy, matted and framed and it hung in my Senate conference room for 12 years. And then it hung in my Secretary of Defense office the time I served as Secretary of Defense. Because it epitomized leadership, I thought, as eloquently as anything I know. And I want to read it to you. It's very short. I know many of you are familiar with it. But it helps us all when we hear these words of this great leader who wrote this note for history in case this effort would fail. And this is what Eisenhower wrote. Our landings at Therborg and Harvara have failed to gain a satisfactory foothold. And I have withdrawn the troops. My decision to attack at this time and place was based upon the best information available. The troops, the air and the Navy did all that bravery and devotion to duty could do. If any blame or fault attaches the effort, it is mine and mine alone. Now that's leadership. That's leadership. An interesting side note about that note, which many of you may be familiar with, he signed it July 6th. That might give us some indication of how much pressure Eisenhower was under. He was off just by one month. But it tells us a lot about Eisenhower, of course. And it tells us a lot about the leadership of that man, but also those he chose to be around him and how all of that leadership came together. Now, one other fun little anecdote I want to share. Many of you might know this, but I haven't found many who do. And I was with former Secretary of State Madeline Albright last week at a joint appearance at the University of Chicago. And we were talking about D-Day. Now Madeline Albright is a pretty learned individual. Ph.D., teaches at Georgetown, has been a teacher for many, many years, knows history, all the jobs that she's had. And she asked me, she said, well, you're from Nebraska and you know Omaha. Why was designated the two beaches where Americans would land Omaha and Utah? And many of you may know that answer, but Secretary Albright didn't know the answer. And I said, well, I'm glad you asked. That's the only answer I have that you probably don't know. Well, the reason those two names were chosen for those two beaches was because when they were deciding where and how they were going to invade and the location, in General Bradley's office, there were two carpenters. One was from Utah and one from Omaha.  And I guess it did. But that's kind of a fun little antidote about how those two names were established for those two beaches. On Juno and Gold and Sword, I don't know. You'll have to go somewhere else for that. But those were British and Canadian, so maybe they'll know. Well, I want to close by telling you that like everyone in this room, my personal stories and how I grew up always reflected and revolved around D-Day and around World War II. And it's a very, very important, as David and I were just talking, it's so important and so heartening to see the world today in this country recognize the critical, critical importance of this date and what was accomplished 75 years ago. We haven't forgotten it. And we need to make sure that our young people and generations that will come do not, do not ever forget what was accomplished and why it was accomplished and what it produced. My father was a World War II veteran. He was not in Europe. He was in the South Pacific. He was a radio operator tail gunner on a B-25 bomber and over in South Pacific for a little more than two years. But I had three uncles in Europe, none on D-Day, but all of them saw a lot of action. So I grew up in little towns in Nebraska where the American Legion and VFW Clubs were the social center of the little towns.  Nobody got married, nobody got buried or anything unless it was through the Legion or the VFW. And so I guess I didn't know any better. And I had an advantage in life, really, in a way because that whole environment imbued me with history and with an appreciation of our country, of our people, of the sacrifices, of really what kind of people we are and how many good people there are in the world. And it just takes some leadership. I think another example here is when America pulls back, the world becomes dangerously off balance. We can't fix every problem and we surely can't do it alone. We need alliances. We need allies. We need friends. More today, I think than any time in our history. But America does have a role in the world. And it's morally very clear what our role is ethically. But in every way, we have a role to lead. And it isn't just us, but it's clearly in our self-interest, clearly in our self-interest. Every one of those institutions I mentioned, starting with NATO, clearly in America's interest and in our future. So I will end this way so you can enjoy a great documentary. Thank you again for giving me a privilege to be here tonight, share some thoughts with you and to our veterans and their families and all who make so many contributions to this country. We're a better country for it. Thank you. Thank you.


This is that salt these 40 pound bags baby. So what we gonna do is we gonna try to carry 120 pounds at one time, baby Dedicated back today with another doordats video huge shout out to everybody tune in if you want to subscribe Make sure you smash that subscribe button give me a thumbs up and do not skip those ads It is April 29th, and we about to get to this back also you guys will make sure you stay tuned through the full video Because you will be announcing the winner winner chicken dinner of the free merch also if you want a chance to win some of the Free merch all you have to do is email me at rome's house if yous at gmail.com Send me a picture so you subscribe to the channel and earn your chance to win. It's time to get it in. Let's go order number one It's time to have some fun all the way sparked up all the way sparked up One order sam's club 7.6 miles for 1651. We're about to get it done. Let's go Here's guys This one we're going to have to go to the grass man. We got the dolly too. They got all these waters They got that agua baby That's all they got You gotta get busy We might have to take two trips. I don't know. It depends on how much I'm gonna fit in here Yeah, you want to take two trips for this one? I don't know. I think maybe you ever fit two of these cars. Let's see if I hit the mic or y'all better not tell on me I better not tell on me Yeah, you gotta park up for this It's like slide It's slide baby We got busy Hey doggie doggie One more trip and we're gone. It's time to get back on. Alrighty. Thank you Oh, thank you very much. Thank you very much. I really appreciate it. You have a good one, sir He gave us a doll That's what I'm talking about. Let's get it order two and three get with me Ballmark two orders 7.1 miles for 13 46, you know, we get in the mix order number three is all new orders 11.6 miles for 32 87 Thank god for is wrestling about to get this money. We're in stress. Let's get it I'm doing great. I couldn't complain. I'm still living so this is That's it's only that one box for that one. Okay. Oh, let me give these bags I got the little the box back there. You can put it in that little box thing right there Maybe we could put this in here At least it's decent outside today And ain't snowing man Yes, sir And it's been raining a lot too For real I know that's the worst for y'all No ain't too bad. Oh and if you build on top of it, it looks nice What? Oh, that's nice. If you want to I could bring it inside the door, ma'am.   Oh, yeah Okay, what did you do?  Okay, I have to look it up My auntie she loved like blankets and quotes. She's been having them since I was a kid. So I'm sure it's something that she would love I'm sure Really That's because you have good quality Yeah, when you when you do a good One thing about me is I'm a loyal customer. If I go somewhere and they do a good job That's the only question I'm going to I'm not going anywhere. Let me let me know when it goes down a little bit Uh-huh. Okay. Alrighty. Thank you. Nice to meet you ma'am. You have a great day Here drop off order number two What to do baby said leave it at the front door. You know I'm talking about it's time to get this money, baby It's nice out here, man. Nice me in the country They got some energy drinks The lemonade lemonade Gatorade for the hater Slip back at it with the photo smack What's the photo? Order number four. We about to run up this door. Y'all already know Oh Walmart to order 12.4 miles for 37 33. We go keep on getting this money. That's the way it's gonna be. Let's go Drop off order number one. It's time to get it done, baby. We got a good amount of stuff I'm glad it's like the door is like right here like this. I gotta get this water Then we gotta get everything in the trunk Anybody want to come out and start getting busy? But guess what we're about to do? We're about to get busy. You know what I'm talking about? We're about to get busy. A lot of different stuff. That thing needs milk. We got that milk Let me pass it to you Right there Step back. Y'all already know what time I'm hitting with the photo. Smack! We gone We are here to throw up order number two. What it do is very nice back here. They got the trees They ducked off in the back, baby Hey, doggie doggie. Don't give me doggies. They got the doggies barking at me trying to get me I'm gonna stick it for my paper Come on.  Step back. Hit it with the photos. Smack! With the photo. Here we go. Back. Let's go, though Order five and six. We had to do a little switch. Order number five is Walmart 25 items 7.5 miles for 12 25 or number six. We're back in the mix all the way Spark the Walmart two orders 11.1 miles for 37 62. What it do? Forget you and your crew. Let's go Oh, okay All right, I appreciate you So we got a lot of heavy stuff. So what we're gonna do is We're gonna They got that saw I'm gonna put this in the trunk first All right, you can put that one in the car Right But for order number one, let's get it done, baby. This is that saw these 40 pound bags, baby So what we're gonna do is we're gonna try to carry 120 pounds at one time, baby You've been working out Yeah, that's working. Yeah getting right. It says put it by the garage door That's that's where we're gonna do These jobs heavy boy That boy's swollen. I know they gotta kill me So you can start coming out and getting busy if they want to and we gotta take another trip We can't you know, we rip. I'll see the guns. We're trying to get these funds Okay, we're gonna grab the bag first I'm bop bop Of course, you don't get the bag first. We'll get the bag We're gonna put the bag on the arm, right? Like this bam, right? We're gonna get We're gonna get pop my warm right here pop number two on the index finger We're gonna get the noodles and other popping. We're gone, baby. It's time to get it on You gotta use every finger every hand If you want to get these bands That's just ripping a little bit.  Y'all don't even know about that. I know y'all don't know about that That's the back of the day when we used to get a little jump like it's hot Step back and with the photo smack, we're gone We're here to drop off order number two. What do you do? I'm gonna get the big bag first Put it on this arm. I'm gonna grab it a little bit Then we're gonna get busy. I hope you guys are with me Moving kind of fast those kind of shift They got good cereal.  Just in case they want to come out and get busy We're gonna get busy Step back We go That's what we're about to get it done by Walmart 3.5 miles for 36 49 We don't continue to be on the grind to the end of time and y'all don't see this the end shot Maybe guess what one of these orders is going to apartment So sometimes you might have to go to pay and suffer to get where you want to go either way go Y'all we know we're about to get to this door. Let's go Office all the way sparked up order number one. We're about to get it done. Guess what guys We had issue with another war market about the recording thing at the other Walmart, but You know some it's starting to get to the point where I'm just gonna let them start Putting the stuff in the car by themselves That's what it's gonna start getting to because it ain't that serious. I don't understand but What it is baby I also want to tell you guys this When you are doing stuff is you keep on getting resistance from other people that means keep doing it I'm telling you. I'm not saying keep recording. I'm saying keep going.  You're getting close to the goal. Just keep on moving and grooving Step back to know what the photos We go We are here to drop off order number two What it do they got a decent amount of the groceries You gotta go a few doors down And get this money, baby at least it's going to apartment, but at least it's not going up no stairs So we ain't complaining. We're maintaining and we doing our thing We don't come up Floors to you. They already getting each one. It's right. They each one looking real nice It's okay And just like that it is the end of the video. I hope you guys enjoyed the content we made 206 53 get with me baby. We ain't coming to talk about that. Well, we can't even talk about it Who won this free mark, baby? Let's get down to business.  Let's get everybody in here wrap them up Get everybody in here. Yeah shake shake shake shake shake shake shake shake shake shake shake shake Which I know about that y'all which I y'all which I know about that mix them up five four three two One maybe like cologne or perfume or tell me whatever you want to tell me Also, if you want your chance to win the free merch all you have to do is email me at ronestownsofvies.gmail.com Send me a picture so you subscribe to the channel and earn your chance to win like annoying pokemon gaming just one This could be you next week, baby. I'll see you guys on next one. We're going up We're going every floor and you already know in the ddk and i'm on my way


Now that we've added some headings I want to then next step add some bold and italics so again we're going to click into edit and you can select anything you like to practice with bold. I'm going to select my username here and I'm going to make that bold and we're going to use this second drop down which is style of text so if we click into that and click more we can see the whole menu we've got a range of choices bold italics, superscript, subscript, strikethrough underline, language etc. I'm going to select bold just click and we can see that's turned to bold and now that I've done that I'm going to place my job as we're a comedian in residence, highlight that and I'm going to make that into italics so again using the highlighting of the word you want to change and then using the drop down to change to italic like so. So if you want to pause the video and add some bold and italics to your page please do so now and if you've done that we can click save page again added bold and italics always describing the change we've just made so bold italics and headings all done


The U.S. aid to Ukraine, White House warns of catastrophic consequences. The U.S. Congress must immediately approve further aid for Ukraine, or there could be catastrophic consequences, according to White House National Security Council coordinator John Kirby. Kirby said that the President Joe Biden realizes that other countries are watching what the U.S. does. But the U.S.'s allies and partners are also closely watching because the U.S. leadership has provided critical support to Ukraine. He noted that the U.S. not only led in contributions but also in coordinating contributions from other countries to deliver assistance to Ukraine, according to the White House representative. If Congress refuses to approve further aid to Ukraine, then American leadership will waver. Some countries may reconsider their assistance to Ukraine, and this could have potentially catastrophic consequences for Ukraine, Kirby emphasized. In recent months, there has been a political war in the U.S. Congress between Democrats and Republicans over a bill to provide financial assistance to Ukraine and other allies. In October 2023, U.S. President Joe Biden submitted a bill to Congress allocating $106 billion for aid to Israel and Ukraine, as well as for strengthening the defense industrial complex of this amount. $61.3 billion was proposed for Ukraine and $14.3 billion for Israel. However, on December 6, Republicans blocked the start of debates on the bill in the Senate. It was also reported on January 12 that financial aid to Ukraine had been suspended in the White House until Congress approves a new funding package.


Mkuru iko kwa miju wa nairodi, karibu na barabaraku ya mombasa road na iimtume zingiru wa na makampuni Misha paka mnda mmyaka kumina nine Maisha mkuru, nengumu misha watua neshi kwa rakati ya kota futas na watu wengi, wana fanya kwa makampuni na wengi nene wa nabiashara na piya tukona watu wengi, wana fanya kazi ya kua kota takataka ili kweza kupa tamapato Shida ili kubu wasana kofle, skai niki na industry mobile wa sota kuna shida za kumuwa wengi na wana develop nini asma shida za asma wengi na kua, tena watu wengi neni easier kukuna tidi kwa muda labda niki yanda inje ya Nairobi amani menda nyumbani kwa mudas kumbili tatu kirudi una pata ukingi ya tu mkuru kuna za kuchafia kusnez lakini, milikwa nona nijambu lakwa labda niku badilisha hewa ya Nyumbani na ya Nairobi lakini last year mwakajana watu wa stokomu wa nifuja kufanya research ya air pollution yu wakatidon nijua kuna mchafu kua liya hewa for this research we used in a project called citizen science typically traditionally research you'd have researchers were very technical coming into a community and doing their measurements and doing their analysis and going out we decided to do it the other way around we started by working with the local community identifying young talented people in the community training them and then working with them to collect the data and that we did it because we wanted to empower them but also because we believe that they're part of the solution and then involving them in the research itself would be empowering them to be able to articulate the issues much better than if they were not involved ayu research ilikwa beneficial sababu hawa kuleta watu kutoka inje wale jaribu kua engage na community na pia watu we nye wa li fanyana wa research ya nye we nwa kutoka kwa community so na pata a community iko free na iko open kutua info kuli kumtumu nginaki kujakuwa question kwa iwa ilikwa amzori experience pia ilikwa amzori kama mimi binawsi neda sema tuli jua tukitakakuwa na mazingi rama hewa safi kwanzei nanzana sisi wenyewe kabula tuja fiki ama kampuni ama stay called as wengini the guideline levels for particular matter given out by the world health organization were exceeded extensively or massively i should say in some areas there was not a single reading where the guidelines were not where the guidelines were not exceeded and there were incidents where we had a 10 fold exceedance of the guidelines and i think this is a clear mandate for policy makers to take action i have something to tell my friend and neighbor so as i interact now na pia kwa studio nina kitu nizam bia watu na pia cio iwa pake ake nizam nizam mobilizwa watu na jua