One important type of algebraic expression is known as a radical expression. We use the following terms. In the expression a to power n equals b, we say that b is the nth power of a, and that a is the nth root of b. We also have some special terms. If n, our exponent, is equal to 2, we can use the term square. If n equals 3, we can use the term cube. So we might describe the relationship 5 to power 3 equals 125. So we'll pull in our definition. So in the expression a to power n equals b, b is the nth power of a. Comparing our expression to our definition, we can then say that 125 is the third power of 5. Similarly, if a to power n equals b, we can say that a is the nth root of b. And again, comparing our expression to our definition, we can say that 5 is the third root of 125. And again, we have our special case. If n equals 3, if our exponent is equal to 3, we can use the term cube. So instead, we could say that 125 is the cube of 5, or that 5 is the cube root of 125. It's important to notice that a number may have more than one root. So since 5 to power 2 equals 25, and negative 5 to power 2 also equals 25, then from the first, we can say that 5 is a square root of 25. But the second tells us that negative 5 is also a square root of 25. Now this raises a new problem. We like it when questions have a unique answer. So questions like what is 3 times 5, or how much will this cost, or what day is the test, or will there be cake, we like there to be a single specific answer. We don't like it when there's multiple answers. To avoid multiple answers to the same question, we define some notation. First, the principal nth root of a, written this way, is the number whose nth power is equal to a, where the number, well, it satisfies certain properties that are a little complicated and depend on which root we're taking. However, the principal root we most commonly encounter is the principal square root. And so we say that the principal square root of a, written this way, is the non-negative number whose square is equal to a. So earlier, we said that the square root of 5 is 5 or negative 5, but when we write this thing, that is equal to 5 only. And a useful idea to keep in mind, how you speak influences how you think. So when you see this symbol, it's important to read it as the principal square root of a. The use of this symbol leads to the idea of a radical expression. A radical expression is an expression that contains a radical, a root of some sort. So principal square root of 5 plus principal cube root of 18 is a radical expression. 1 over 3 plus principal square root of 8 is also a radical expression. Now, radical expressions, as long as they're defined, are always equal to some real number, and so we might be able to simplify them a little bit. So let's try and simplify principal square root of 35 to the second power. So definitions are the whole of mathematics, all else is commentary. So according to our definition, the principal square root of a is the non-negative number whose square is a. And so by definition, the principal square root of 35 squared is the non-negative number whose square is 35 squared. So remember, paper is cheap, so let's go ahead and write some things down. We want something squared to equal 35 squared. And so the question you got to ask yourself is, what can I put in the parentheses that will make this a true statement? And here's a useful insight into the mind of a mathematician. We're not that subtle. How is something squared to be 35 squared? Well, why not just put a 35 in there? The only trick lies in remembering what will actually answer the question. We need the non-negative number whose square is 35 squared. Well, the thing we're squaring here is 35, and since 35 is non-negative, then the principal square root of 35 squared is 35. Well, let's do something a little bit more complicated. Let's try and simplify the principal square root of 16. So remember, the principal square root of 16 is the non-negative number whose square is equal to 16. So we want something squared to be 16. Since we aren't born with the knowledge of the square roots of the whole numbers, we should use guess and check to start with. It's useful to remember in any real-world problems, guess and check is always an option. And in fact, in most real-world problems, guess and check is the only option. So we find 1 squared is equal to 1. So that tells us the principal square root of 1, the number whose square is equal to 1 is 1. Now, some of the value of guess and check involves the computations we do along the way. In this case, we found the principal square root of 1. So if we ever need it, we already know what it is. Now, it's not worth memorizing. The square root of 1 is equal to 1. Because in practice, after we do this a couple of times, we just kind of remember it because we've done it before. Now, while we did find the principal square root of 1, that wasn't what we were looking for. So let's try another guess. 2 squared is equal to 4. And so that tells us the principal square root of 4 is equal to 2. Again, we want the principal square root of 16, so we're not there yet. Well, let's try 3 squared, which is equal to 9. So the principal square root of 9 is equal to 3. We can also look at 4 squared and 5 squared, which will give us the principal square root of 16 and the principal square root of 25. And the principal square root of 16 is the non-negative number whose square is 16, and we see here that 4 squared is equal to 16. So the principal square root of 16 is equal to 4. What about fractions? Well, here we can invoke a useful observation. The fraction a over b squared is a squared over b squared. And this means we can find the square root of a fraction by finding the square roots of the numerator and denominator separately. And this gives us a useful theorem. For a and b positive, the square root of the fraction a b-ths is the square root of a over the square root of b. So let's say we want to find the square root of 1625. So our theorem tells us that the square root of 16 over 25 is the same as the square root of 16 over the square root of 25. Now we need to find principal square root of 16 and principal square root of 25. So use guess and check and find a couple of squares. Or we could just go back to what we wrote earlier. And whether we recomputed these or just went back to our previous work, we see that the principal square root of 16 is 4 and the principal square root of 25 is 5. Equals means replaceable. So principal square root of 16 can be replaced with 4. Principal square root of 25 can be replaced with 5. And so square root of 16 over 25 is the same as the fraction for fifths.


Initially, they're not going to take it seriously. They're not going to really think that you cut them off. And the reason for that is because they're so full of pride and arrogance, they can't actually believe that you don't want them. Because remember, they think they're the best thing since like bread.  They're not thinking about that when you cut them off. And their minds are like, why wouldn't you want them? Maybe you're angry about something they did but you'll be back. That's how they think. But as time continues to go by and you remain no contact, they will finally begin to get it. They will begin to understand. And they're not going to like it. Because you have to remember that narcissists are very insecure. Which means that they always have to be in a position of power and control over their targets. Which means that you should not be in this position of authority and control where you can be the one to reject them. That is not supposed to happen. They're meant to be the ones who choose whether or not they want to keep you around. Not the other way around is how they see it. So when you do it, when you cut them off and they realize it, it causes a major narcissistic injury. Because they sense that loss of power and control over you. And that's how they prefer it to be. That's how they like it. It's where they've got you under their thumb. When you're waiting for them, you're at their back and call. You're willing to do whatever they want. You're willing to overlook all of the hurtful things that they've done to you. That's how they like it. That's how they want it to be. What they don't like is when you start managing and directing things. When you start stating your preferences and how you want things to be.  They don't like that. Because they want to be the ones to do that to you. That's why when you're with a narcissist, it's like they've always got one foot in, one foot out. It's like they could leave you at any moment. And I'm sure many of you, you didn't even know if they were ever really there with you. You don't even know if you ever really had anything. A relationship, it was more like a situation. You were more just like their friends. You never knew where you stood with them. Because that's how they stay in that position of power and control, which they need because they're very insecure. And for them to feel secure within themselves, they need to keep you off balance at all times. You are a source of security and stability for the narcissist. So they've got to keep you off balance so that they can feel like they're in control. So anytime that you feel stable, safe, secure and comfortable, they feel insecure. Because of that moment, it's like, okay, now you're in control. Now you can have a position of authority over me. And you could just get rid of me at any moment. And then I have to deal with a pain or rejection. They don't want it to be like that. That's why they have to maintain their position of authority over you.  That's why it always has to be like that. Because they don't want the shoe to be on the other foot. Then you could give them a taste of their own medicine. And they don't want a taste of that. But yeah, when you finally cut them off, they do feel it. They know it. And they do not like it. It causes a major narcissistic injury. It triggers them to reflect on how worthless and insignificant they really feel in sight. Because everything, especially you, it's just a cover-up to compensate for how they really feel about themselves. But then when you stop supporting the illusion, it falls apart and they're triggered to reflect on how they really feel. They're triggered to reflect on how they are the issue, they are the problem. And they've been doing all of these hurtful things to you without any accountability, without any remorse. Yeah, they're forced to reflect on that. There's a brief window where they do. But then what do they do? They push it away because it's too painful for them to deal with it.  And that's when they start to point out all of these things that they think are wrong with you.  And then they've got to go and tell everyone about it, about how you're this horrible person who did them wrong. When all you did is you stopped putting up with the abuse and the manipulation and the deception. You wanted to put a stop to that because it was hurting you and you didn't like it. That's all you did. And they couldn't tolerate that because if you weren't there to accept it, if you weren't there to take accountability for everything, then the only person left to do that is them.  And they've got to be on the other side of that at all times.   That's just the way it has to be. And that is why they have to maintain a position of authority and control over you so that they can constantly take that false narrative back to you. But of course, things were going to fall apart at some point because they had to be the captain of the ship. They had to be behind the wheel. They had to dictate everything to you. They had to create a false narrative. They had to be in this position of power which they are not deserving of because they always misuse and abuse it. So of course, things were going to go wrong at some point because they were in control of it. And as we know, narcissists, they are self-absorbed, they lack empathy. It's all about them, it's all about what they want. So, how could things possibly go well then when someone is just thinking about themselves? Instead of thinking about the future, the relationship, of course things were going to go bad. But they already knew that when that happened, they were going to blame you.  And they were going to tell everyone that the reason why they left you is because you were the problem. You were the reason why the relationship failed and that is why they had to go.  You do it before they do. You've just followed their plans. The only thing they can do at that point is what they always do, what they were going to do anyway. Just point the finger at you regardless. To act like you have abandoned them. You have left them at a time when they were in need. And you just did all of these hurtful things to them and then you tried to evade the consequences. That is the narrative that they are going to create. And that is really the only way that a can ends. Whether you cut them off or they cut you off, it doesn't really matter. In the end, the one thing they are always going to do is blame you. It's not going to go any other way. You are not going to get a different result than that. There is really no way out of that. Even if you were this perfect supply for them. You did whatever they wanted, whatever they wanted you to do it. You were always there for them.  That emotional punching bag, that emotional tampon, whatever you want to call it. You were all of that. They are still going to blame you. They are going to blame you the entire time that you are with them. Even while you are being all of that for them. It doesn't make a difference. They might still keep you around because you are a good source of supply for them. But they are still going to blame you. And there is no way out of that. And that is really how you know who and what you are dealing with.  Normal, mature, responsible people. We can accept our mistakes. We can accept that we have done some things wrong. And we are ok with that. There is no need to try and pass the blame on someone else. Mature, responsible people. We can accept that the blame is not always on just one person. Both people must take responsibility. But when it is all going on one person, just one person has to be accountable for everything. That is when you should know that something is not right. Because mature, responsible people, they do not deal with things in that way. This is how narcissists behave. And it is a pattern of behaviour. They do the same thing no matter who they are with. It is always the other person's fault. And that is why they never change. Because they don't take accountability. They are like children in adult bodies. Because they never hold themselves accountable for anything. Which means that they never change. And as I have said before, accountability is the key to our success. A person who takes accountability for what they have done wrong. For how things ended up. Regardless of whose fault it is. A person who does that. That will lead to success at some point. It will.  For their problems. That is not going to lead to anything good. It is not. Because it is just completely careless and reckless. There is no direction. But that is what they do. They blame you and they expect you to take responsibility for it. They expect you to fix everything for them.  They are not going to like that. Because then it is like you are leaving them to deal with it.  And if you want to cause a major narcissistic injury. That is all you have to do. Is leave them to be responsible. Because they don't want to be responsible for anything. But that is all you are actually doing. When you walk away is that. You are leaving them with that responsibility.  It is like you leave a child in the house and expect them to do the dishes. Clean everything up. Cook the food. What do you think they are going to do?  And then they are going to wait for you to come and do everything. That is just how it is going to go. And it is the same thing with the narcissists. When you leave them and you expect them to be responsible. They are just not going to do that. They are going to blame you. They are going to try to cause problems for you. They are going to try and force you to be the parent and take responsibility. That is just how it goes. Because they already know that you do have the ability to be mature and responsible. And they already know that they don't.  They know what they are like. They know they can't be responsible for anything and their lives. So that is just how it is going to be. It is going to be all on you. You have to deal with it every time you become their caretaker. Their parents. That is just how it is. Whether you stay with them or if you leave. They are still going to hold you for that role. And the irony is. Although they want you to be in this parental role. They don't want you to have any authority. As crazy as that may sound. They want you to be the parent. They want you to manage everything. They want you to deal with all of the problems. But at the same time. They don't want you to have any authority, power or control. It is a recipe for disaster. So the person who is meant to manage everything. Has no authority. No position of power. No position of power. And yet the one who doesn't want to do anything. They don't want to attend to any of it.  It really is a recipe for disaster. It cannot end well. It is impossible. There is no way around it. The roles need to be reversed for it to work. But you have to understand this is an underdeveloped mind. It is magical thinking. It is how a child thinks. It is based on their emotions. It is based on the self-serving agenda that they have. They don't really care if things don't go well. As long as they can get something out of it in the beginning. Even if it is just your attention and validation. That is enough for them. So that is just the way that things have to go. There is nothing you can tell them. It really is crazy making at its best. But this is just the way that they think.  It will hurt them. It will feel worthless and insignificant. And that is why they overreact. That is why they get so mad. Because at that point you are just completely destroying the illusion. They don't like that. They don't want you to do that. That is where they create this false narrative. And everything has to be how they say it is. Instead of how it actually is. They have to create this false reality. Okay I am going to go inside now. It is really hot out here. But I wanted to share this important message with you today. And I hope it was helpful for you. If it was please give this video a thumbs up down below. Let me know your thoughts down in the comment section. Hit that subscribe button for more. For when I am coaching you can book from my website. It is Narc Surviver.co.uk And check out my Instagram as well. It is Narc Surviver YouTube and Instagram. I have new pictures and videos on there every day. Alright thank you all for joining me. And I will talk to you in another one very soon.


So Dorothy actually collects rhino stool samples at the local independent zoo and I'm a part-time stunt devil for Dwayne the Rock John. Our budget, 4.5 million. We are looking to build everything eco-friendly and sandbag everything. The house, pool, the amphitheater. So in order for us to make additional money on the homestead we're actually going to raise and train bees for search and rescue. We believe it's a wise business investment. So the two most vital tools that we're going to need to start building off the grid is this drill in this handy pitchfork. Now let me explain to you the real true reason I believe that this drill is going to be phenomenal not only to mention the amount of screws uh I mean I don't really have a way of plugging it in because I mean I'm telling you you can just get hours and hours of usage out of these pitchforks. Did you get all that good information? Yeah, every word. They're gonna love that.


Card number 29. Oh, this is Robert Kennedy. Bob Kennedy. This was sad. Future targets, or future target, the brains. The brains. I'm pretty sure this is who it is. Yeah. Robert Kennedy. Many people say Robert Kennedy was the brains behind John Kennedy, right? Man, I would pay an arm and a leg to have this portrait the original. My God, what beauty. Look at this. Look at this. Absolutely amazing. Depth of this painting. Depth of this painting. Got a feeling this might have been revised a lot. Let's check it out. When, when we got security risk, security risk. Although Robert Kennedy, we got that thing going there. Look out. Look out card. Look out card. Same. Wild Robert. Yeah. And then Robert left this post four years later. Let's check it out. Robert left this post four years later. This is a paragraph break right there and cover up. It looks like it's about the same. It is the same. So we're going to read the original. Card number 29. When Robert Kennedy became Attorney General 1961, he found FBI Chief J Edgar Hoover, uncooperative with his anti-crime campaign. So he formed his own intelligence unit initiating massive illegal wiretap operations against James Hoffa, Carlos Mancillo, and other mobsters and political enemies such as the State Department security evaluator auto attack, a tepica, who had rejected several Kennedy appointments as secret security risks. Although Robert Kennedy had once worked for Senator John McCarthy on a tepica, assisted the McCarthy inspired Senate subcommittee of internal security. In mid 1963, a tepica was suddenly moved to a less sensitive post and his safe was drilled open. Inside was found a study on American defectors to the USSR, including Lee Harvey Oswald, on whom a tepica had failed to issue a State Department lookout card and quotes. While Robert may have suspected conspiracy in his brother's death, he never publicly challenged the FBI's findings. Meanwhile, Hoover removed his private phone link to the Attorney General and did not speak to him for the next six months after which Robert left his post. Four years later, on the verge of capturing the Democratic nomination for the 1968 presidential race, Robert was killed by another alleged lone nut, Sirhan Sirhan. He may have taken to his grave the secret of his brother's missing brain, which was removed along with photos of 119 slides of tissue sections from the autopsy materials before 1967, probably on orders from Robert himself, according to the H.S.C.A. Did he take this evidence into safekeeping because he intended once he became president to reveal a conspiracy cover-up? Oh, good question. Good question. Good question. Good question. We're at Kennedy.


Good evening, everyone. My name is L.J. Shen Filerman. I'll be your host for tonight's event. I was honored to be selected for the Besta Festival Award for the 2020 Arlington International Film Festival Student Division, and I'm so excited to be here tonight. Welcome to the 12th Annual Arlington International Film Festival's poster contest award reception. So before we begin the program, I'd like to recognize Carl Romero, who's been playing some wonderful music for us tonight. He's a nationally acclaimed guitarist who's had a prolific career playing with some of the greatest Latin singers and big bands. Please join me in giving Carl a warm round of applause. So tonight, we have gathered to celebrate creativity and illustration and design. And more importantly, to celebrate the work of the artist from Mass College of Art. We'd like to extend a special welcome to our judges. I'd also like to welcome George Summers Jr., our special guest. Robert Maloney, professor of illustration at Mass College of Art and Design, and his students who participated in this year's poster competition in whom we will meet later in today's program. And lastly, we'd like to thank the Watertown Savings Bank, who's our sponsor, and the ACA for hosting us this evening. Thank you all. So we were very pleased to have this year's guest speaker, George Summers Jr. George is a fiber artist and founding member of Frick Bottom Artist Residence and Studios in Somerville, where he lives and works. He graduated with a BFA in illustration and design from UMass Dartmouth in 1981, completed an independent study in Batik, and has continued his arts education at the museum school Boston. Over the past 30 years, Summers has had 10 one-person shows and has exhibited his work extensively in numerous groups shown around the country, most recently at the Queer Biennial Gallery held at Naval and LA in 2018. His Batik work is in many private collections, including the Thomas Finland Foundation, which recently received one of its Batik quilts as a gift. For 20 years, Summers managed the retail gallery for the Society of Arts and Crafts, which is the oldest non-profit craft organization in the country. He currently maintains a studio practiced at Frick Bottom, teaches Batik at the Brookline Arts Center, where he received the 2020 Berliner Award for 30-plus years of service, and he volunteers at Spoke, formerly Medicine Wheel Productions, which is an arts organization that utilizes art to heal and transform youth. Please join me in welcoming George Summers and the Festival Director, April Rank. George and I worked together at Society of Arts and Crafts. He had been there way before me. I came the last six years that they were brick and mortar, and George was managing the retail gallery, and so I would be looking to pay bills to artists, but I wanted to know, well, wait, what are we paying for? What did that artist do? So I'd come out and I'd ask George, show me so-and-so's work. I really want to learn about this. Well, that was just the beginning. I learned about the artists that we carried. I learned about their history. I learned about how they related to other artists. I had a whole arts history lesson. And on top of that, George would periodically go off to New York for special exhibitions and museum shows, and he'd come back and people at work would say, how was your weekend, George? And good, good. And I'd get my coffee on Monday morning, and I'd wait until he settled in and I'd go, okay. What was your weekend like in New York City this weekend? And that's really when I learned that the oxygen that George breathes is art. And I fell in love with our conversations. So when we asked George to speak tonight, it's like we're going to just have another conversation. Just like the old days. Just like the old days. But you guys will be able to hear. And just a side note about this is that I called April this week and I said, I'm not a public speaker. I really have very rarely spoken in public in this fashion. The only time I've ever spoken in public is at a memorial service or a funeral. And I told her I did not want this to sound like a eulogy.  Yes, yes. Just like our old conversations. Just like the old times. But a little different. I never asked you about going to school at Dartmouth. I mean, when you started school, did you know you wanted to study art? Yes. Yeah, no, I knew that. I've always known that. Ever since I was a kid. I knew that I was going to be, well, I knew that I was going to be in the arts some way, somehow. I wasn't sure exactly where I was going to fall, but I knew that I was going to have a life in the arts.  I didn't know anything else, you know. Did you have good teachers in high school? I had an amazing teacher in high school. She just recently passed away a couple of years ago, but she was the one who taught me how to batik. And one of the things that was really instrumental about her was, she had a family home up in Deer Isle, Maine. And so every summer she would go up to Haystack. And for those of you who are not familiar, Haystack is a school, a craft school up in Deer Isle. And she would go up every summer and she would take a course, or she'd take a couple of courses. And this particular summer she went up and she learned, there was a group of artists from Africa who were teaching resistive techniques. And so she came back and she taught us how to batik. And initially, you know, I was 13 years old, and she taught us how to batik and I hated it. And I was a typical 13-year-old. I hated everything. And usually 13-year-olds do hate everything. And so she was very interesting. She took the batik that I did and she folded it up and she put it away. And then the following year, when I went back to high school as a freshman, she pulled it out and she had me look at it again. And just in that year with an attitude adjustment or maybe I was looking at things differently. But I saw it and I was like, oh, this is interesting. Maybe I want to do some more of this. And then I was hooked and that was it. So you studied illustration though at college. Why illustration? Because if I was going to do the batik, well, I studied illustration because I thought it was a way to make money. Okay, that's fair. And unfortunately in college at SMU, UMass Dartmouth, I had a teacher who was who formerly worked for Hallmark.  You got a B. But in order to get an A, you had to have bunnies and flowers and all kinds of sweet things happening in your illustrations. And of course, being gay, I was putting all kinds of things in my illustrations and he was not the least bit impressed with that. So I didn't really enjoy illustration until I went to the museum school. And I went to the museum school and I had Joe Landry for illustration. And the thing about the museum school was that with UMass Dartmouth, and I don't know if they're the same way, but 35, 40 years ago, there was a student teacher dynamic going on, do as I say, not as I say, that sort of thing. And then you get to the museum school and all of a sudden they're like, no, you're an artist.  You're starting out your journey. My journey is already halfway down here. But you're an artist and they started treating you like an artist. And so that was the best thing. Really encouraging you to kind of explore where you were going to go. And so your first job out of school in the arts field, what was that? Because you had to make money, right? Well, so here's the thing. One of the things about artists, I did a few jobs for the Boston Globe and for the Harvard Review and everything. And I'm old school, so back in the day, you'd work with art directors or editors or whatever. And you'd take your artwork in on a Friday and they would say, oh, this is great. This is really what I wanted. But can you change the color? And they would say it on a Friday afternoon and you'd think, oh, there goes my weekend. Because we weren't digital. Well, right, if you had told me 40 years ago that someday you'll be able to send the artwork through your phone or your iPad and with a click of a button, you can change the color. I would have said, what are you smoking? And do you have more? Because I was entering the illustration field pre-digital. So I did that, but the fiber still called out to me. And so I was doing that and I did some production work with the boutique. At one point in the 90s, I was actually working for a mail order tie company, so I would do yardage for them. And that was really a lovely job because they didn't give me any kind of restrictions. Making men's ties. Yeah, they just said, do anything. And so I did. I would just do yardage, lots of different yardage and I'd send it to them and then they'd make ties and they'd sell it on their mail order site so it was a nice job and everything. They were in business for, I think, two or three years and then the couple broke up and well, that was the end of that. But it was a nice little gig to have. So my jobs were always things to pay the rent. So it was everything from working retail to cleaning office toilets three nights a week to teaching college for a little while. Just supplement your real interest. Right, just so that I could work. And most artists are like that. If you're an artist and you're doing your work and you're doing it because you have to do it, there's no other way around it.  Then you find all different ways to do it. And that means taking on odd jobs and that means sometimes doing things you don't necessarily want to do but you have to because it's paying for the studio rent or it's paying for your house rent or whatever. So when you were managing the retail gallery at Society of Arts and Crafts, you'd go into New York, do the buying shows and choose the artist that you wanted. Did you feel cheated because you weren't making full-time or you were helping to support these people that were? No. No? Because when I started working at the Society, I was 40 years old. And my boss, who I have known for many years, said to me, this freelance art business is you're getting old and you need medical insurance and you need paid vacations and you need time off and you need all this stuff and you need a steady income. And so that was kind of the impetus to get into. But it was still related.  When I say that I lived an artistic life, I mean that I was either looking at it, making it, selling it. It's all encompassing. So I didn't feel cheated. I was still doing work, but the difference was that instead of doing 12 batifs a year, I was doing three. So my output wasn't the same. But I didn't feel cheated.  If you compare yourself to any other artist, living or dead, you're always going to be frustrated. You're always going to be on the losing. You're just never going to be happy with that. So it's really important that you understand where you are on your personal journey and go with that. And the journey. We talked about that.  What do you have to say about that? Well, because it's a lovely idea. You go to college. You've got your degree.  But our lives are interrupted. I think we've all learned that, especially in the last couple of years. Collectively as a society, our whole lives were interrupted a few years ago, and we had no choice over it. You will find at different times that you will be interrupted. Whatever area of the arts that you're in, and that can be job related, that can be family related, that can be health related. There's all kinds of interruptions along the way. There's no avoiding that. But at the same time, the other thing that should be noted is the fact that when an artist, be it a writer or a musician or a fine artist or whatever, when they are interrupted, it's hard if you're going with a flow or something and then you're interrupted for a year, six months or a year or whatever. When you go back to that work, it's never the same.  And if that's interrupted, when you go back to it, however long it takes, when you go back to it, it's never quite the same. Because you're not the same. That's what I was about to say. You come back as a different person as well. Very much so. And I bet that's just increased when it's a longer period of interruption. It must be shocking. Have you ever had that happen? I mean, you've not been working and then suddenly maybe several years pass? Or have you never let several years pass? Well, it depends on... I can tell you one specific period between the late 80s, early 90s, there was a three or four-year period there where I literally did no artwork. And that was in relation to the AIDS epidemic. I was losing all of my friends. I was going to memorial services every week, every other week. And so I was going through a period of, what's the point? And then feeling guilty about it. Like, well, you're still here. So why aren't you working? I don't know. And two things sort of got me back into working. One was I took a writing workshop with Erica Zhang, who wrote, for those of you who don't know, she's a feminist writer, poet, very popular in the 70s. She wrote Fear of Flying and How to Save My Own Life. Was that during Boston? No, that was in Connecticut. Her daughter, who is, for those of you who don't know, for those of you who read The Daily Beast or listen to podcasts or whatever, she's the mother of Molly John Fast. And Molly is a very astute writer. She's usually on CNN. Anyway, Molly was one of my students at a creative arts camp that I was teaching at. And so Erica came and taught a workshop on writing. And so afterwards I went to her and I said, you know, I've always wanted to keep a journal, but, you know, I don't write. And she said, do it visually. And so I thought, okay, I could do that. And, you know, I started doing, you know, keeping sketchbooks with collages or whatever, but I wasn't really, I didn't really dive totally into it until about a few years later. And I was still not really producing in the studio. And I met another person, Robert Siegelman, who taught at the museum school. And he's a well-known photographer, printmaker, you know.  I'm not doing any work. You know, and everything. And the next thing I know, Bob sent me a blank book and a blank sketchbook. And on the inside of the blank book, he said, carry this with you always. And even when you're not in the studio, the studio is with you. And so that really started me working again.  You'd be amazed at, you know, what you unearth and find. And that was something that Erika John had mentioned when she was, you know, when she was giving the workshop, she had said that, you know, she kept these books, you know, that were very tactile. I mean, they were, you know, covered with business cards and cocktail napkins and everything. But there were some pages where it was just one word written out on it. And so she said that what she does is she carries the book all the time with her to lunches and dinners and whatnot. And someone will say something really, you know, kind of interesting and so she'll go, oh, that's an interesting and she'll write it down. And so she said that when she started developing characters for her books, she would go back into her journals and she would look at her journals and she would read her journals and she would try to imagine conversations with her characters. So you never know what you're going to find in an old sketchbook.  Do you still keep your sketchbooks? I do. I have about altogether, I think, 35 of them, you know, and I do keep it. Although, you know, unfortunately, social media has really, social media has become, in a way, it's become another way of documenting things. So, you know, but I still do keep a journal. I still keep a sketchbook, you know. But you, I know that you are very involved in social media. You're posting all the time. Things that you've seen in New York, you know, the murals and... Yeah, no, I'm not interested in showing you my dinner. Ah, you're right, you know. Right. I post and I try to post things that, you know, are going to be engaging, that are going to be thoughtful. You know, I was in New York a week ago, and I came back and I just posted all the stuff that I saw. And, you know, I'm going to be in New York next week, and it'll be the same thing. Daily, I will be posting, you know, shows that I've seen, you know. So that's what you've come across. In a way, that's like keeping a journal, too. Sure. It's just not a physical journal. Right. But... So the journal experience triggered you to start working again. Yep.  Did it take a while? It did, and it came kind of by accident. In 1999, I went to Italy for the first time, and I was very lucky. We had an apartment in Venice. We were in Rome, and we were in Florence, and they were quite lovely. But the thing for me was that we had an apartment in Venice. And in Venice, there are St. Sebastian's everywhere.  You go to a restaurant, there's a St. Sebastian. You go to the bathroom in a restaurant, and there's St. Sebastian. There's St. Sebastian's everywhere. So when I came home, I had done some approaches of St. Sebastian. And so I came home, and I actually did a boutique. I did a large boutique. And when I was looking for a title, I wasn't really familiar with St. Sebastian. I just knew that he was half naked, and he had arrows sticking out of him. I didn't really research him. And when I was researching the life of St. Sebastian and what he was responsible about, I discovered that he was the patron saint against plagues. How appropriate, huh? And so I really felt like, in regards to the AIDS epidemic, I felt like this was the piece that brought me out of that. And it was the piece that I was working up to at that point that would sort of encompass that period of loss and not working. Right. And where does that St. Sebastian live now? In my kitchen, over the microwave. Okay. I didn't know that. I've had the opportunity to sell it many times, and there are certain pieces that I will not sell. Well, that was like a transformative period that you went through.  Right. That would be... Yeah, that would be giving up too much of my history. Piece of yourself. Yep. So are you still volunteering at Medicine Wheel? Well, what I do at Medicine Wheel, I don't really, you know, volunteer in the traditional sense. I have done workshops there in boutique, and I participate in their Day Without Art, December 1st, which usually commemorates World AIDS Day. So that's my participation there. I also go every year, we haven't gone the last three years because of COVID, but every couple of years they offer a trip to Italy. In the spring, and it's for anybody, anybody can go, and it's an artist in residence program. So basically, they put you up in a monastery, and for two weeks, you know, they take care of your meals, and then for two weeks you are expected to go out and just do your artwork, which is a real luxury of not being interrupted, getting back to that word. And the other thing that they do is, from their student program, they bring one or two students for free, and they get the opportunity, and these are inner-city kids, some of whom have never been out of the country, never been out of the state.  And it's wonderful to watch them. It's wonderful to look at them, to sort of see them, take it all in, and then put it all out in their work, in their artwork. It's just, it's a wonderful thing to watch. I bet so. I bet watching. Coming back and seeing them and how it's affected them, and then continuing relationships with them, I know that you've had a couple of students that you've kept up with. You know, I have a friend, Joshua, who I'm supposed to do dinner with him next week, at some point before I leave for New York. But, you know, he was a primary example. He, you know, he was a student, you know, at Medicine Wheel. And Medicine Wheel's motto is basically, you know, healing through art. So originally the mission in the 80s and the 90s was towards the HIV AIDS community. And then when the drugs came in and leveled, you know, and sort of leveled the playing field in regards to AIDS, they realized that they needed to expand their outreach. And so then, at the time, they, there was a big, and this still is to a certain degree, opiate crisis in Southeast. And so they started expanding their focus on inner city kids who are sort of latchkey kids, you know, like when they get out of school and, you know, their parents get home from work at 7, 8, 9, they're sort of, you know, free and available. And so what Medicine Wheel tries to do is it tries to engage them through classes and workshops and art and that sort of thing so they don't end up, you know, on the streets and doing things that, you know, hopefully they shouldn't be doing. So you've taught art in college, you've also, you teach at Brookline, Adult Ed Center, and then also you mentor, you've experienced mentoring these kids at Medicine Wheel. It's like, how do you think that those experiences have changed your life? It's like, you, well, I'll be quiet. I want to hear. I want to hear what you have to say.  I mean, college I had Caroline Mills, who gave me independent study for five years because I wasn't a textile student. And in those days, they, you know, the departments were segregated. You know, if you were a painting student, you didn't go into the ceramics studio or you didn't go to the photos studio. If you were a fiber student, you didn't take illustration, okay? So I'm doing illustration and design, you know, because I'm being practical. I need to make money. But I still wanted to do textiles. And so I had to get somebody to sign me up for independent study. So along the way, there's always been somebody who has sort of helped me to the next level. And it's still happening today.  You know, so I'm just paying it back. I'm just doing, I'm doing what I'm, I'm giving back what I'm getting, so to speak. And I'm curious, did you ever volunteer with teaching art or kind of mentoring art when you weren't doing art yourself? Yes. Okay. I bet that was a different experience.   And then there was another part of me that was like, you know, you're not ready, but you're not ready, you know. That's a huge thing. I mean, when we were talking about having this conversation and planning, when you said these words keep sticking with me, a life interrupted, and I thought, I'm not an artist, but yet I've experienced these kind of interruptions as well. And it's very easy to lose confidence that you'll be able to jump back in there and get back into, into whatever you want to pursue. And it's like, you know, what would you say to these students that are just getting ready to finish up school very soon? Okay, so for the students who are getting ready to finish school, the first thing that I would say is don't ever lose your curiosity.   You know, that's, you know, when you get to the point where you think you know everything, that's when you have to sort of pull back and, you know, and sort of recalibrate the whole experience of, you know, making and why you're in it and why you're doing it. So I would say that's the first thing is never, never ever lose your curiosity. And I think that that's one of the things that even when I wasn't working, I was still curious. So I never lost that, you know. I never lost that, you know, and even now I haven't, you know. There's still things to see. There's still things to learn.  And the other thing is ego, you know. You know, I have a little antidote about, I do open studios with Brick Bottom. And, you know, and one of the things that I, you know, I don't really have an ego about this.  And you like it, great. And if you don't, that's okay too, you know.  They'll tell you everything, you know.    And one time I had a couple come into my studio and it was a husband and wife.  And the wife walked in and she looked around and she turned to him and she said, no. And they walked out.  That would have ruined my whole day, my whole weekend, you know. I probably would have closed the door and just sat there crying, okay. My response to that, I got on social media and I said, oh my God, I've arrived.  I mean, it was like hilarious. I really felt like, you know. You could survive that. You know, like, that was okay. It was a funny incident to me because the ego wasn't involved, you know. So that's the other thing that I would suggest is don't, you know. Curve the ego. Build the curiosity.  Well, George, do you have anything else you want to share that we've not talked about? The only, you know, we've talked a lot. But you know, this is what we did. You know, we would sit there, you know, from 7 or 8 in the evening and then it would be 1130 and we'd have to get Ubers home.  I always remember a story. There was a story about David Voshonovitz and I always butcher his name, so forgive me. For those of you who don't know who David is, they gave him a retrospective at the Whitney a few years ago and he was a very prominent artist in the 80s, very political. He was sort of all over the map. He was a musician, a writer, a filmmaker, a fine artist. I mean, he kind of did everything.   There's a great, I'm going to end with this, I promise. It's a quote by Kiki Smith. And Kiki Smith is? Kiki Smith is, she is another one of this artist who does everything, I mean, she, you know, I saw a show of hers in Florence a couple of years ago.  And she's from the U.S.? She's, yes, her father was Tony Smith, who very well-known sculptor out of Yale. Okay, our historian too. So she comes from a background, she comes from that background but it's a great quote. I saw it not too long ago and this is where I'm going to end it. Just do your work and if the world needs your work, it will come for you and it will get you. If it doesn't, do your work anyway. You can have fantasies about having control over the whole world but I know I can barely control my kitchen sink. That is the grace I'm given because once, because when you can control things, one is limited to one's own vision. So, thank you. Thank you. Alright, thank you so much for that. That was wonderful. So, AIFF has had the privilege, sorry, we're good? Alright, AIFF has had the privilege of partnering for the sixth year with Robert Maloney, professor of illustration of mass college of art and design. For those of you joining us for the first time, Bob incorporates the poster assignment as part of the curriculum in his experimental illustrations techniques course. A Boston area native, professor Maloney is a graduate of mass art with a concentration in illustration and a graduate of mass arts low residency graduate program. As a working artist, he creates multimedia pieces that are influenced by the many layers of the urban landscape. His recent work often focuses on the connections between the temporary materials of our man-made structures and how these forms relate to the fragility of our memories. Bob's mixed media artwork and installations have been featured in numerous galleries and arts publications and his works are in private collections nationally and internationally. Welcome, Bob, for the sixth year. So, we hope you've all had the opportunity to take a look at the poster design submitted this year. I absolutely love them, and if you haven't gotten the chance to look at them, please make sure you do before leaving today. So, now let's meet the artists. Please hold your applause until they're all on stage. And artists, as I call your names, please come up and forgive me if I mispronounce them. Alex Lewis, Ariana Stoten, Faye Sylvia, Jamie Reinhold, Larry Busquet, Lexi Gumaz, Lynn Jeffery, Luke Donahue, Marissa Mazzoni, Madeline Gutierrez, Savathura Spaco, Sandra Collagian, Taylor Adams Bass, Vanessa Craps, Vicky Chen, Vivian Wartorski. So, you all have created seriously wonderful pieces of art. And so, let's all join in a round of applause for the artists and the posters. The poster contest entries were evaluated by an esteemed panel of judges with expertise in composition, design, public relations, and marketing. The selected poster design will become the face of this year's festival and will appear on prints, TV, and web promotions locally, nationally, and internationally. The poster contest judges were Elisa Adams, a stone sculptor and president of New England Sculptors Association. David Ardito, a visual artist and interim K-12 director of visual arts for the Arlington Public Schools. Jennifer Cheng Desotels, illustrator, logo, designer, and plein air artist. Mark Gertin, the owner of 13 Forest Gallery, a contemporary art and craft gallery located in East Arlington. Erica Lycia Kane, a working artist and retired college studio art instructor. Elena Mathis, a senior at Mass College of Art and 2021 winner of the AIFF poster contest. Agatha Piaz, the 2019 winner of the L.J. International Independent Film Festival in Spain, which is our new festival partner. And Vicky Rodriguez, artist and arts administrator for the School of the Museum of Fine Arts, Boston. Judges, thank you all for sharing your expertise with us. And if you are here tonight, please stand for a round of applause. And now, the one we've all been waiting for, the unveiling of the winning poster. For this, please welcome Arlington International Film Festival organizers, April Rank and Alberto Guzman. To have a new illustration of us through this year, and I will say that the judges had a very difficult time with this. There were several pieces that were contenders, so please know that we really appreciated and the judges appreciated all the work that was done this year. And the winning poster for this year is Arlington. First of all, what year are you in at Mass College for our design? I'm a senior. And you'll be graduating in then? Yes. So, when you created this poster, did you know your design from the beginning or did it kind of, I love the illustration so like, this is one of the first I've ever made. So, there were no other contending designs that you really thought about this? Not really. I did a couple of them and I was excited about it. Okay. And how long did it take you from beginning to end? I don't know. I did it over the course of like so like, I don't know. So, question. Do you have any idea like what are you going to do after you graduate? Do you stay with the arts? I hope so. I'm hoping to go in for like children's college and be married to a person there? Very good. You'll have to talk to Jen one of my judges because she's a children's vocalist. And so I just want to congratulate you. This is going to be the face of 2022 and we really look forward to sharing this with the world. Thank you so much. Alright. Thank you all so much for joining us today and celebrating the art of illustration with everyone. This officially launches the 2022 Arlington International Film Festival. And we hope to see you at the Capitol Theatre, November 3rd to 6th for amazing independent films. We end this evening's program with Carl Romero on guitar again. I think you'll have a wonderful night.


Hi, I'm Nate Adams, often known as Nate The House Whisperer, and I've gotten a lot of questions about what the difference is between Sense Energy Monitor and the Emporia View Energy Monitor. So I wanted to make a video of this so that you can see them both. So I'm going to do it with their web apps. The phone apps are both pretty good. I do have to say the Sense app has some really cool features in it that I do like better. But I'll be really upfront, I drastically prefer the Emporia View. It's not just because it's cheaper. That helps. It's a ballpark of $150 where the Sense is $300. But the Sense does have a really cool app. I love how you can zoom in and out and things. There are some pieces to the application that are really nice. We're going to look at web apps here in this video. So I will flip over to the Sense and actually here, let's start real quick. So I have an Emporia View on three different houses and it's very easy to see all three of them and switch between them. I don't know that Sense has this feature. And like Mountain Escape, this is the house where I'm at right now, our house in West Virginia. I haven't put a second monitor on this, but my barn here has a hundred amp panel. So I can actually put two in the same house if I want to, which is kind of slick. But you can see all three of them are running simultaneously. So you got the river house, which is the one we're going to be looking at because I have a Sense and an Emporia in that house. It's outside Cleveland, Ohio, where I'm in West Virginia right now. And then this house is pulling a little under a thousand watts. And Game House, which is the first Airbnb that we finished here is around 800. But I'll do a separate video looking at those three as well within this comparing and contrasting. But for this video, we're going to compare Sense and Emporia View. So let me expand River House here because this is what we're going to look at. So right now it's saying about 1180 watts. Let's flip over to Sense. And we have about 1200. So they do have a couple percent disagreement. I don't have a reference instrument, so I'm not 100% sure which one's right. But I do think Sense probably has better voltage monitoring for this. So Emporia maybe off a little bit more. Now really important piece here. What I really don't like about the Sense is that it misses variable loads. And I've been waiting on them to try and figure that out for years. But in electrifications, we almost always use variable speed heat pumps. And it just totally misses them. And it can miss other things too. I had to sell my Chevy Volt because we needed a tow vehicle for our camper. But it missed my Volt about half the time. And it's a really easy load pattern to see because it came on and it was 3.3kW, 3300 watts. And then it tapered off at the end. So it should have been a pretty obvious signal. But it didn't pick it up for months. And then when it did pick it up, it missed the charge cycles about half the time. So that was very, very frustrating. And then the variable speed heat pumps that we use, it doesn't pull those out separately. And so it's difficult to understand what those units are pulling. And I learn a lot about the operation of the heat pumps from watching how they pull power. So it's very frustrating when I can't see them individually. And so to do that, Sense just has two clamps. You clamp the two mains in the panel and that's it. Where with the Emporia, you clamp the two mains and then you can get either 8 or 16 CT current transmitter clamps that you can watch individual circuits. And I don't know that Sense's path is viable. It has some usefulness, the reports are really awesome, and the app is really awesome for seeing what's going on at very specific moments. And I love that you can zoom out. So like you could zoom out, look back a month, and then zoom in on a second that happened a month ago where Emporia doesn't let you do that very easily. So like Emporia actually deletes your very granular data, your second and minute data within a couple of days of it happening. So anyway, that's some up front what I'm thinking about these. So here's Sense, this is their bubbles, and I have to say it's pretty slick. I mean, their app's amazing. It's really cool looking. It's well thought out. Picking up weird things like I don't know why it's picking up an oil radiator at 3 watts. Always on. This is like the internet and things. The fridge turns on and off and it's ballpark 200 watts.  I have no idea what unnamed heat is. It's found so many devices I stopped trying to name them. I just got tired of them, and it also will refine things. So like I use window units at this house right now up in Ohio, and there's three of them. But it says I have nine or 10 different window units, and you can combine them, but I just got tired of screwing around with it. And then also there's pretty bad connectivity problems with Sense. So like in the last month, it's just not worked for like two weeks. Now to be fair, I have this in a panel that's in the wall, and there's no way for me to get the antenna outside of the box. But the internet router is only about 10 feet away, and the Emporia has not dropped signal ever that I'm aware of, and the Sense has been down about 50% of the time here. So it's just frustrating. So I've kind of given up on it, unfortunately, even though it has some cool features. So anyway, Sense, you can see a timeline of when things turn on and off. So here's like Air Conditioner turning on and off, it sees some various things. This timeline used to be more useful, and if you have a fairly quiet house, quote unquote, where you don't have a ton of stuff plugged in, it can be more likely to find things. I've got one client that just, she lives alone, and she doesn't have a ton of stuff plugged in, and Sense works pretty well for her, although it still misses the heat pump. So we'll see if Dashboard will work, it wasn't working when I checked earlier. This, I love the comparison though, where you can see how you compare to other homes out there. And good, it's coming up. And so Emporia doesn't have this, let's see, view detailed usage, where we get to this. So see, look at this, these gaps in connectivity here. So I mean, there's a week gone there, I guess that week hasn't happened. Last couple of months were good, but like around the turn of the year, there were a bunch of periods where it just wasn't connecting. So it might just be not pulling quickly enough from the, well, I guess here you go. So look, it was missing a huge chunk of March, but almost all of March. So that happens often enough that it just leaves me feeling frustrated. But it is nice, I mean, you can see various things through here. Since the meter, I'll run over to this, you can zoom out, so I'm going to zoom out on this. So this is 15 minutes, but like you could switch to a week view and zoom way out and then zoom right in to a couple of seconds. And that's pretty cool, I think it was not working for that week. So like let's zoom in on this peak. We use this house as an Airbnb now, we rent it out most of the time, except when we go up there. But you can zoom in, this is way easier to do on your phone. But in any case, it's nice that you can zoom in and out like that. Emporia does not allow that. So apparently it was a difficult feature to build for sense. So I'm glad that they did. So let's click devices, you can see what's going on. So look at this AC 11, 13, 14, 15, I don't have 15 air conditioners, I have three. It's annoying that you have to do this and then you have to go in and combine. And I did this for a while initially when it was fun and interesting. Chevy Volts, I haven't owned that car for a good while. Let's go back to when I did. So I sold that I think July of 2020. We bought a van, bought a camper, we went around the whole country. So yeah, here you go. So it would catch a lot. So like 11.4 kilowatt hours, that's what it took to give that car full charge, right in that ballpark. And like this is a day where I double charged the car. But there were definitely a number of times, and I don't know that it was in this exact time frame, but like here, the odds are that I charged the car within this period. So it's weird that it's missing. So I noticed that it missed nearly half of the times when it was charging, and it took a while to find it. So that was frustrating.  Now to be fair, I moved this from one house to another. So there's some things that's not perfect on. So I need to be sure to make that clear. I moved this monitor from a different house. The heat pump, it was good at finding this because it's a single stage. It's a roll-around heat pump, and we used it for air conditioning. But you can see where it was used and where it wasn't. I'm going to go back to the winter time. We'll see if it will pull up. It's going to take it a little bit of time, it looks like. But so there's some things that are nice. And if it's a constant load device, here you go, you can see how much energy it was pulling. Some of these feel a bit low considering that month. So it may have been missing some of this because we were running this heat pump quite hard through this period. It was our main source of heat. That house has resistance baseboard. And so I was trying to offset some of that cost by using that heat pump. OK, so there's the various pieces here. And labs on the phone is really cool. There's all kinds of different things that you can see. You can see if your voltage varies a whole lot. It's got some cool stuff. So that's where SENSE has some very interesting things that Emporia does not yet have. I believe that Emporia has voltage monitoring because now they don't just have one plug into it for power. You have to grab power from both legs for it. So they should be able to do voltage monitoring. But you will see some variants. So we're about 1,500 watts and you saw something just turned off from like 1,800. Let's go to now, 1,500, we're in that ballpark. So they're close, but they're not quite dead on. And they're usually off by just a little bit. Something turned on. Yep. Yeah, I don't know if it just missed it or whatever. So that could be resistance heat routinely turns on and then turns off almost immediately. Yeah, there you go and catch what it said it was. So there's something running that this is my office. This is going to be the window unit. So here is how Emporia works. So you can see the total usage of the house and then you can clamp whatever you want going through all of this and then you rename them. So like the heat velocity, this is my daughter's room. This has resistance baseboard and every room is different. And I only recently added these because I didn't realize it, but I got an 8 CT model, not a 16. So I took some up from the other ones that I bought and hook those up a couple months ago. But you can see all of the individual things here and what's pulling and what's not. You can put smart plugs on, which I really like doing. So you can see what these are doing and then whatever the balance is, it shows you down here. So there's 900 Watts of something running that is not clamped. And that's probably the two air conditioners. It's a fairly warm day today. I don't think it's as brutal as the last couple days, which have been over 90. But it's still a pretty warm day. So they're up there running away. Now what you can do though is you can go look at individual things. Like I only just recently got the heat clamped and I wanted to understand which circuits were doing most of the heating. It's like early in the season I asked a guest to turn the heat on and they only turned a handful of the like six different thermostats on. So it turned out that the living room resistance was basically heating the house. The bedrooms just weren't turned on. So at least the house didn't freeze. That's good. But that can be the curse of asking a guest to do something. But I can click on one like here's the heat southeast foyer and naturally it shouldn't have been on here for a while. But the bottom I can click a month to scoot over. So with this you have to scoot it over. So this one didn't do hardly anything. So what actually I can do is you can look at month or even year and see what's going on. Here's my office has pulled 50 kilowatt hours which is probably largely the air conditioner.  So the bath heater I've had that plugged into a smart plug. It's an oil resistance heater and that's used 813 kilowatt hours. So that's definitely done a bunch of the heating. The dehumidifier this smart plug just broke for whatever reason I haven't been up there since. But I can watch the dehumidifier run which serves as fresh air and filtration for this house as well as well as dehumidification. You can see the refrigerator used quite a bit. I mean it's kind of wild the refrigerator has used twice the power as the heat pump water heater. This is an old refrigerator. But like all of this is easy to see. In sense it's not all bad. Let's see here devices and let's see month. This is easier to see in the the phone app basement fridge. We'll show this. It was the fridge that we brought from the basement of the old house. It's not very efficient. Here we are. It's seen this but oh I guess there's our our gap. But you can see what it's using every day which this is quite a bit of power. It's a small fridge and at the end of the day look at this it's 90 bucks a year based on last 30 days. Who cares. It's working for now and it's a weird small hole that it needs to go in and it fits. So there's some things you just don't worry about. At some point we'll replace it but not yet with 700 kilowatt hours a year is a pretty good chunk. So anyway it's just interesting to see what all of these things are but like it's it's missed quite a bit of the year as well. Average usage is 192 watts things like that. So what it shows for the devices can be pretty useful if it picks up the device and it misses quite a bit. Let's click refrigerator. Here's the annual use. I put this in March of last year something like that. So 780 kilowatt hours for 10 months of the year and look at month and see if there's any variances. Yeah it's kind of interesting there's that much variance from month to month.  But just kind of walking through there's a lot of different stuff to look at here but I really like how Emporia breaks out all of the individual things and you can begin to see like what's pulling a bunch of heat and what's not like the master turned out to be doing quite a bit of the heating. Heat in the office this is my office up there. The washer and dryer has been used a reasonable amount they're quite efficient so that's actually a fair chunk of usage for those. You can see how much the induction stove has used. This is another variable one too which since doesn't do a very good job of picking up because it's got five burners and the burners are variable. It will pick up the oven because the oven pulls the same amount of power all the time but it can miss stuff and then like the water pump you can see it's used some but what is this? This is so far this month. So we are midway through the month and it's used three and a half kilowatt hours. The pump pulls a lot when it runs it's like 1800 watts something like that but it doesn't need to run that much. That's always the tricky part. You can have a big load like a dryer pulls 4500 watts but it doesn't necessarily run that much. A load is an hour or so of run time so it depends how many loads you're doing to see if it really really matters. If you have a big family it matters. If you have a small family probably not that much. In any case you can kind of get a view here. I've got a pretty good idea of where energy is being used at the river house here with Emporia where with the sense I'm kind of clueless which is kind of annoying and it bums me out. So at this point with the sense being twice as much money as the Emporia there's going to be applications where it's nice if you're super nerd great buy it too but if you're only going to get one I would definitely do the Emporia and that makes me kind of sad to say but there you go. Been watching these for years and if you look at the sense Facebook group which was not created by sense you'll see this refrain too like it just doesn't pick stuff up. So bums me out to say this but unless sense can get some pretty big jumps and I mean they do have the option so they have a solar option where you can have two extra clamps that you put on solar and you can instead use those to clamp other things like the heat pumps but that's still only two that you can watch and it's still double the price for this where you can watch 16 so there you go and I have to say look at Emporia's other products too their smart outlets are they're smart plugs they're pretty cheap last I bought them were 850 or 9 bucks a piece in a pack of four and they track usage and you can turn them on and off you can schedule them there's all sorts of things I'm using them in our Airbnb's for running lights and that's been really fun and cool to do so take a good look at all the stuff that Emporia has out they've got a car charger out they've got a two-way car charger coming next year they've got a battery that's about to drop they're coming out with a complete line of basically electrification options so keep an eye on that company I'm excited to see where they go so hopefully this is helpful sense is pretty cool nice app but it's just it's it's falling down on too many things at the same time where Emporia for half the money gives you a lot more visibility into what's going on and I think is coming out with a bunch of innovative products that will all talk to each other so my pretty strong leaning is for Emporia between Emporia in the sense now so I'm Nate Adams have yourself a great day hope this is helpful talk to you later bye bye


Welcon y toffi TV, I'm joined by Tom in the studio o'r somnone. As T-Logic on Twitter, dda'r oledys, a T-Logic. A T-Logic 1991. There you go, make sure you've given a follow.  Piff light, I call, just someone that said he did today, went, piff light today. Rwy'n aws, he's light did you add, aye? He's the easy. Am ys pad o'r on. Wel, welcome mate. Wel, T-Logic yw'r siat efo'r dom yn y Calvert Llywm, cos wai, naw, fly yn topscor yn y Premio Leac, i weld one o ddim. A'n jyst wedi, he's underrated, really, a keep saying this thing of some people saying he's championship level and whatever. And this isn't just because he started the season with four goals, he's had a great start of the season, but I'm just talking of his overall progression, I think probably, probably since Duncan Ferguson took over in December, I think Don's gone up another level. In fact, he only had four goals until December last season, until Duncan took over and then obviously finished with 15 and he started this season brilliantly so.  Yeah, I think that's a silly comment to make really. I mean, when you look at him before Duncan took over with Sylvette, and even with Cumin when we were speaking before him, he was getting played out of position, he was getting played in the right wing back at one point in, against Stokes. So, I mean, I think it's nonsense, I think he scored 18 goals last year. I mean, what championship like Stryker would do that now? I mean, Olly Walkins, yeah, but he's going to prove himself well. So, yeah, I think it's a bit of a silly statement there. I mean, you look at the stats and look at the way he's actually progressed. I mean, he was only 22, 23. So, I think from when Duncan Ferguson took a massive step forward, and I think he could only get better. I think his attitude, the way he looks at football and the way he talks in his interviews, I think he's got that mentality where he wants to be at the top. Yeah, yeah. So, yeah. I think, one of the things I noticed, obviously, this Duncan took him under his wing and said, you meet man and do this and do that, and he gave up that performance against Chelsea, which was outstanding and all that. And then, obviously, Carlo Ancelotti came in, which is fantastic. And one of the early things Ancelotti said was, I think it was after the New Castle game where we won two, when he got both of them going up there, he said, I've told him to stay in the middle, cos he'll score goals, because I think Ecclidus says he might have had off him, cos he was standing in the wrong areas. He was never going to get the goals we needed him to get. Yeah, well, even as like a kid, he was centre midway, so he's never really had that natural instinct of doing it, but just talking on that game against New Castle, it went out wide, I'm not too sure of it, went out wide too, was it calming or something, and he made this dart and run where I thought that was good. It was a challenge, wasn't it? It was a challenge, wasn't it? Yeah, well, if you go back and watch the camera the way you run, you don't like a little jink in run, so I'm there, and when left, sorry, back post, that was that, no, the championship is not going to do that. I mean, that's a level. People don't really see that as a normal fan, but as analysing it, and I was looking at plays like that, I thought that was fantastic to be doing it, and that was my Christmas, I always thought he never had that sort of nach of wanting a goal, but now I feel like he's come back from, obviously, last season, and he just wants to be a goal scorer, he just loves it, he loves like, he just thrives off it now, I think. There was a time, and I think he said this himself on a couple of occasions, whereas he never used to think about scoring, he just wanted to play all right. Now, you get a carbon if he doesn't score a goal, and I think that's a great mentality for him, because it is that, you've got to have that desire, and that's why the goal against West Brom on the weekend, my favourite goal out of all of us was the fourth, well, obviously, the fourth goal was the pass by Hamers, the rainbow pass was incredible, but that making sure that he was turning that materialising thing over the line. Now, at the time, seeing it live, I thought, I thought he's nicked his goal, and it's right, because that's what you need him to do, but when you look at it again, it was actually going wide, so he's turned it in. But my favourite goal last season, I've said this before, was the one against City, you know, when he robs Coleman's thing, because that's what you want. A 100 per cent, that's what any club wants, I mean, if he leaves that, then you look at any question, he doesn't really want a goal this easy, he's just happy for his mate to get one. I mean, now, the strikers who in the prem, like we've had Llew Cachew in the past, you know, it's not in the Davies school, you know what I mean? That's what you want. I mean, that's what Davies on the map, but Llew Cachew wanted it. That's what you want from a striker. I mean, you're talking about other strikers in the league, I mean, Harry Kane, you've got a Gwerau, you've got the one over the road. I think Tom's got more of a desire to score on what Feminio was, when you put it down, when you look at it, I mean, the only issue really I have with Thomas is overall playing, bringing other people into situations, that's where I think he needs to start developing now. I mean, this year, obviously, it's just to get goals, get goals, but then, as he goes on and on, I think he needs to make more of a career of himself and to stay in the premier. I think he's got to sort of start becoming more of like creative, where you've seen Harry Kane on the weekend, I mean, you know. A couple of his passersbyd incredible. I know, I know, so that's what I think what I want done to do. What are you talking about then, if we're breaking it down, because obviously it's back to goal, plays quite good, isn't it? We've been talking off camera before, sometimes it's the way you receive the ball with his feet, he invites a tackle and maybe he could protect the ball a little bit better, but are you talking about his actual individual play in terms of creating goals as well? Yeah, I think it's both, I think. Look, when he scores three, it's hard to break him down and start criticising him, but when you do see him in open play and he is receiving the ball, he is very square, so when you're square, he can come from left, right, and you're not protecting the ball, and the way he does hold the ball up, he sort of uses his inside foot where he's going, that way, it's just open for defenders. You want him to be more sideways, kind of, where you can sort. Yeah, just to keep him off, and he does that sometimes, but I think a lot of times, he can improve more so with his feet, I think he's very good with his chest, head, but that's all fine. I think more so with his feet, he's got to improve if he wants to go to like Harland level. You look at Harland and he's, you know, obviously people develop in age-wise differently, but I think with Calverloo, and I think if he just starts progressing or better in that sense, and where he's one-on-one ability is, then I think he will just have a very good career in the Premier League. Yeah, I think, I kind of agree with that in terms of the way he takes the ball, in terms of if he's running up people at times, he looks really comfortable running with it, and you're like, go on, you know, do it a bit more, and then other times it'll get stuck under his feet, so maybe it's just, maybe it's a bit of a decision making one-v-one, really. And I also would like him to hit through the ball a little bit more, he's, he tries to bend a lot of his shots, where I'd like him to, this is just me watching him, you know, trying to, he's a Premier League goalscorer, so on just saying, but just for me sometimes, I think if he can get it out of his feet a bit quicker, I think he'll get even more goals, cos I love the fact that he's in the right areas, I love Saturday, the fact all his goals with him, about seven yards out, that to me is perfect, and he's getting into those zones that I want him to be in. I think even last year you looked at his 18 goals, they were all in the box, and I think half of me, they might have been in the six-yard box, so you want that, that's what we're saying, we're not saying, you know, he's terrible, he's rubbish, change him or anything, because he can't hold the ball up. No, it's not, it's about just progressing for his own development, because the end of the day, you know, if you get, you know, he's 22, but a lot of people don't realise that he was a centre midfielder, so it wasn't natural, it was never, it was never a natural position for him, so he is behind on the, on the progression of his development in that position, but when maybe in two years time, and he has sort of got the hang of being in the right place at the right time, then you can sort of see, go back and go right, well what can I do now, can I bring him a charlison, can I find him, can I find the right winger, can I find, you know, and as well like, I mean, some instances where you see him, he's not, he's not aware of where, say for example, the goal against West Brom, Rodríguez played the charlison, but you see him the charlison, you see him see it, I think with Tommy he doesn't see it necessarily sometimes. But it's that, it's, that I'm not going to be right, but it is. You see me going to Tottenhamerswell didn't you, the ball over? Yeah, no we did, but there was one that Alan gave him and he wasn't expecting it, so I don't know whether that's poor from them, or whether it's just, he's literally not used to it. It might be too critical, it might be too critical. No, no, with this. Cos we're not, you're saying, you're saying he is under right this, you know, but I think what you're looking at is you're just saying, if he does this and this, he could get at that level and that's what we want to do. He's got all the attributes to be the top striker in the Premier League. He has got it, it's just, there's one on one.   But he sort of comes in, the ball gets caught under his feet and you go, just that, that alone will stop you. Do you think he doesn't back himself enough with, what I mean is, I don't mean in terms of dribbling, but I mean actually just pushing it past someone and running cos he's quick. Yeah, I mean, I don't know really cos I don't think you can see much of that on the pitch. I think it's, I think when he's running down the wing, it's more the right side. I mean, maybe it might change if he was on the left cos he's come back himself. But he's all right footed isn't he? Yeah, yeah, yeah. I mean that's another thing, his left foot isn't very good at, but it might change if you're running down the wing on the left and cutting in. Might be better, but I think just things like that, I mean he was against talking to me, he out muscled, I think it was Fatsongan, and he was in, he was in and he just... Old the world. Oh sorry, Fatsongan plays your best figure. Yeah, yeah, yeah. Now Old the world, yeah, yeah. Looks similar. Bells in defence. Yeah, yeah, but he was in. He was, yeah. He was in and he just got caught under his feet and then he got to the edge of the box and the charlasome was on the left and said, but he shows he's done a step over and come on to his favourite right. And I just think things like that, you've got to start using your left or just seeing what's going on. He's just fine tuning isn't he cos he's doing really fine. He's 22. Exactly, he's doing, but I mean if you look at his goals since he got in the first team, like first season under Cwm, he'd had 11 appearances, scored one goal against Hull. Next season 44 games in all competitions, eight goals gone on. Season later 38 games, eight goals, so the same overall. And then last season 15 and 41. So his goals are climbing. He's developing isn't he? And he's developing this season obviously, he's got four and two. What you want players like at his age, you want to go on that way. Yeah, yeah, yeah. You want them just going that way. And yeah, he's got eight, then he's got 13. So he's already got four. Four already. Four already, so he's nearly there. So he's doing, yeah. It's just when, like we were saying last year, I mean obviously the pandemic and all that, obviously effects performance and things like that. But the last 10 games of the season, he didn't score. And you're watching them and you're thinking, well what else are you bringing to the sides? What else can you do? Can you go do the legway for the team? Can you create and do things and set the charles on up or set someone or just be involved? I mean he did go missing in some matches. But like we said, I mean he had chances in them 10 games to score. Yeah, but I mean the flip side to that would be, I guess would be, the games are weird. They're playing every three days. I think the one thing I would say about Don is he always leaves everything on the pitch. I think he takes the charge. I mean the charles are incredible at taking the game to the team. You've got to be missing. I mean the Sheffield United had to be able to bury the post down there. He had opportunities at Liverpool. He had wanted me at the fast, he might have scored. So yeah, just little things. But he's definitely moving in the right direction. And it just makes me laugh when people say he's championship level. Cos it's just like, I just don't know what people are like. You said you've played up front. Like back in the day I used to play up front. Where at whatever level you're at, or whatever, you still should have the sort of capacity where to think of. Maybe we're not, maybe we're different. But you still have that sort of intelligence of knowing. If you're at a decent level, intelligence of knowing where to go and what to do. And when you're watching these strikers, you look at them and you think it's there. It's just them little nuances that just need tweaking. And as he goes on and as he'll get there. Cos he's, like I keep saying, he's got that attitude. He's got the attitude to become an elite player. He's just got it. You can see the way he holds himself in a high esteem now, don't he? I think that's the one thing that I like about what Ancelotti's brought to him. Is his confidence. He feels like he belongs in the Premier League. And you can see that now. You can see just once he knows he's a Premier League player. So hopefully he'll get maybe he'll get 15 to 20 goals this year. I mean last year he got 13. And what will we create? Who did we have who was creating? I mean you've got Rodríguez now. You've got to Corey. You've got Richard from playing on the left. You know, there's going to be a lot of opportunities for him. So I think, yeah, I think he's going one way and it's the top in it. Obviously if he becomes international then that's a different situation. And I mean he should have got a call up against when he was a Solanki was it. Yeah. I mean, but that. I think he'll be in the next. He should be on Merritt. If you go back to see what Southgate was talking about, he was talking about Merritt, weren't he? So he deserves it. If he carries on and he gets to December and he's 10 goals, hynny awch yn eu dynnau hynny. Yeah, yeah, yeah. You know, it's a bit silly if he doesn't get in there, but if he doesn't, it won't affect him. No, no, no. He'll just keep going. Yeah, he will. He'll just keep going. There you go, Blyrys. Now what you think in the comments are you? Do you think he's underrated? Is he? Are you one of the people who don't think he's good enough for everything?  And who do you want to? Who've you seen, who you think is better than him? Cos, you know, he continues to play well and continues to put the ball in the net. So for me, I think he's brilliant. I do, I think. Can he improve 100% like Tom was saying, there's little things in his game that he can continue to improve on? It'll take him up another level.  Just put it this way, if he got injured, what would happen? Cos mwy's keen yw bydd lot of people bang on for, hasn't really done it as he did. Well, he's developing now, he's behind Tom and he's, you know, but if Tom got seriously injured and missed 10-20 games, well, where are everything going? So that's what I'm saying, like with things like that, you've got to be careful what you wish for, really. Because when he does, I mean, if he does get injured, I think that'll be more so-benefit to him, because I think more fans will go, well, you know. We are, miss.  Let us know what you think in the comments section below. Big thanks to Tom, give the video a thumbs up, subscribe if you haven't, and if you want more videos doing this on Patreon, and don't forget, give Tom a follow on Twitter, atilogic1991. Thank you for watching, see you later.