I welcome you all to this lecture in the course Introduction to Paninian Grammar. In this lecture, we shall be studying the sixth most important type of sutras namely the Adhikara Sutra, which is which can be generally understood as the domain indicating statement in the grammar of Panini. What is an Adhikara? The definition provided explains the concept of Adhikara. There are two definitions provided. First one is Swadeshe Vakyartha Surnyatvesati Uttara Sutra Ekavakyataya Artha Dhi Janakatvam, a statement which generates the meaning by getting one with the sentence that is available from the subsequent sutra, when the sentence meaning in the place where the sutra is stated is 0, Swadeshe Vakyartha Surnyatvesati. This definition captures the functional approach of the definition. The core feature definition of Adhikara is provided in Shabdha Sutra, which says Granthopak Grantha Vishaya Nirdharakas Shabdha Adhikara. That statement which determines the domain of the subsections and the main chapter or main section of the book Granthopak Grantha Vishaya Nirdharakas Shabdha. This is the meaning of Adhikara. What this Adhikara helps a student understand is an important feature of the learning which is called Vyutpatti. And the term Vyutpatti is defined once again in the Shabdha Sutra as Granthodeshadnyata Vyutpatti. The state of being knowledgeable about the contents of the work is called Vyutpatti. So by knowing the Adhikaras, we come to know about the contents of the work. So particular sutra coming from a particular section, you will easily recall what kind of Adhikara this sutra comes in, this sutra is governed by and that will facilitate you to have an overall understanding of the sutra, overall functioning of the sutra. So the ability to know which topic is dealt with, where in the text under study is what is known as Vyutpatti, one of the important features of the traditional learning and Adhikara facilitates this Vyutpatti. I should say the knowledge of Adhikara facilitates this Vyutpatti. So hereafter, we shall be taking a panoramic view of Ashtadhyayi by looking at important Adhikaras stated in the text of Ashtadhyayi. We start with 1.1 and the one Adhikara that is not stated by Parnini but is stated by the commentators is Saudnayaam. So this 1.1, there are lots of Saudnayas that are termed that are stated and therefore, Katyaayana suggests that there should be this Adhikara Saudnayaam. So here are the Saudnayas that are discussed in 1.1, Guruddhi, Guna, Sanyoga, Anunasika, Savarna, Pragrih, Gu, Gha, Nishta, many of which we have already studied when we studied the technical terms the Saudnayas. Then there is this Sarvanama Saudnaya and Avvaya Saudnaya. This is also what we have already studied, they are all stated in 1.1, there are 35 words which are part of the group which is called Sarvanama. So this is the definition by enumeration. So also is the case of Avvaya, a definition by enumeration. The 35 words in the Sarvanama group are Sarva, Vishva, Ubha, Ubhaya, Datara, Datama, Annyatara, Itara, Tvatva, Nema, Samasimha, Urva, Parava, Dakshina, Tarapara, Dharana, Vyavasthayama, Saudnayaam, Samadnyatidhana, Khyayaam, Antaram, Vahiriya, Gopasam, Vyana, Yoho, Tad, Tad, Yadu, Etad, Yadam, Madhya, Sekadvi, Yushmadas, Madhya, Bhavatu, Kim. All these subnyas are part of 1.1. In the Azhikara in 1.2, there are two important Azhikaras. The first one is Gnith from 1 to 1 to 1 to 26. An element having N as marker is called Gnith. This property is extended to other elements which do not have this property and this is what is described in this big section. One of the sutras we have already seen is Sarvadhatukamapith which falls into this particular section. This is an extension which is stated and Azhikara which covers the extension. This is a unique example. The second important Azhikara in 1.2 is Ekashesha, one remaining. So there are several elements stated out of which only one remain. And here is one example. This is an example of 1264 Sarupanaam Ekashesha Ekavevaktau. What it says is in immediately before the same Vibhakti, one of the two forms remains. So if you have Rama, Rama, Au, Au is the dual suffix and here we have two Ramas. So one of them is deleted and the one remains. So Rama, Rama, Au and you will get only Rama plus Au which will result in Rama Au. Similarly when you have a compound like Matru plus Su plus Pitru plus Su and so Su gets related Matru plus Pitru. Now amongst these two only this one Pitru remains. One this one gets deleted and so the final resultant form will be Pitru. So when you say Pitarau as Kali Dasa says Jagata Pitarau one day. So Pitarau means Mata Pitarau. This is what is stated in this section. Pitta Matra that is the Sutra which appears in this section. When we go to 1.3 the first Adhikara that we see is It, 1.3.2 to 8. So It is a marker. We have already studied in detail all these Sutras starting with Upadesha Ajanonasi Kaita Halantyam Navibhaktavtas Maha Adhiriye Tudavaha Tapratya Yassya to 2 Vashakvatadhite and then finally Tassya Lopaha. The next important Adhikara in 1.3 is Atmanipadam from 1.3.13 up to 1.377 long Adhikara. So this Adhikara states a set of suffixes to be added one in order to denote certain meanings Bhava and Karma together with Karta and after a specific kind of roots or specific kind of root plus proverb combination. Then from 78 to 93 there is an Adhikara Parasmaipadam a set of suffixes to be added one in order to denote certain meaning namely Karta only Karta and two after a specific kind of roots or a specific kind of root plus proverb combination. Remember these two Adhikaras do not state what is Atmanipadam and what is Parasmaipadam. They state when Atmanipadam suffixes are to be used and when Parasmaipadam suffixes are to be used. So the answer when should we use Atmanipadam when should we use Parasmaipadam the answer to these questions you will find in these two sections. What is Atmanipadam what is Parasmaipadam you will not get the answer of these two questions over here that is given by the Sautnaya Sutras which we have already seen which appear in one four. Now when we go to one four here are three important Adhikaras. The first one is Akadara Dekasautnaya the very first Sutra which says that one element stated in this section gets only one term. This Adhikara governs the entire one four to one and two two three fathers three subsections. Now if it so happens that by definition that element gets two terms two Sautnayas then the one stated by a later rule prevails over the earlier stated one. This is stated by one four two a Pratishadhe Paramkaryam a very important Sutra which talks about the conflict resolution principle stated by Parini himself although in a limited domain the tradition applies this principle everywhere in the Ashtadhyay though. The next important Adhikara in one four is Karake from one four twenty three to fifty five in which the roles the entities are thought to possess the capabilities of playing in the accomplishment of action are described Shakti buddhihi karakam given by Shabdasutra. Nipata that is another Adhikara from one four fifty six up to ninety eight this covers the groups of words including Chadi and Pradi and those which are termed Upasarga and Gati and also Karma Pravachaniya all of them they are called Nipatas all the Nipatas are termed Avyayya by Swarad Nipatam Avyayya which we saw earlier when we go to two point one we have an Adhikara Sup which is stated in the second rule which goes up to two to twenty thirty eight so two sub sections two fathers then there is Sahasupas stated in two one four which goes up to two to thirty eight Samasaha from two one three up to two to thirty eight what it means is if there is a Pada at the end of its soup appears and if there is another Pada at the end of which another soup appears and if they are semantically linked then the resultant form could be a Samasa. So these two Sups Subhanthas they are the primary conditions for a Samasa to happen if it is the condition that in this Pada there is no soup over here but there is a soup over here then this does not qualify to be called a Samasa this is what these Adhikaras tell us the basic condition for Samasa is to minimum two Sups two words ending in Sups this is the minimum this is the basic condition what it also implies is that Padas are the input for the compounding process what it also implies is that compounding is a process based on the sentences sentence is the input compound is the output in two one we also have two other specific Adhikaras of compounds the first one is Aviye Bhava from two one five to two one twenty one what this means is that if the first word amongst the two getting compounded has got an Aviye as a Pratipatika and a Sup followed and then there is another element with a Sup then such a compound is called Aviye Bhava in general this is what happens and is in the Purusha compound which is stated from two one twenty two which goes up to two two twenty two the major point is that the two Subandas which are available out of them the second Subandas the meaning of the second Pada is prominent and then such a compound is called the Purusha by default this is what is the meaning of these two Adhikaras Aviye Bhava and Tath Purusha then we go to two two the important Adhikara is Bahubri where Bahubri compound is stated from two to twenty three to twenty eight and the important point over here is that there are two Sups which are getting compounded and there is one more word with a Sup outside of this compound and this non-compounded word outside of the compound this word becomes prominent so this is the Qualifikan this becomes a qualifier such a compound is called Bahubri this is what this section primarily tells us then we go to two three the Adhikara is Anapihite and this governs the entire Pada what it means is when not expressed when the Karaka is not expressed by a thing mainly primarily then it is expressed by Ditiya, Tritiya, Chaturthi, Panchami, Saptami and Shasti we have already seen this when we studied the Karaka and Abhidhana systems Prathama is added to a Pratipadika whose Karaka is already expressed by a thing mainly then we go to two point four there are three important Tathikaras stated in two point four one of them is Ekavachanam two for one to sixteen the number of a specific kind of Dvandva compound gets singular number the Dvandva compound prescribing Sutra comes in two to two to twenty nine only one Sutra therefore it was not mentioned as an Adhikara now this is an Adhikara which mentions the number of a peculiar kind of Dvandva compound then we have another important Tathikara called Ardhadhatuke from two four thirty five to fifty seven which means immediately before an Ardhadhatuka suffix certain substitutions take place for example Asterbhu two four fifty two what it means is when you have Asa or as a verbal root to which is added the suffix which is an Ardhadhatuka by definition then in the environment of this Asa gets replaced by Bhu so the next step we get is Bhu plus T and so we derive the form Bhuta similar such rules are stated in this particular section the third important Adhikara is look that is deletion from two four fifty eight up to two four eighty four so in the process of derivation of a compound as we saw earlier we need two words ending in subs this is a sub this is a sub and now two four seventy one applies and deletes this so what we have is only the left hand side the prakriti part left over here this is what gets constituted in a samasa or a compound then we go to three one and the major adhikara is Pratyayaha that starts from three one one and goes up to five four one sixty the next adhikara is Paraha which is a qualifier of Pratyayaha also the same range Ardhadhatta also qualifies Pratyayaha same range so these three adhikaras they govern the entire three chapters three four and five and this is why this particular section of three adhiyas is called vidhi as we have seen earlier when we studied the vidhi type of sutras in the ashtadhyai what this means is that this is how the sentence this is how the sentence is structured so you have left hand side which is a prakriti and right hand side is pratyayaha now which pratyayaha will be coming over here that is stated in this particular section and which prakriti that is also stated in the section for example dhato ho is another adhikara important adhikara three one ninety one up to three four one one seven this adhikara tells us that this slot left hand side is filled by adhatu which is a prakriti so we have dhato plus pratyayaha plus dhato plus pratyayaha plus dhato plus pratyayaha that seems to be the case in this particular template the next important sub adhikara within the pratyayaha adhikara is krityaha and these are kritya types of suffixes so from three one ninety five up to one thirty two we have the kritya adhikara so what this means is that the suffixes that are added after the dhato in this section they are kritya pratyayaha all of them dhato plus kritya pratyayaha so this pratyayaha slot which is a generic slot is now filled with kritya pratyayaha and then there are specific kritya like yir, tavvya, aniya etc they all replace these generic template generic slots what this means is that from three one ninety one the left hand slot is filled in by a prakriti called dhato so we have dhato plus pratyayaha etc and so we have examples like rama, verbal root plus ghay, kru plus tavvya and kru plus t and so we get the forms rama which is a pratyapadika karthavya which is a pratyapadika krti is a pratyapadika and karoti which is a tinganta form what this also generates is dhato plus pratyayaha and a padah is generated or dhato plus pratyayaha and dhato is generated similarly dhato plus pratyayaha and a pratyapadika is generated all this is governed in this particular section the adhikaras in three two are these two bhute 3 to 84 to 122 so bhu plus th the suffix th is added in the sense of past tense and so we get the form bhuta one who existed similarly vartamani is another adhikara meaning condition 3 to 123 to 188 so bhu plus let let is stated in the sense of present tense let get substituted by t and then there is a which comes in between and so finally we get the form bhavati bhavati means he she or it exists in the present tense there is one more adhikara tachila tadharma tatsadhuka issue from 134 to 176 these are the additional shades of meanings that are available and we shall explain them when we talk about the accents in the next lecture then there are these three adhikaras in 3 3 bhave from 3 3 18 to 130 akartari chakara case of jnayam same range and sriyam 3 3 94 to 107 so let us take the example of sriyam here we have the verbal root kru to which we add the suffix t which means bhava and which also means sri so krti is a feminine form which means the action of doing matthi is the feminine form which means the action of thinking gati is the feminine form which means the action of going all such words are derived in this particular adhikara then we go to 3.4 the important adhikara in 3.4 is lassya which governs the section 3477 to 117 and this is how the forms get generated in this particular derivation using the sutras which come in this adhikara so bhu plus lutt and then lutt gets substituted by t by 3478 and then there is a which comes in between 3 168 and then the other rules apply and we get the form bhavati so t comes in into this section so so t comes in the derivation because of the sutra which appears in this particular section and so you have all the forms of all 10 lakaras and their substitutions which are stated in this particular section next we go to 4.1 and here we have some important adhikaras for example from 4.1 1 to 5 4.160 a huge adhikara we are covering two adhyayas sriyam for from 4.1 3 to 77 sriyam the suffixes stated in the sense of feminine gender they are stated in this particular section then we have an important adhikara 4.1 76 to 5 4.160 tadhitaha this is also a big adhikara so tadhitas are the pratyayas we have already studied them then there is a sub adhikara within the tadhitas namely an which goes up from 4.183 to 4.442 and apatyam for is the meaning condition which governs the sutras stated in between 4.192 to 176 these are the adhikaras and what this means is that if this is a generic slot filled in by the adhikara pratyayaha like this then from 4.1 1 the left hand slot is filled in by a prakriti called pratyapadika and so we get pratyapadika plus pratyayaya and so on so Rama plus ghayi this was the earlier dhatu plus pratyayaya this was also dhatu plus pratyayaya this was also dhatu plus pratyayaya now next we have Rama plus su Rama is a pratyapadika to which is added a pratyayaya, Kartavya is a pratyapadika to which is added a pratyayaya, Kruti is a pratyapadika to which is added a pratyayaya these sutras are stated in this particular section this is what this adhikara means so in a nutshell what we have is pratyapadika as an input to which is added a pratyayaya and so we derive padha as an output similarly pratyapadika as a as a prakriti and pratyayaya which is added to it and we derive another pratyapadika the dhita suffixes are such then we have pratyapadika plus pratyayaya and we get pratyapadika plus pratyayaya they are neither pratyapadika they eventually become padha but these are the feminine forms which are not termed as pratyapadika by panini so this dhita adhikara continues up to the end of 5.4 so we won't go into the details of this dhita dhita right now we will go straight away to 5.4 and there is an important adhikara samasantaha stated in 5.468 which goes up to 5.4.160 in this section several suffixes which are added to a compound are stated here is an example so when we compound these words mahatsu rajansu we have to derive the word maharaja and this is how we derive it mahatsu rajansu and then the suffix touch is added which appears in this section rajahasakibhash touch then we have su deleted by a sutra in the adhikara look so we get mahat plus rajan plus a and then this term gets substituted by a rajan maha and this un gets deleted maharaja finally we get maharaja so now the original word is rajan which is reduced to rajah so we see this a coming at the end figuring in the word maharaja this is the importance of the samasanta suffix then we go to 6.1 the main adhikara in 6.1 is samhitayam 6.172 up to 158 what it means is when in close proximity do what do the substitution of sounds in the given conditions another important adhikara in the same section is a kapoor vaparyoho from 484 to 114 what this means is one substitute in place of 2 earlier and later so if we have this condition a plus b then in place of both of them we have c what it means is that if there is a sequence at the end of which a appears and if there is another sequence of words at the beginning of which b appears then in place of this a and b you get c the remaining part remains the same and then you get c in place of both these a and b before this from 72 up to this 84 there are two sutras which are stated which do not do this where a plus b gives you the output namely c plus b the next important adhikara in 6.1 is sut stated from 135 to 157 so here is an example so you have some plus kru plus thta is added after the verbal root kru to which this kru so is added some paribhyaam karotau bhushane a sutra appearing in this section so this so is added to this kru so now we have some plus kru thta and we get the word samskrita derived by in this particular fashion then the important adhikara is anta udattaha from 6.1 159 to 223 what this means is final verbal is accented then we have another important adhikara samasasya which is stated in 6.1 223 and is go goes up to the end of 6.2 6.2 199 but this means is by default final verbal of a compound is accented so there is no other important adhikara in some in 6.2 so we go directly to 6.3 and here there are a few adhikaras one is uttara bade 631 it goes up to the end of 6.3 what this means is immediately before an uttara bada so if we have this condition abc plus sup where c appears at the end plus another prakriti and sup what this means is that in the condition of this sup this c gets substituted by d so this is an uttara bada in the environment of uttara bada something happens to the purva bada this is what this uttara bada adhikara means then we have a look adhikara from 6.3 1 to 24 which means non-deletion of the sup so if we have this situation where abc plus sup plus a prakriti and sup then this sup is supposed to be dropped deleted but this is not deleted on account of the sutra stated in this particular section and this is the output that we get and several examples exist words like yudhishthira and so on they are examples of this section then the important adhikara is some hitayam once again from 6.3 114 up to 138 then we also have another adhikara dirgaha from 6.3 111 up to 6418 and here the adhikara crosses over into another subsection another path the example is this we have vishwa plus mitra and so mitre charshau is the sutra which appears in this section which says that immediately before an uttara bada which is mitra substitute this short vowel by a long vowel so vishwa plus mitra becomes vishwa plus mitra and the result we get is vishwa mitra if and only if this word qualifies a rashi and it is if it is a saudhnya the most important adhikara in 6.4 is angastya and this governs the five subsections 6.4 and the entire 7th chapter it goes up to the end of 7.4 7.497 and the other adhikaras are asiddhavadattrabhat as well as bhastya so what is an anga we have already studied this yasmarh pratyaya vizhis tadadik pratyaya yangam that verbal element x at the beginning of which comes y to which is added a pratyaya y prescription immediately before a suffix pratyaya is called anga so if you have y plus pratyaya in this case y is equal to x that is an anga and if you have y plus pratyaya plus pratyaya in this case y plus pratyaya is x that is an anga so for example rama plus ghay kru plus tavya and kru plus t also kru plus u plus t and kru plus u plus t we have these angas in case of rama plus ghay rama is an anga kru plus tavya kru is an anga kru plus t kru is an anga because these suffixes are stated after these prakritis these dhatus in case of kru plus u plus t kru is an anga with reference to u but with reference to t kru plus u this becomes an anga now we get the outputs of these and rama is the output of this rama plus ghay now rama becomes an anga when su is added it so with reference to su rama becomes an anga with reference to su kartabya becomes an anga with reference to su kurthi becomes an anga karoti is not an anga karoti is a pada what is a bhar so when we have this situation prathipadika plus pratyaya in this case first omit the first five pratyaya stated in 412 now from the remaining ones from 412 up to 54160 a vowel beginning and amongst the consonants y beginning year beginning pratyaya follows then the prathipadika is called bhar so this prathipadika is called bhar if this pratyaya is of a peculiar kind this pratyaya should belong to this list omitting the first five this pratyaya should be a vowel beginning and this pratyaya should be if at all it is a consonant beginning then it should be year beginning then this prathipadika will be called bhar a subset of anger now in this list of sups the ones in blue they are the suffixes which are vowel beginnings suffixes they cause the previous prathipadika to be termed as bhar the red ones they are concerned in beginning but not year beginning so they cause the previous prathipadika to be called and all of them they cause the previous prathipadika to be called an anger so here are examples maruth plus us us is 2 3 so us is a vowel beginning suffix and the sixth suffix stated in 412 so maruth is called bhar so we get the form maruthaha now when we go to maruth plus bhyam which is 3 2 bhyam is a consonant beginning suffix eighth one stated in 412 so maruth is not called bhar it is called padha and sotha gets replaced by dha by jhalam jashol te which is governed by the adhikara padhas here and so we get the form maruth bhyam similarly when we have rajan plus us us is obviously 2 3 now 64134 applies and this over here gets deleted so we get rajna us finally we get the form rajnaha this is because this is a bhar whereas if you have rajan plus bhyam this is a consonant beginning suffix so this does not get the term bhar instead it gets the term padha because of which 827 applies and this ner gets deleted and so we get the form rajah plus bhyam rajah bhyam so here are the forms of rajan in which the blue ones indicate that they are caused using the term bha and the red ones are generated using the term padha now let us go to quickly to the adhikara in 7.1 num is an adhikara is an augment and we have seen the parivasa sutras which tell us where the augment with the marker ma is to be added namely immediately after the final bobble so here is a sutra napam sakasya jhala chaha 7172 because of which num is added to vana in this particular case vana plus just gets substituted by she so vana plus e we have and now this num is added after the final bobble over here so we get vana plus e then this all gets length then vanaan plus e we get the form vanaani which is 1 3 and so on so this entire section 58 to 73 deals with this num now we go to 72 there are two important adhikaras to be remembered one is it which starts with 7 to 8 and goes up to 78 so here is an example padha plus the and since this is an ar dha dha atuka suffix so 7 to 35 applies and so we get padha plus it it is added to this and we know by the parivasa sutra that the augment with the marker is added before so we add it here so we have padha plus it and we get the form the next important adhikara vibhaktau immediately before a vibhakti from 7 to 84 up to 113 so example is tedaadina maha so when a vibhakti suffix follows substitute this teda etc by a so we have yad which is a tedaadi yad plus su this is a vibhakti then this dha becomes dha gets substituted by a so we have a sir year sir and yah the important adhikara is 74 is abhyasas here in place of part of the abhyasa so the rule is haladi shesha 7460 which says that only the initial hull that is a consonant of the abhyasa remains that means others get deleted here is an example so we are deriving the perfect forms of padha lit lakara so padha plus t in lit padha plus t padha plus ur now we get the re duplication of padha so we have padha padha ur now this part is defined this part is called abhyasa by definition poor abhyasa this is the abhyasa in this abhyasa there are two consonants per enter haladi shesha says that only the initial consonant remains that means this ther gets deleted so we have per padha ur then this ur gets lengthened and we have per padha ur finally we get the form padha then we go to 81 and the adhikara is padhasya from 8116 to 8355 and then padha from 8171 to 74 and anodatam sarvam apadadao from 8118 to 74 so what is a padha we have already seen this suptingantam padham a verbal element at the end of which appears a sup or a thing is called padha what is a sup a set of suffixes stated in 412 what is a thing a set of suffixes stated in 3478 these are the sup's for you we have already seen them and these are the subant forms so these are called the padhas these are the things for you 18 suffixes we have also studied them and the red ones are the final elements and these are the thingant forms also known as padha by the definition now the adhikaras in 8.2 very very important very very crucial the adhikara is purvatrasiddham I mean this adhikara governs the entire three subsections 8, 2, 8, 3 and 8, 4 it goes up to the end of 8, 4 what this means is that the rules stated in these three subsections are non-existent for the rule stated in the earlier 29 subsections and 2 the rules stated earlier in these three subsections are also non-existent for the rules stated later on in these three subsections. What this means is that the output of the rules in these three subsections cannot be the input for the earlier 29 subsections and 2 the output of the latter rules in these three subsections cannot be the input for the rules stated earlier in these three subsections. This is for this is a unique construction as far as the text of Ashtadhyay is concerned. So, what this means is three sub chapters 8, 2, 8, 3 and 8, 4 are non-existent for the rest 29 sub chapters appearing before. Each subsequent rule 8, 2, 8, 3 and 8, 4 is non-existent for a previous rule or rules. The last rule 8, 4, 6, 6 is non-existent to the entire grammar. The output from these rules cannot be an input for earlier rules. In case of rule conflict earlier rules over rule the letter rules. These are the meanings of the adhikara. These are the implications of this adhikara kurvatra asit dham. Here is an example, no retroflex in kurvanti. This is the derivation.  Now looking at this form one wonders why 8, 4, 2 does not apply over here. So, here is an explanation. In the kurvanti in this stage 8, 4, 2, 8, 3, 24 can apply but 8, 3, 24 gets precedence as it exists in comparison with 8, 4, 1 because of 8, 2, 1, kurvatrasit dham. Now after we apply 8, 3, 24 we get this form kurvanti with an anusvara. In this stage 8, 4, 1 cannot apply because there is no na, there is an anusvara. Now 8, 4, 58 has the scope of application so it applies and we get the form kurvanti with na as the substitute. At this stage 8, 4, 1 cannot apply as the output of 8, 4, 58 cannot be the input for 8, 4, 1 because of the adhikara kurvatrasit dham. This is how the word kurvanti which is an exception is derived no retroflex. Similarly sanjayavacha one would say why not do the sandhi of a and u and become make it sanjayavacha. No that is not possible sanjayavacha is wrong why because sanjayavacha and this su gets deleted. So first of all this su is changed to ru, ru is changed to year by 8, 3, 17 and year is deleted by 8, 3, 19. Now after this 8, 3, 19 gets applied 6, 1, 87 cannot apply as the output of 8, 3, 19 is non-existent for 6, 1, 87 and hence you cannot convert this string into sanjayavacha. If you convert it, it is wrong because of this particular arrangement of rules treating such exceptions. Now adhikara in 8, 3 there is one adhikara murdhanyaha which governs this section 8, 355 up to 1, 1, 9 and the sutra is adesha pratyayayohu which means sir which is not at the end of a padha and which comes immediately after in and poo and which is part of a suffix or a substitution is substituted by a retroflex namely shah. So here is the case bhavishyati, shah is a suffix which comes immediately after e over here so it changes to shah so we get the form bhavishyati. And finally the adhikara in 8, 4 prashaphyam nonaha this goes up to 39 what this means is n which comes immediately after and shah is substituted by n if both the substituent and the conditions are in the same padha. Here is an example ushan plus us 2, 3 which converts this ushan into ushna or gets deleted and now this ner comes immediately after shah so this ner becomes ner us we get the form ushna as a result of the application of this rule and then there are several rules which affect this particular operation. These are the adhikaras this is a panoramic view of the adhikaras in the ashtadhyayi I hope it serves the purpose of getting the vith pati now before we close let us have the mangala charana an important mangala charana in the tradition which salutes panini and I repeat and before we close here are the five sutras today we shall recite the five sutras from two padhas eight one and eight two here are the five sutras from eight one they are sarvasya dve tasya paramam reditham anudat tancya nityavip sayoho and parer varjanei I repeat sarvasya dve tasya paramam reditham anudat tancya nityavip sayoho and parer varjanei similarly the five sutras at the beginning of eight two are these namo ne udhattasvaritayo yanasvariton dhattasya and ekadesha udhattena udhattah repeat me udhattasvaritayo yanasvariton dhattasya and ekadesha udhattena udhattah thank you for your attention


Going on everyone Sam here late in sports cards. We're in one box the 2021 pinning one football hobby for Henrik J It's good luck here. Henry. Let's see what we got in here for you, buddy. That is gonna be 69 of 99 Kellen Monde two color two color RPA Congrats on that. Never hate quarterback RPA Very nice. Congrats on the K-Mond 69 of 99 now on the Browns. I want to say Kellen Monde Texas M-M legend That'll do it for your break there. Henry. Thanks as always for the support my friend. We'll get those right out to you, buddy


Hello, Columbia. Welcome to our edition of Telling Our Story, Exploring the Parks. I am your host, Wanda Austin Herndon. Join us as we explore our parks. Today, we're located in Earlwood Park. And like its namesake, Earlwood Park is located in the historic Columbia Earlwood neighborhood. So come join us as we take a walk through the park. Earlwood Park land was given to the City of Columbia in 1925 and named for the former Columbia Mayor Fort Sumter Earl. Fort Sumter Earl was a pharmacist by profession and a community leader who organized and recognized the importance of public park. Earl also spearheaded the water and sewer development in the Columbia. The historic Earlwood fountain was originally located in the intersection of Lady Street and Assembly Street adjacent to the farmer's market. This five-ton fountain was moved to Earlwood Park after 1951 when the farmer's market was moved to Bluff Road. It was relocated to the Township Auditorium in 1980, but this historic fountain was returned to Earlwood Park in 2012 when the remodel of Earlwood Park was completed. During the coronavirus pandemic and everything, we've all been looking for outlets to you know, release energy and engage our minds and engage our bodies. And to have a public park so close has been incredibly therapeutic. It's well maintained, well organized, beautiful. So it's it's been a real blessing in my life for sure. You get to smell the flowers, see the the magnolias when they're blooming and you hike a trail in the middle of the city. Not a concrete trail. There's no concrete and you're stepping over brambles sometimes. You just get to see nature that you wouldn't see in the middle of the city. So it's great.  We have the wonderful Apple Theater that they've hosted several outdoor concerts throughout the community, free baseball fields, a basketball court, an 18 hole disc golf course, fabulous playground, picnic area, restrooms for the picnic area, and tennis courts. I think the course makes a beautiful use of the property. All the holes are real tight without you know crossing over each other and the like. It's a beautiful course full of all different types of foliage. So I really like the elevation change and it's just it's a beautiful place with lots of shade. Right next door to Earlwood Park is Noma Dog Park. Noma Dog Park is located at 1250 Parkside Drive. It is a membership only dog park. So for more information about registration or membership for the dog park, please contact your parking recreation office.  But at the same time there's enough smells, enough trees, and a good time to tag by all. Also located at Earlwood Park we have two buildings. The first building is the Parks and Recreation Administrative Building, housing all the administration operations. The next building is Earlwood Community Building where it is available for reservations and it's host to various City of Calrini training. The community center along with the picnic shop that's also available for rentals. And for more information of renting these areas you can call<PHONE_NUMBER>. The city has put a lot of effort into cultivating a beautiful green lush park where people can have some kind of communion. So, text some friends, come out here, play some disc golf or play some basketball. There's a lot of different things you could do. Let's say just participate in your city life, enjoy the outdoors, and come to Earlwood. As with all our parks, our mission here at City of Calrini Parks and Recreation is to change lives through a culture of transformational leadership, innovation, and phenomenal customer service. Thank you for joining us today, and please join us in the future for more series of Exploring the Parks. And remember, we are Columbia.


Check the halls with Appalachian Wireless offering you up to $850 off sunlight devices through Black Friday with no activation fee. Up to $850 off the latest and greatest devices. We are you. We are Appalachian Wireless. On Thursday, November 16th, students from North Point Academy walked across downtown Pikeville to raise awareness for hunger and homelessness. Along the way, they dropped off food supplies to the residents of the West Care Homeless Shelter. Aside from promoting awareness, the goal was to teach the students how to bring others through community service. As a part of JAG, the students are required to do certain community service projects, social awareness of projects, and things like that. So, hey, what better way to do it to get those things in by doing a community service? We collected donations and we dropped that off at the shelter on our walk and we also, you know, so we were just doing a community service and promoting some social awareness. The students were joined by other groups from both Pike and Fullen County Schools. Now, the students will have a better idea of what homelessness really looks like. Everybody's not pushing a shopping cart. Everybody's not sleeping on a park bench. Everybody is not standing beside the road with their sign out. Those are, yes, that's true. But it's much broader than that. And I need for the kids to understand that it is a whole lot broader than that. And that, you know, our fellow students, neighbors, they can be homeless and be living right beside of us. So we need to learn the spirit of giving and helping, which Eastern Kentucky does a great job at that. Eastern Kentucky, I have to say, we do a great job of taking care of our own. And that's what we did today. We're taking care of our own. Reporting from Outantop News, I'm Nick Colum.


In this video, we will present the solution to question number six from the practice and interim exam number two for math 2270. We're given a three by three matrix A right here, one, zero, negative two, negative three, one, four, two, negative three, four. And we're given the sequence of row operations that reduces A to the identity I3 in this situation. We're asked then to compute the LU factorization of A. So the LU factorization is going to be two matrices, L is going to be three by three and U will also be three by three. U will always have the same shape that A does. So since A is three by three, U is going to be three by three. Now, L is always a square matrix. And so its dimensions will always be the same as the number of rows in A. So this would also be three by three. And so this is our matrix L and this is our matrix U. Now to find U, it turns out this sequence of row operations gives us way more information than we need. To find U, we have to grab the first echelon form we find in this sequence. So A is not an echelon form. The first echelon form is going to be right here. This is echelon form. It's not row reduced echelon form, but that's fine. To get the LU factorization, we don't do any row operations except for forward phase replacements. No interchange, no scaling, no backwards phase replacements. Just forward phase, lower triangular matrices. That's all we want there. And so then we can just copy down U. So there's no computation there. We just have to find U, negative two, zero one, negative two, zero zero two. And then L is always going to be a unit lower triangular matrix. So we get ones along the diagonals, zeros above the diagonals. And so now to figure out the remaining terms in U right here. So we have these numbers to determine. We go back and look at the row operations in place. We have to see the replacements. So with our first pivot right here, how do we go from here to here? Well, we look like we took row two and we add it to a three times row one. And so that tells me I'm going to write the inverse number here. So we're going to get a negative three in the box right there. Then the next one, we still have our pivot in the one one spot. We got rid of this two right here. How are you going to get rid of the two? We're going to take row three. It's a track from a two times row one. And so we're going to put a positive two right here. And then lastly, to get into echelon form, we have our pivot in the two position. We got to get rid of this negative three. And to do that, we're going to take row three, add to that three times row one, row two, excuse me. So in the three two position, we're going to put a negative three. And so that would then, this would then give us L, this then gives us U, and we have the LU factorization.


Go on, roll out. That's not a bad start to the morning yet those infamous line that it is now nothing feels like a Mizuno. But nothing feels like a Mizuno putter, really?  It's not everybody's thing, it doesn't mean a great deal to a lot of people but for others it is like me, it's a big deal and I love that pure feeling of a forged iron. A Mizuno do that really, really well but to do it in a putter what does it do? Why is forged head in a putter such a good thing or a positive thing? Well for me, again, it's about what resonates back into their hands. Putting is a feel thing in terms of pace, forget alignment for now, but for pace it's all about feeling, it's all what you get back into their hands and all that understanding between what sort of swing, how much effort you put into that put in relation to what's going to happen when a ball comes off the clubface is a really important factor to how you put and what they've done with this, they've made it, it is incredibly soft, it is like I say, it is very much like I would say how an iron feels from a Mizuno and it does resonate back in their hands and I think if you played with this over a period of time that's that understanding that you would get between your hands, your stroke and that putter head, I think could only be a positive. I'm going to attempt this, I don't know whether it's doable, is that ball on camera, yes it is. Right, so I've lined up my line which is on the ball, a ball marking against sort of the hole where I would like it to be. One thing that is very good on this putter again is the sort of alignment, very much clean lines, cut away at the back, two white lines either side, frame the ball quite nicely and for me that's a good, three lines I've got on the ball, two either side of the putter, an easy way to get alignment and I'm pretty square happy with that and good to go. Can we hold it? Do you know what, it wasn't a bad effort but the point being, the alignment aid on it, very clean and very easy to line up. One of the things to talk about with this line of putters is the ability to change the weight of it and again, whether that appeals to many, I don't know but for me, I personally like a heavier putter, I like to feel the putter head, so you've got, it comes as standard with two eight gram weights in those two ports that you see both at heel and toe but the little kit that comes with it gives you interchangeable weights and I think they're three gram and as I've got in here two 13 gram weights so it's at its heaviest weight but that ability to change it and get it suited to how you particularly feel I think again, I like that, I like that touch because for me, that eight gram between the 13 and the eight is a notable difference and I much prefer this option. I'm just going to hold this, I don't know, 30 footer on camera it'll go in. Right, alignment good just got to roll it in that's a good roll as well you know but it's not hard enough oh that is right on line can I make a request that if you like what you see on this channel then please consider hitting that subscribe button and also hit that like button and if you don't like what you see well I do need it to be quite honest with you we'll draw this one to a head because putter videos well they can never be too interesting and I think it's very much about personal opinion and it's hard for me I can give you some idea on what the key differences are between different putters but like I said, very personal thing CNC milled face you've probably seen that from a close up see it's beautiful the word pure is probably something I'd use with this putter comes off the club faces if it's giving it that sort of forward roll which is nice to see those three models introduced last year which for very much the traditional style I must admit never got to try them I never even got to see them if I'm honest with you not a massive deal made of it but they've released three new putter styles which have come out in February 21 their price, the RRP in British UK Pounds is £249 so it's got a hefty price tag with it I don't know whether that'll retail out probably it won't be at £249 but I think you've got to remember what you're getting in terms of your money like I said this is a forged head CNC mill it oozes quality and we've already mentioned about the sort of weight situation that you can adapt to your own personal choices so overall it is a really really nice piece of kit that's the way I'd describe it and the feel element nothing feels like a Mizzuno and now nothing feels like a Mizzuno putter it is very very soft but does it all putts not that one come on one more on camera to finish have we got it? he's got it right see you soon don't forget hit the like button, comments down below if you've tried one of these helps your fellow golfers get some feedback like I've said in a previous video this is just my opinion but if you've tried one of those earlier models sticky comments down below what do you think of Mizzuno putters? would you put a Mizzuno putter in a bag? that's an interesting one for me other than that we're all done I'll see you all soon


Virginia Craig played Claire Brooksy Brooks. George Valentine's assistant replacing Frances Robinson from 1949 until the show ended in 1954 in the series Let George Do It. She was born in Harrisburg, Illinois, Virginia Greg Burkhart on March the 6th, 1916. She moved West with her parents at an early age and enrolled in a Fremont Grammar School in Long Beach, California. She played sports in school and excelled as a pitcher on the school's baseball team with her specialty pitch being the fast curve. Trained as a musician, Virginia first appeared professionally as a member of the Pasadena Symphony Orchestra. And then in 1937, she joined the Seeing Strings musical group on KHJ playing the double bass. She transitioned into radio in the 1940s and her extensive career included roles in Gunsmoke, Suspense, Dragnet, The Lone Ranger and yours truly Johnny Dollar as well as Let George Do It. She was much in demand and as she had the ability to play almost any role. As was the case with many of her contemporaries, she transitioned into movies and then television as the opportunities arose. Her first movie role was Uncredited in the 1946 Hitchcock thriller Notorious. Her many subsequent appearances included Dragnet of 1954, The Fastest Gunner Live of 1956, Operation Petticoat 1959 and Spencer's Mountain 1963. She played the voice of Norma Bates, Normans mother in the classic cycle of 1960 as well as the sequels Cycle II 1983 and Cycle III 1986. Virginia had a long and distinguished TV career commencing in 1953 with the Public Defender and ending with Dynasty in 1983. In between she performed in one or more episodes of most of the major hit series of the 50s, 60s and 70s including 77 Sunset Strip, Perry Mason, Bin Casey, Gunsmoke, The Virginian, Dragnet, Adam 12, Emergency, Streets of San Francisco, The Waltons and Charlie Angels to name but a few. Virginia Gregg passed away of lung cancer on September 15, 1986 at the age of 70. For the old time radio researchers, this is your announcer, Clyde J. Kill.


Bro, it's not even real food, bro. Let me sit down, bro because my cat's hungry.  I don't like bro. Thanks, bro Oh, look at this bread. This cake is like the shape of a train. That's pretty hilarious I went to the restroom and I dropped something off like that TMI bro, TMI all right. Hey, I want to show you something down here. Don't get creeped out. Okay. Okay Come down here. Let's go down. Oh Bro go in here. Don't be scared.   Hey chill Are you about to cook for us or something?  She's a ghost. There's an exorcist, bro You got you you good We got my boy Tristan right here. Oh my god. What's up this avatar, bro?  Let's go to the let's go to this little trolley. It's gonna take us to the map Yeah, there we go. What's up everybody today? We're on the tunnel. It did get a halloween update So that's over here. Let's see if it's if it's spooky or not. I don't know what any of that means Bro, the tunnel is basically a tunnel bro. It's a tunnel. We're gonna we're gonna try to escape thomas And you got a halloween update. All right, so thomas and halloween. Yeah, bro I haven't seen any cursed thomas costumes. Yeah, bro. I'm trying to see that. Oh, there it is the tunnel Oh, they got like the og roblox horror music in the background Really? Oh, I hear the train Yeah, you can like faintly hear it I'm gonna put my volume up because I actually want to get scared Something happens. Oh, okay. I got it nice and loud. All right, so far. Did you like oh Oh my god, wait that time is coming over there. Yep. That is thomas That is thomas. That's thomas bro. That is thomas thomasi.  Come on. We got to make room for a bro. Oh, he's coming in fast Oh, what wait? Can I touch these?  Do not touch them off, bro. You wish me. How did I push you? You pushed me?  You died already. I died, bro. All right, guys.  What what was that? What did I just witness? Bro, it is not hard. There's 10 year olds playing this and they can beat it bro with their eyes closed I don't believe it. All right, you know what? I'll give you a third try. Look at that. Look at that thomas pumpkin right there when you turn when you come right here.  She almost got taken out by that train All right, keep going bro. She's bro. She's laughing us out. Is this stressing me out, bro? Because my Super loud Looky, it does stress you out a little bit. It's like am I gonna make it? Wait, what? You're supposed to drop but the door got stuck No way the door is in the way, bro Oh my god, look at thomas Dude the door got stuck in the entrance. We're supposed to drop Remember don't take too long because then uh thomas don't catch up to you. He'll snatch your toes Oh man, my heart is beating so fast right now, bro All right, hopefully the door doesn't get stuck here again, bro.  I swear. Oh nice No, it's sort of blocking it. Okay. Oh my god Okay, right here. Don't touch these barrels because they explode. Okay, and don't touch the alien jump on the UFO Jump on the UFO. Don't touch the slime. Okay Jump on the what? On the UFO when you see a UFO jump on it. Remember don't touch barrels. Don't touch anything Oh thomas jumpscare. Oh my god. That is so terrifying Ah Oh, I see thomas you better hurry up, bro Whatever you do do not look back Mikey is stressing out bro. He's stressing out right now And thomas is getting close to me. I can oh, yeah That's why you need to hurry up Dude no, he's breathing on your neck, bro Oh Man go go go. Oh, I see you back there with thomas. I think if I drop the cat Yeah, you need to drop the weight, bro. Wait, what's going on here? You need to sacrifice the cat, bro. I'm sorry Oh Oh, man, come on come on come on I kind of want to wait for you, but if I wait I feel like i'm gonna be close to dying He's right behind us wait for me You guys hear that?  I think he sacrificed himself Oh wait, where should go bro?  All right, just me and you squirrel or coral whatever your name is. Oh my god Yeah He died way ahead Wait, this is nearly not where I died right now Wait, is this new or is this part? Oh, no, wait. This is where thomas comes out from I think Oh, uh-oh That does not sound good Come on, bro. Oh, there he comes Oh, that looks pretty dope with the red light and everything Oh, we can't move ahead because he has to catch up. Come on, bro. You're slow You see you could have waited for me.  I think I'm actually dead now. Oh, she died I'm gonna ask him standing. Yep Oh, no, wait, what I'm excited thomas, bro All right, it's just me and you thomas That boy looking demonic as heck, bro He is, huh? How can you be scared of this?  Come on Oh my god That's it. It's a little jump scare, you know beware of space rocks Oh, I think we're dead and we like our souls in the universe now Oh, no. Oh, I still have to do all this parkour.  It's a little pumpkin. That's scary Oh, he's still right behind me, bro. What if I fart? You're thinking my fart. He'll stop following me And I think he'll go faster. He'll go faster.  Oh, okay. Be careful He didn't write that before right here Yeah, like something, I think the bridge breaks Wait, what's that? Oh That's what killed me, bro. What?   I wish Oh, he just keeps going. Yeah, he just keeps going bro.  He does not stop All right, see the lights We're almost home Uh-oh I was flickering Oh, yeah, solder the solder scrap Oh my god, wait it for them bro. If I would have waited for you. I would have been where you're at right now Oh, yeah Oh, why is that lit up? So you really didn't add much to this I I it would have been cool if they added like the beast or something Oh, man. Yeah, that's pretty much it I find they could have added more to it, but It is what it is, man. Oh, this is you like a halloween town Trick or treat smell my feet. Give me something. Oh Bro, what the heck? What's lorry next time? I'm disconnected you were given this experience to watch it. It hurt you running Bro, what? So did I beat it or not?  What the heck was that, bro All right, man. Well, we didn't be why I don't know if I technically beat it or not I'm gonna say I beat it man. Yeah, get your candy, bro Oh It's some fire I better see some Reese's buttercup because those are my favorite candy, man. Wait Reese's Yeah, bro. I just hear these Reese's like they be having work Like words in the middle like they literally are bro. That's only if you leave them out, of course, bro That happens. I want the word. Oh, all right, bro I'm about that one though, bro. All right, you guys.  Hey, I'm gonna get better. I've only been waiting this is like 2018 All this is 2018, bro. Dang I don't know how many more years you need to get better, bro Three more right you guys. Well, look at the game link in the description down below if you guys are new around here Make sure to subscribe smash the like button Comment all that good stuff and we'll see you guys in the next one. Hey, what are you doing, bro? You


Hey guys, so today's video is a little bit different than what we normally do this week. We have been a little bit light with the videos. I only have three of the regularly scheduled videos for you guys this week, the Monday video which is Monday Mystery which we did over Connie Converse and then we did the book of Jubilee reading and then tomorrow on Friday I have part two of the devil's family coming out for you guys. On Tuesdays and Thursdays and sometimes Saturdays we'll have interviews up for you guys but this is a holiday week here in the United States and so it's been a little bit slower this week because a lot of people are taking time off to be with their families and to celebrate this holiday. I also know that over in Europe you have the soccer or football competition going on and so I know it's a little bit different of a week than what it normally is so I wanted to give you guys just an extra bonus video. This is not a normal video but we normally do. This is not a deep dive. This is just letting you guys kind of have a glimpse into an event, an attraction that might be in your neck of the woods as well. When I first started doing this channel I did a lot of ghost stories and I also had a playlist called Things to Do in Atlanta. I will include that playlist down in the description box below. I've also got old videos of things to do in Georgia so this is kind of like some of the older videos I was doing over a year ago with promoting the city of Atlanta with attractions. Now my niece, my oldest niece, Jacqueline turned seven on the 25th of June. Now I know for most kids who have summer birthdays it's kind of fun because you have a chance to really celebrate with all your little school friends but as we know this last about year and a half has been very complicated for our world and even more so complicated for children because they don't understand what's actually going on. For my niece she just had a new baby little sister, they moved houses, a lot of things have gone on this year for her and so for her birthday this year on her actual birthday on the 25th my mother, my sister Jacqueline, my niece and her little sister, her newborn little sister, May all went for an interactive girls day at Candy Topia. Now I had never heard of Candy Topia until my sister sent me the information. It was fun. It was definitely for kids and as you guys know Georgia is pretty much open. There's not a whole lot of regulations. Atlanta is a little bit of a different story. We do have some uptight people here in Atlanta but most of Georgia is pretty open and Candy Topia was also open as well so if you have kids in the area and you want to get them out of the house this was kind of an interesting fun thing to do to take your kids. It's all these installations and artwork made out of candy and yes they can touch it. They just can't lick it or pick it as they say. Now none of us wore a mask. A lot of people there did have mask on but we obviously did not wear mask and it was totally fine. The staff at Candy Topia was super super nice, super super sweet. I can't speak any highly of how they were. They were amazing and even my little newborn niece did really really well even though it was a very loud and colorful experience and my niece Jacqueline the birthday girl had a lot of fun. So if you're looking for something for your kids to do this was definitely quite quite enjoyable. Now again this is not a deep dive as I will tell you guys later in the episode I'm not planning on doing a deep dive into Candy Topia. It doesn't seem to be like it's something that we really need to do a deep dive into it's not that big or huge it's just it's just a like an amusement themed event for children basically. So next we're going to go over a couple of websites to give you a brief history into the founders of Candy Topia and what Candy Topia is and then at the end we're going to look at some of my footage from my niece's birthday at Candy Topia. Again this is not the typical video we normally do and tomorrow morning you will get another typical video for esoteric Atlanta before today I hope that you enjoy. All right so let's look at a couple of articles regarding Candy Topia. This one is from the Atlanta Jewish Times and it's titled Candy Topia the product of a Jewish imagination. It's sweet, it's interactive, it's playful, it's sensory overload, it's Candy Topia the latest experimental shopping exhibition to hit Atlanta. I wouldn't call it shopping exhibition there is a gift store at the end where you can buy like overpriced candy but in my opinion going to Candy Topia with my niece it's very much just like a playground for kids you know it's really cool too I mean they did a pretty good job in my opinion. It's sweet, it's interactive, it's playful, it's sensory overload, it's Candy Topia again the latest experimental shopping exhibition to hit Atlanta excuse me Candy Topia brings the quite essential childhood fantasy of candy coated world to life. It's located at the Linux marketplace in Buckhead which opened last month so if you're a local in Atlanta you might not actually know what that shopping center is because we call that shopping center here for locals Disco Kroger so it's located right beside the Disco Kroger if you are native Atlantean you'll know which Kroger I'm talking about. We have two specific Krogers in Atlanta one is Disco Kroger which is in Buckhead, Buckhead for those who are not from Atlanta is like our Beverly Hills of Atlanta it's really close to like the governor's mansion and then we have what we call I can't say the word on YouTube M-U-R-D-E-R Kroger which is closer to the Beltline right beside Ponce City Market and those two locations most people from this of city know exactly where that is so Candy Topia it's located in the old world market that used to be right beside the Kroger there World Market House that has now moved to another location so that's the center that they're using for Candy Topia it's the old world market right beside Kroger in the Disco Kroger parking lot in Buckhead. Candy Topia is appealing for both kids and adults who appreciate the sweeter side of life said Jackie Sorkin a global candy artist she created the exhibition with co-founders Zach Hartog an events production designer expert and John Goodman a retail veteran I watched Willy Wonka in the chocolate factory and was raised on the movie and the principles in the movie of dream big and be a good person Sorkin said you can be a little crazy and your dreams can come true I watched so much I made it come true for myself and sorry if you hear my dog walking around so that's Jackie that's the woman who is the artist who created Candy Topia and it does it does remind you a lot especially in the beginning of what Willy Wonka was like and I believe I know from what I understand this is a touring exhibition if they were to actually just be centered in cities and not tour I think they could make it even better and make it even even more like Willy Wonka's chocolate factory. Candy Topia Atlanta features all the popular attractions from its locations in New York San Francisco Los Angeles and Miami with new addition for Atlanta visitors there are candy portraits of real housewives of Atlanta's Neenie Leeks and Zem excuse me Zem Zolziak a candy portrait tribute to Ray Charles and a giant candy coated Georgia Peach there were cities he wanted to go to Atlanta was on the top of our list Goodman said the exhibition includes more than a dozen of rooms of candy made installations including a marshmallow swing pool with half a million foam marshmallows and craft jet-punch puffed marshmallow samples an underwater themed room with candy covered sea creatures creature excuse me a rainbow room with flying unicorn pigs confetti explosions and a truly twisted sour bright collars gummy samplers and yes they did have the marshmallow pit my knees to play in it um you have to have socks so it might seem weird for our friends watching from colder climates but here in Atlanta in the summertime most of us wear flip flops because it's so damn high outside your feet start sweating so if you are from Atlanta and you want to go to Candy Topia if you want to play in the marshmallow pit you do have to bring socks to play in the marshmallow pit celebrities such as Drew Barrymore Gwyneth Paltrowl Jessica Beale Bruce Willis Adam Sandler Kevin Durant Josh Jamel Christina Aguilera James Corden Wiz Khalifi Hilary Duff Alessandra Ambrosia have all visited the mini theme park it's the most magical place at Goodman former CEO of Charlotte Ruse and Wet Seal he got involved with the project I've ever seen the candy portions done by Sorkin and her team after running the numbers he felt like it was his destiny it's just the most magical place we just bring happiness to people for an hour or so and you can't stop smiling he said it's all ages and by the time we will get to the third room they can't stop smiling each location is blessed by rabbi Zalman Seneer I don't know if I'm saying that right executive director of Manicham educational foundation again don't know if I'm saying that right it offers kosher candy an important part of the experience Goodman said in the New York City Candy Topia includes a kosher table with chocolates and taffy he plans to welcome the Hasidic community in Atlanta after receiving such great feedback in New York City every holiday like Huron and Hasidic communities was there the community really embraced us and had fun Goodman said the rabbi showed me pictures of himself and his family and it was really special we do have a Jewish community here in Atlanta but it's not as big as communities like in New York but we do have one here in Atlanta for sure Sorcan is the daughter of immigrants her father is an Argentinian Russian Jew and her mother is Mexican both hard-working immigrants with often led to Sorcan being home alone I was a typical latch kid she said she comforted herself with food early on and by the time she was 12 she was enrolled at Camp Penbrook in Pennsylvania a weight loss camp for teens when she attended the camp Sorcan finally felt that she belonged she said there there she began to cultivate a healthier relationship with food and with herself now she's dedicated to bringing sweetness to as many people as possible candy was taken away from me as a kid and I loved it so much now that I have turned candy into a life for me she said the feeling the same feeling of belonging I had at camp Penbrook is what makes candy topia this incredible place where everybody belongs I love I love that through candy which is my medium we've created this incredible place we have a lightning in a bottle and this is magic we've captured okay so there's that article on it and I haven't done any deep dives into candy topia as far as visits if it's like deep state run or anything like that I don't really plan on looking that deeply into candy topia for those kind of things um because it's not everywhere and it's it's not a huge exhibition so um so before anybody asks I just haven't even I'm sure there's some ties to some of the various people but um yeah I'm just unless something happens with candy topia where it becomes a huge issue I'll look into it but as far as that this is just something for fun that's here in Atlanta that people can do all right so this is from our favorite news agency obviously that's the sarcastic joke CNN CNN's headquarters is located here in Atlanta so they've titled this article candy topia is a weird and wonderful candy wonderland all right Atlanta wants to hang out with Cardi B not really put about the lens a legendary Marilyn Monroe or famous Mona Lisa the painting that is imagine being in the same room as all three and imagine if that room was adjacent to a giant aquarium in a larger than life garden with exotic wildlife with Narnia like doors of wonder that lead into rainbow tunnels headed to the clouds where unicorn unicorn pig farts confetti I have a video of that unicorn pig farting confetti that will play after this at the end of this episode the distant roar of the cannon fire sounds the background expect in the wacky world the cannon balls are marshmallows and everything and everyone is made of candy welcome to candy topia Jackie Sorkin co-founder and co-creator of candy topia calls the sweet creation an incredible candy wonderland where everything runs on candy and you'll see we have my niece took a picture in front of the sphinx here and so this had hundreds of hours approximately 317 hours and 7800 pieces of candy later the sphinx looms large at candy topia candy topia an immersive experience thinks of itself as a mini theme park a place where you can come to escape the world sorkin says it's really just the magical place that runs on sugar and candy and you lose your mind here it's a place to have fun the inspiration for candy topia comes from surprise surprise willy wonka and the different room house of their a variety of experiences no oompa limpas guys no oompa limpas all right where do we go okay there's a garden of eden esk interactive space containing giant flowers sporting unique candy theme smells a tiger and a kimono dragon dragon excuse me made entirely of jelly beans and a canopy of sounds coming from the four sound installations the mini theme park pays homage to game of thrones Marilyn Monroe Cardi B Mona Lisa and of course willy wonka other famous celebrities are featured as well the twist however is that they're all made from hundreds of grams of candy and sugar including the interacted in ornate centerpiece a sphinx so here's the aquarium y'all see all of this with the videos i took with my niece hundreds of thousands of pieces of candy were used to create the 3d models explained sorkin excuse me liquorice jelly beans gummy bears gum drops these are all manipulated to create the pop up art we look at candy in a completely different way it's art for us says sorkin the sweet experience includes illusions of tunnels green screens that serve as a backdrop for photos and a candy aquarium with sharks fish and a life-size diver every room is an instagrammable sugary sweet experience in a candy coated photo opportunity for kids and adults of all ages you know i started creating my candy art pregnant and broke out of my garage said sorkin i mean it can't be more cliched in that the principles of the willy wonka movie you know the dream big mentality never give up crazy ideas let people think you're nuts and keep going anyway that really struck a chord with me when i was a kid the chord was led to a full fledged sympathy of vibrant rainbow colors and candy on display at candy topia during the four month run the pop-up currently in atlanta has vowed that wow visitors in san francisco new york and minnesota's mall of america check the website for location information i will include a website link in the description box below so you can see if it's coming to a city near you if you go have your smartphone ready and your sweet tooth primed oh and make sure to watch out for the not so discreet confetti attacks around the unicorn farm pigs and try not to get caught in the crossfires of the marshmallow cannonballs it sounds bizarre that's okay it's sort of the whole idea it's just so weird to sorkin and it makes everyone smile all right so without further ado we will now go to the video that i took with my seven-year-old niece jacklyn for her birthday you used to be six yesterday you were six today you're seven and candy connoisseurs of all ages welcome to candy topia now before you begin your tour let's go over a few important rules to make sure your journey is truly delectable feel free to tell me my name is mr. fricky and i would be doing a rule of candy so here's today