Whatever path you take, celibacy, if it is imposed on yourself or on the seeker, will actually turn out to be detrimental to the path of seeking. So it is much better to move into transformational processes and spiritual processes, leading what one would call a normal sexual life.


Hello everyone, this is Ahmed Dan and on this channel you find financial travel and more videos if you like what you see Please do the thumbs up and consider subscribing. Thank you Hello everyone, this is Ahmed Dan of AhmedDan.com Today I'll have another episode of great car unboxing and review video and I'll be presenting the TD viewers visa credit card on this channel, I do non-affiliated credit card reviews and other product reviews and I do travel videos too So basically using a credit card viewers and points I travel the globe for paying very little Mainly on business class and I document my travel and on this channel You'll see those travel videos and along the way you'll find lots of product videos and credit card videos and the difference between my credit card review or any product review and any other Website or channel reviews that minds minds are not affiliated unbiased and honest So what you're going to get is totally honest opinion and I do not provide any links so you can click on it and make money off the link So that way you know that What you're saying is you know, I don't have any reason to give you This honest opinion and make you Tell you good things so you can click on the link and make money and I can make money So these are all totally honest reviews. So let's open up the TD reverse visa credit card and Here we have the envelope which came from TD So this credit card actually I didn't apply for it I had to just close the TD first-class visa and clinic credit card and then I switched this to the No, no fee version Because the viewers your earning or their viewers your keeping basically of this basically the same for this credit card and the TD viewers visa infinite first-class credit card so This credit card is a no-manual to trade card and it doesn't have that many features and the rate rate structures are very poor but I'll just go through with you and So you have the information you need and you can make up your decision okay, so put them up here and this is the initial introductory letter and then here is the brochure and then the information folder so let's Put this away for now because the credit card is right here, which I'll come back to you later on So just keep it here and then let me take a look at the brochure and here you'll find some information which you can use so the name of the freight car is TD viewers visa and Here you'll find what type of insurance it provides and what type of rewards it provides and all the information so this brochure doesn't have that much to talk about so I'll just go to the Realtor structure So here these pages don't have much information just talks about minimum payment great living and other foreign currency transaction stuff It doesn't work as a transaction fee, which is standard for most Canadian pay cuts here. They talk about the TD viewers program and I'm going to come back to the real structure a little later But let me just show you how the TD viewers program work. So that's the first thing so for this great card if you use Expedia for TD then you get More value for your points. So if you're holding this card or TD first-class visa-infinite card then your main purpose should be using TD Expedia for TD and Redemining your points through Expedia for TD But that's the first thing I don't like about This card or the TD first-class visa-infinite that you know, it's forcing it to use only one Site which is Expedia for TD now If you use Expedia for TD and then when you redeem your points, then you get half cent per point value So each point is going to be half cent if you're using Expedia for TD and then if you do not use Expedia for TD then the real structure works this way So for the first $1,200 of Travel purchases which is equal to 300,000 TD points You're going to get 250 TD reward points redeemed For each $1 in travel savings. So if you do the math What this means here is that for each dollar you're going to get point four cent So this is not even half cent lower than half cent. It's a point for cent per dollar For the first $1,200 travel expenses if you use any other site than the Expedia for TD and then above that once you pass that threshold then You're going to get half cent per point which is equivalent to the Expedia for TD Then you can redeem those points for half cent per point value. So for the first $1,200 non Expedia Travel sites or any travel purchases or any travel expenses The value for your point is going to be point four cent lesser than half cent or one cent and Then if you exceed the $1,200 limit Then you're going to get point five cent and For Expedia it's going to be one point half cent So I'm going to assume that you're going to use this card only for Expedia for TD and then I'll show you how the Reward structure works. Okay. So Here we have one TD reward points per dollar in Purchases which is gives you like you know half cent Assuming all these assuming that you're you know using only these points for Expedia for TD So you are one point per dollar Which is your earn rate? Half cent per dollar and then you earn three points per dollar When you make travel purchases online through Expedia for TD So if you're using to buy Expedia for TD travel items Then your return is going to be on this card return, which is one point five cents per dollar And then if you're using In travel purchases made by phone For Expedia for TD. So this is via online.  Then you're going to get two TD reward points, which gives you one cent per Dollar so again one percent return and then two TD points for each dollar if you do purchase in grocery Up to a maximum five thousand dollars Annually and then you get two points per dollar if you're doing in restaurant purchases and then That's going to give you one percent return so for grocery restaurant Purchases you're gonna get two points per dollar, which is going to be one percent return and This is Something to do with TD's own account I'm not going to go into these because you know, I'm going to assume that most people are going to be using for these Grocery and restaurant purchases and this car will actually give you two points for recurring bill payments, which they don't mention here. So your on rate is For this category goes as follow one point per dollar In regular purchases or everything else, which is half set return Or half percent return and then three points per dollar If you're buying Expedia for TD online, so which is one point five percent return and then you're getting two points per dollar If you are buying grocery, I'm sorry if you are buying Expedia for TD, but you're calling the number or if you're like, you know using someone to book it for you So that's going to be lower return two points per dollar and then here you're going to get two points per dollar for some categories which is the grocery restaurant and Recurring bill payments. So that's the way TD reward points work By looking at these rates, these are very poor rate of return You shouldn't have this card for your everyday purchases because you can get better No annual fee cards, which keeps you more points and it doesn't you know force you to use Expedia for TD So for that reason, I do not recommend this card. Now, let's look at the insurance benefits This card offers. So it doesn't have that many insurance benefits It's just a basic card and You can get more insurance benefits from other no annual fee cards So this insurance this TD viewers visa card gives you purchase security and extended warranty protection. So only these two So purchase security is you have 90 days From the purchase of an item and then if anything happens such as physical loss or damage or theft then you know, you'll get the Money back and then the extended warranty protection. It gives you another additional year after the manufacturer warranty expires. So these are the basic Benefits this card is giving giving you and there is a I don't see anything else to talk about here so I'll just Put this here and let's look at our disclosure statement. So here it just tells you like, you know, the initial credit limit and then Interest fee grace period how the calculate interest annual fee and other fee So not much to talk about And on this side, there's just some more like, you know, more information about those things on the other side So I'll set this aside here and let's open up our credit card. So this is the main Letter and where we have our credit card. I'd just like to show you they come in kind of summarize the reward structure here. So Aren't two points on grocery restaurant fast food and recurring bill purchases and They don't mention anything about here. So I already told you we just hear that how the breaker works. So very poor rate It's forcing you to use Xperia for TD and There's not many issues benefits and you can have you can get more from other free credit cards And if you'd like to know about those credit cards, just you know, go through go to my channel and check the viewer set Crater session. I have lots of credit reviews and you'll find some of the credit cards You might need and all of them actually non-affiliated and unbiased and August Okay, so I have the credit card right here. Here is the TD viewers visa credit card So if you like what is it, let's give it a thumbs up and subscribe because there will be more videos coming up And they'll they'll be there'll be more travel videos credit card videos and other product and reviews videos and all of them are unbiased Non-affiliated honest self see you shortly. Thank you


back to Think Tech. This is Community Matters, and it does, and we know learn the history of Hawaii at Oahu Cemetery. There's a lot to learn at Oahu Cemetery with the Mission Houses Museum. Director of Education Mike Smola, who joins us, and an actor who participates in the Buku Dinner Program at Oahu Cemetery. Kahana, welcome to you both. Thank you for having us, Jay. So, Mike, you know, you do a lot at Mission Houses Museum, but let's start with the Puku Dinner Program, which I have attended for some years now and seen you and met you there and other people from the museum. Can you describe that program? Because that program is unique. It's, as we say, sweet, generous, and very important. Absolutely. The best short description I have is it's dinner theater but in a cemetery. So, what we do is we research five people who are either buried there or nearby, real historical people, and then we do primary document research and develop 20-minute scripts. Then we hire actors like Kahana to portray those people in period-appropriate costume and to give the 20-minute monologue as the person. It comes with a nice, heavy Buku Bento dinner, a couple of drinks, and then the five actors themselves. It's fabulous. I've been there. What's interesting, and I want to cover it with you now, is this is to start the accurate because you go to great pains to learn about how things were at the time of the lives and deaths of the individuals who were buried in Oahu Cemetery. Can you talk about your research and how you integrate that into the program? Absolutely. I spend a lot of times in various archives here on the Oahu. Sometimes I even have to get stuff from other institutions, say on the continent, for example. But we try, I emphasize with our script writer, our current script writer is Rasa Fornie, to incorporate as much as she can from the primary documents into the script themselves. I think that's one of the things that really makes this program unique is that we try really hard not to put words in the people's mouths because most of the time we actually do have their own words. We incorporate those into the scripts as much as possible. Sometimes those words are endearing and sometimes they reflect a certain amount of entity. It's always interesting to meet two of the decedents in the cemetery where you cover the relationship between two dead people who had an animated relationship while they were alive. Can you talk about those quote conversations and quote? Absolutely. I mean one of the important things to remember is that during these presentations we are presenting that person's story from their point of view. And sometimes you get conflicting stories if there's someone else involved in those stories and sometimes they match up together. But I think that's something that's really neat that allows us to have these conversations about different points of view on things that were going on at the time. Kahana has one of these in her current script as Emma Nakawina from our last show, Rediscovering History, about the history of libraries, archives and museums here in Hawaii. Maybe you want to speak a little bit to that, Kahana? Yeah. Kahana, or should we call you Kahana or Emma? Either. Either way. Your way. Who is your character? Who is your character? Who is Mike referring to? The character I portrayed was Emma Metcalfe Becley Nakawina. Actually I should say Emma Kahana, or Emma Metcalfe Becley Nakawina, and she lived through five, at least, to five monarchs and then into the provisional republic and territorial of Hawaii. So I have so many questions of you. This is a real treat to be able to interview somebody who was an actor in the program. No kidding. And by the way, just a footnote is that if you go to the program, which is every summer, you get a chance to see Mike in person and ask him questions. You get a chance to see the actors in person and ask them questions. And it's really a treat to be able to get inside their heads about how this is being produced. So Kahana, Emma, what have you? Can you talk about how you get inside the character that you're portraying? In general, how I prepare for my characters is to study the script and get a sense of what the storyline is and what the setting is and try to understand what the motives and environment that those motives live in are for my character. So in the case of Emma Nakawina, because she was a historical figure and that she occupied a very important position in history, I was fortunate because I had already been familiar with her. She had influenced me in my study of Hawaiian history and Hawaiian culture. So I was already familiar with her. And so my preparation has been doing a lot of work studying the political and cultural and historical background of Hawaii. At that point in time, I can place her life within that broader context and understand who she was in that time and place. So your preparation goes beyond just addressing a script and forming a script. You're doing your own research. So let me ask you, why was Emma important in Hawaiian history? Emma, she exists as a cultural bridge. She was raised in a time when the people around her still were directly descended from within their generation. The people who trained her we lived under the kapu system or were one generation out. And she was brought into what she was educated at O'ahu College, now Punahou school. And then because her father was Haule, Teofu was Metcash, he was the first dagiratai professional in Hawaii. And he was also the first, not territory, the first surveyor of the kingdom during the mahele. So she was able to attend Punahou school and obtain a Western education, as well as being trained under Kau'ike O'ui, or Kamehameha III, to learn water right and land use protocols. And she continued that education through training, I'm sorry, through Alexander Nihonini under Kamehameha IV. And then she's brought into the port and functions as a commissioner for private wage and water rights, helping transfer traditional practices into this age of Western influence and transition into a Western form of government. In between, she also worked as a historian and a teacher, essentially, preserving the knowledge of the Hawaiian culture and then transferring it out to other people. Notably, she wrote in O'lelo America in English, rather than in O'lelo Hawaii. And nobody's actually interviewed her why she did that, but her... We're interviewing you now, so... Yeah, so my take on it is that she wrote in English because her audience was just the English reading, you know, Kamehameha people of Hawaii, or people on the continent, or from around the world. She was also writing, potentially, to Kamehameha III, who were going to grow up disconnected from their language. And because what she inserts in her stories are values and principles and morals that are distinctly Hawaiian. And she asserts the value of a Hawaiian way of thinking and a way of understanding in her writing. And in doing so, she's writing for those Kamehameha of ultimately our generation, of our time, you know, 100 years later. Yeah, so when you're talking about her education, her life, the dynamics in her life, how things changed, the environment in which she lived historically, and what she gave, what she provided to the state, to the people, to the royalty at the time.  Right, so we were delving into the history museums and libraries and archives in Hawaii. And Emma has a quite a unique distinction in that, is that she was appointed the the curatrix, the female form of curator of the Hawaiian National Museum, which existed at the Iolani Halle, and predates Bishop Museum, actually. And according to my own research, she is quite possibly the first female curator of a national museum in the world, which is quite a unique distinction, especially in the 1800s when national museums were coming into bow. And we're the big thing to promote patriotism and nationalism in different countries. And interesting, so that's why I chose her, also gives us sort of a history of attempts at interpreting the history of Hawaii and its cultural objects and things to a wider audience before we get into the modern museum era. One interesting thing to notice that the collections of that national museum were eventually absorbed by Bishop Museum. So then in a sense, it still exists? Absolutely, in a sense, yes. So what other individuals, what other stories did you include in the five? I say five because I know that the people who attend the dinner moved from one area in the cemetery to another area. And in each place, there's a little tent set up. And you are addressed by people like Hannah Hall, who will tell you their story. It's really a wonderful experience because you're right there with them. And they emerge from behind a grain stone and say, well, wow, it's almost, it's a real person. And you get to know their life story and you walk away feeling very enriched. So who else did you select for this particular theme? And I suppose I should ask you why this theme? Because every year you have a different theme that you're evolving as the research evolves around Hawaiian history. Right. I think it was important to highlight our historical and cultural institutions here in Hawaii and how they came to be and why and how they came to exist. So for example, another person we do is Edna Allen, who founded, who was a territorial librarian and got the money from Andrew Carnegie to build the, to build the modern state library building here on King Street, just about a block away from us here at Mission Houses. She also got the idea to county libraries and to set up the state library system as we know it today. And we're the only state that operates in a statewide library system like that. So Edna set up something really unique here in the United States. We also chose Charles Reed Bishop for founding Bishop Museum. And him and Emma have a bit of a history there that we dive into in the scripts. And then we also did Robert Crichton Wiley, who was the Minister of Foreign Affairs for 20 years from 1845 to 1865. And he was really kind of the first one to try to pull together something resembling the Kingdom Archives. He asked the governors and many of the Hialeke to bring their existing papers to him and he began cataloging them, filing them away, and it really amassing what became the, you know, eventually the Kingdom Archives and then the modern Hawaii State Archives. And then we also did George R. Carter, who was governor after Sanford Dole. And he, he's a Judd descendant and Captain Joseph Oliver Carter's descendant. He is the one who, his collection of Hawaii Ana was unmatched at the time in the early 20th century. One of the lines from his script is he found a catalog from the book selling Mecca of London and said, found one particular note that one volume was so exceedingly where it was not in Governor Carter's library because he had to amass so much. But his, his, his Hawaii Ana collection eventually became the basis for the Mission House's archives here. So we felt it was also important to address our archives as a repository for historical documents and things like that. I'm also like to note that many of the scripts this year also mentioned the Hawaiian Historical Society, which was refounded in 1892. Mr. Bishop was part of that as well. Emma was the first female member of that as well and an early subscriber to the Historical Society. And then so we, and then also the precursor to those libraries, which is the Honolulu Library and Reading Room Association, originally founded in the 1870s with a few kind of starts and fits before that. But you know, so it's kind of really interesting to see how these, you know, really important community repositories and community spaces team to be. Well, it's part of the, the whole process there and the development of Hawaii under the monarchy. There was a real stress on education. There was a real stress on schools and libraries and, and those were fine days, I have to say. And you are immersed in that. And I imagine that over the years, your study has made you, you know, more sensitive to exactly what themes you should do going forward as it becomes more and more nuanced as you do, have you more and more under your belt? Am I right? Well, yeah, I would say, I would say so. You know, it gets, it gets interesting when it comes time to start to start putting together the next year's program, figure out what things we're going to do, who we're going to, who we're going to portray. I'd also like to note, by the way, in this, on this theme of libraries and archives that this month, October is National Archives Month. And so this is to high also highlighting, you know, archives around the country as well, this month, this particular month. So I mean, it is really interesting. And we try to, you know, give many different points of view into this. And where the, the portrayals that people were portraying actually had relationships, we try to bring that out in the scripts as well, because it helps, I think, unify the program and really bring in that, you know, these were people who knew each other, they interacted with each other, not always in the most friendly of ways.  And we tried to bring that sense of a whole cell to these portrayals in the scripts themselves. I'm thinking of a program we did a few years ago, which was so interesting. One guy, one end of the cemetery. And he was complaining that another guy had, was a dishonest businessman, and had, had, had cheated him in some way. Okay, then we, we, we marched down to the other end of the cemetery. And that very person stands up and tells us, no, no, no, it was the first guy who cheated me. And then he shooed me. And he was really an unpleasant individual. Right. Oh, son to it. Absolutely. And that's really, I think one of the things that's really unique as well, is that by using this, you know, these individual perspectives were able to get at these nuances and, and different points of view on, on the historical events of these people's day. Yeah, that's great stuff. And you know, I didn't know, but I guess, you know, there's a natural affinity and natural connection between what you're doing in this program and the Mission Houses Museum itself. You are an extension of that, or it is an extension of you, however. So what's, what's your, what's your next theme, Mike? I need to know. Very curious. Can you, can you talk about it? Actually, you've hit me at just the, usually the first week of November, is when I start thinking about the next June's program. But we will be hosting, we plan to be up with the Wahu Cemetery again, the second, third, the last three weekends of June. I'm in contact with our partners at the Wahu Cemetery about confirming some dates. But we do plan to be those last three weekends. And I haven't quite gotten to the theme next for next year yet, Jay. Okay. You'll have to watch the Mission Houses website, missionhouses.org in order to, in order to get a sense of what it's going to be. And I'll be there for sure. So, Kahana, I, I want to know, I want to talk to you about being an actor. Because, you know, there's something really special about them taking a character and living through that character. And I imagine it's great fun to have the comfort of a script and your research. And then you get up there in front of these, these groups of roughly 20 people a shot. And they come five times and hear you out. And you're looking them right in the eye. You, you are you and they are them.  What's, what's the experience like? Did you have a good time? Yeah, I mean, I, I really loved acting. And it's, it's what gives me life. And cemetery poop with theater is a very specific type of theater. And the way the scripts are written. There are moments that you very consciously break the fourth wall, just written into the script. So in those moments, I'm able to really engage with the audience in a very, very real way. So in the case of, of, of my characters for cemetery, the theater, she is speaking directly to the audience. Then she has come back from the past and is retelling her like story to, to the audience. So it's an opportunity. It is very much about engaging with the audience in very real time. It's probably you that she's dead. Not at all. And in fact, the, the first time I did cemetery football theater was another monologue for Emma Nakulina. And it was, I think the, the most intimidating thing for me it is that I'm bringing to light a person who I deeply, deeply, deeply respect. And she has, as I said earlier, she's helped shape who I am. Actually, I'll put my computer outside next to my colo because I started growing colo and native wine plants in part because of the influence that Emma has had on my life. And, you know, I think she would have been happy to see that I am making use of the water to bring light. And so, you know, I think that it is, it is the responsibility. Well, it's also an emotional experience, isn't it? I mean, for example, she knows something good for the community or something that makes her proud or happy. It makes you feel good for the community and it makes you feel proud and happy. And, and this, and Mike, this has happened to me a number of times. Sometimes there are tragedies. You know, if you lived in the 19th century, the early 20th century, people are talking about hard times and they're talking about their personal tragedies and tragedies in the community. I imagine if you're acting a character who has been there, historically been there, lived through that and sometimes not lived long enough really, you're feeling it. You're feeling the tragedy and you, aside from whether you can emote that to the audiences that listen, you probably have an emotional reaction, no? Definitely. I know I do. And it's about knowing and being true to what your character's emotional response is to that setting. So whatever my personal emotional reaction is, I need to be able to understand what that's about and if that applies to my character, or is that just me? And if it's just me, then I don't, then I, then that's, we're outside. Yeah, but you can lead your audience. They're sitting there just a few feet away, like five feet away from where you're standing. And I can tell you, Mike, that I, that I do have emotional reactions to these, to these acting presentations. I remember the Charles Reed Bishop one right, right off hand, because he was a hopeless romantic, that guy. And he was so in love with his wife. He's just a remarkable kind of romance. And, you know, you don't necessarily see people who lived in those times as romantic, but he was. He cared deeply, and I felt it. Absolutely.  And they, they had emotional responses. And, you know, affective learning is a really, I think, important tool in the museum repertoire to help connect people on a very, very basic human level to, to the past, into the people of the past. And using emotions like that and working those emotions into the scripts is something that, that we did from the very, very beginning. And it's not just the actors emotions or the portrayals emotions. It's also so that you as an audience member get to feel that along with them and have a better emotional understanding of what they went through. As you said, it's theater. And you, you do the research and the concept, conceptualization of the issues and historical environment, but you have a script writer. So how do you work together with the script writer? Because that's, that's the theater part. And you do want to evoke a response in your patrons, so to speak. How do you do that? And how much leeway do you give the script writer? Well, the current script writer, Rasa Fornie, I'm very fortunate in that she's actually acted in the program before. So she understands very well what is, what demands on the actor and what the audience is like for this program. I, I send her, actually, when I send her all the research, I send her very little guidance. And, and I want to see what she wants, what she's going to see versus what I see as a historian. And so, but once we get that first draft in, it's, we go back and forth quite a bit about what should be included and what shouldn't be and where edits have to be made, and where, you know, those emotional impact points are. You know, Kahana, I've always admired actors who can stand up there for, you know, an hour or two, or even 20 minutes and remember what to say. And some people you'll have to admit are better than others at memorizing a script that goes on for quite some time. And I'd like you to tell me whether you ever forget, how do you do that, first of all? And whether you ever forget some of the words and whether you ever ready for this? And Mike's not listening, so it's okay for you to answer me.  So I'm not talking to it, this is all not talking to it because I don't want to jinx myself. So starting with, with memorization, you know, I guess I kind of fortunate in the sense that line memorization comes relatively easy for me. My strategy is a little unusual after I've read the script and studied the storyline and done, you know, and while I am doing my, my research, I'm placing the lines in the context of that. And, and then I start working my lines from the back to the front. Because for me, if I know what it does is it, I, it helps me understand where I'm driving for my, where, where, where the endpoint is. And it helped me develop continuity because when I first started acting, I would memorize from the front to the back. And it was so choppy, it was still horrendous. So I started working from the back to the front so that I would always know where I'm headed. That's a great idea. You know, we do that on ThinkTech for every show. We have what we call a takeaway. And the takeaway for this show is we need to know more about wine history. We need to study it up close and personal. And the Mapupu dinner, you know, program helps us do that. So that's our takeaway. And we work backward. I am working backward from that now. So, so, Mike, after every, you know, after every show, event, so to speak, you get all these five groups of people back in the auditorium, what do you call an auditorium? The chapel, thank you. And, you know, after a while, you don't think of it as a chapel, you think of it as an auditorium, a learning experience. And you sit down, all the actors, including Kahana, and you and what other, other people who participate in the scriptwriter. Right. And you take questions. Can you describe how that works? Oh, yeah, no, it's a very simple Q&A, really. You know, we have our theater director, Will Howell, who's usually up there, Peggy Crock, or a longtime costumer. Will and Peggy have been with us since the beginning, since we started this program 12, 13 years ago. And then myself and then the actors. And if the scriptwriter happens to be around, yes, you know, the scriptwriter will join us for the talk back session as well. But it's, you know, it's very simple. And a lot of the questions are the same types of questions you're asking us here on this show, actually. What's the process for developing? How long does it take? How do the actors do their thing? What kind of resources do you access, you know, for developing the scripts and what that process is?  Sometimes in the audience, we have descendants of these people at the program and in the audience. Sometimes hearing this story, some of these stories about their ancestors for the first time. And that's always a very, very neat experience and unique experience to have that type of situation. That's great, you know, to be able to talk to the actors afterward like that. And it must be great for the actors to be engaged with the people who just watch them because you can see how they feel, right? The whole, the whole thing is to try to connect and hear you, you know, what these people were thinking and how they appreciated your character and presentation. You know, just at random, but I'm remembering one that affected me. A lot of them affect me. And she was a young woman who was into being a nurse. You remember this one? Yes, that'd be Mabel Smite, who was the first native Hawaiian public health nurse. Sometimes referred to as the Florence Nightingale of Hawaii. Yeah. In the early 20th century, she worked at Paloma Settlement, started the public health nursing program at UH in the 1920s or 30s. And so, yeah, she was, yeah, that was a very awesome one. I spent a lot of time at the Paloma Settlement Archives digging up stuff on how Paloma was ran and her role in it. She was Mabel Smite. The actress, you know, was the actress for that one. What was her name? Sienna Axon. Yeah. She actually also attended the Shakespeare School in London, actually, the Shakespeare Academy. They're based on her performance on our stage and the Tempest as well. And that's how we came to know her. And then we hired her to portray Mabel Smite. Well, the reason I mention it is that, and I'm sure you've had the same experience, Conor, you are the person that you act for. And the audience sees you as that person. And you're playing more than a role in a theater. You're actually taking them back. And you have a special presentation as that individual, such as the Mabel Smite one. I'm so impressed with that. I'm impressed at the time I sit in the crew under the canopy. And I'm well impressed when I go to see the aftershow in the chapel. It's great to be able to see you as an individual and connect the dots.  Mission Hasons Museum has a bunch of stuff that, even as close as a few days from now, so can you talk about all the other programs you do before next June, before the next, the Oahu cemetery program? Right. So here in October, October 20th, we are partnering up with the Hawaiian Historical Society to do a program called Archives on Court.  And we present on the history of some particular thing. Now, with it being October, we decided to go sort of the October Fest theme and sort of the alcohol history of Hawaii. We'll be this round. We're partnering with Kohana Rum and Hana Koha Brewing to get some extra special tastings and rum and beer tastings and wine tastings. In addition to the glass of wine, you get the very beginning of the program. So that's really interesting. That would be a really neat one. You know, alcohol history, I think, is something really unique here in Hawaii in particular. And then at the end of November, we also have our craft fair, the 52nd Annual Holiday Craft Fair, the oldest and finest on Oahu, as we like to say. We also host an event for the City Lights, the first Saturday of December, where you can view the parade from our grounds. And we have a couple of hours of family activities and things like that before the parade starts. And then we're also doing, we are also, that's that'll cover us through the end of the year. So I'm still planning out the 2024 calendar right now. Mike, do you like your job? I love my job. I know I really do. I mean, I've been here at Mission Allison for 15 years now, Jay.  Still 15 years later, fresh out of graduate, you know, as it was fresh out of graduate school. And we can tell, Mike, it's obvious. So Mike, will you ever take a role in the poo poo dinner? I did. I have before. Oh, was that right? Wow. I'm talking about it. Yeah, the very, very first one I acted in it. We partnered up with the Wagu Cemetery in Napoleon, the cemetery historian wrote the scripts. Will Oahu acted in that as well. Cecilia Fordham, Naila Fujeebob, and Jeff Geer, the storyteller, were the cast for that one. So I portrayed a shipwrecked sailor from 1870 who was in the rescue mission to rescue the ship and the crew of the USS Saginaw when they shipwrecked on Curia Tull. And so I did act in the very first one. And I do not have a plan to take any other roles. Okay, well, it's very hard to act in the program and manage the program at the same time. I'm glad I asked you. Yeah, if you somewhere back in the Mission House's Facebook page or our old newsletters or something, I'm pretty sure there's a picture of me in my sailor's outfit. So shipwrecked sailor, I'll never forget this conversation. Never. You and the Saginaw. So Kahana, is this a lifelong thing for you? Are you committed to a career of acting? Are you committed to a career of the Pupudir Museum at the Mission House's program? As long as they keep getting cast, I'll keep doing it. Okay, next June, my wife and I will be there. We'll be sitting in the front row.  I love that it's in character. Yeah, of course.  Okay. Kahana, oh, Mike Smollett, thank you so much for coming down. This has been a great discussion. We really appreciate it and I hope we can do it again and I hope you guys last forever, at least until the 22nd century anyway. Indeed. Well, thank you so much for having us, Jay. Thank you.


We just used our cricket to make these two porch signs. We used two different techniques and we're going to show you how we did it right now. What is up? Welcome back. You know we love porch signs. And I know you've probably seen those snowman porch signs on Pinterest. So this week we're going to make one. I don't have one yet so I want to make one for our front porch. So I'm going to make the snowman. I'm going to make a Grinch. I just saw the movie, it's in my head. I saw it on Pinterest. It's topical. We're making two signs again so you guys get to vote. Vote at the end. Vote down in the comments. Okay so you can use pallet wood to make these signs. We don't have any readily available. So we use these fence pickets from your local home improvement store. They're $1.30 each. Four of them will make a sign. Yep so we're going to need to cut four of these at 36 inches and then one more at 24 inches. All right that's it. Now we're going to tack them together. Babe you need your own wood. Just don't happen to have my cut right here. Wow look at that. No magic needed. That's my Grinch so far. Almost done. Two by four on the back for like a foot. Helps to stand up. Oh what is that? Yeah it already started so I couldn't say anything. No. I'm right back. It's a little better now. It's looking better. Now to the paint. So you've got some help that wants to help us paint. It's fine by me. Oh are they going to paint? Yeah I'm just going to do it real quick. I'm going to speed this thing up. Dry for a minute and then we'll come in with our stencils. All right our boards are dry. This is my Grinch so far. Her board is dry. Now we got our stencils cut. Got our stencils cut on the Cricut. Everything's weeded. All of my stuff's weeded. I got my transfer tape on. Okay so they're a little bit different. I didn't add a bunch of transfer tape to mine because they're big and solid pieces so I think I can peel it off and just lay down without the transfer tape.  I don't even know how you're going to be those eyes. These eyes are three layers. Well this is where I was. This is where I was brainstorming. Three layers.  So I think I'm going to have to peel and transfer and paint them one at a time and then we'll let it dry. He's like I'm going to get started on mine. Mine's an easy template. All right let's just see. I'm going to see here. Hold on. Hold on. It's like you're wrestling a flat paper over there babe. All right I got to come up with another idea. I ripped it six and a half. I wonder if I could do a printing cut. Oh a cheating cut. Printing cut. Cheating cut. You're cheating? It's a cheating cut. I think it's going to be. Go ahead babe. You can cheat and cut all you want. So if I go into my SVG file and do my layers and group the eye and flatten it then I think I can print the whole eye. I'm about to take you my secret weapon for the win. Hot glue. I don't even see you turn that on. Clever. Oh now that's where you're going to burn yourself. Here he is. Here he is. This crazy bill. All right see for the win. Leave a comment down below about who who did a better porch sign. Oh good job. You like to do it yourself. Build it yourself. Make it yourself. So do we. So if you want to see more projects and you're not yet subscribed go ahead and hit that subscribe button down below and remember to hit that bell to be notified of our new videos each week. Before you go check out one of these other videos over here over on this side. Here's a subscribe button. Other videos to watch. Subscribe button.


In the last module we had said that we are going to discuss what happens when there are finite barriers but then I had a second thought and so in this module let us see what happens or how uncertainty principle is manifested by these wave functions that we are now familiar with in particle in a box. Just to recapitulate these are the things that we have learned so far the Schrodinger equation is exactly solvable boundary conditions lead to quantization this is the most important lesson that we have got in the last 3 modules and the other useful rule of thumb that has a reason is that more nodes you have in the wave function higher is the associated energy. This is going to come handy time and again especially when we talk later about atomic and molecular wave functions. Then we have talked a little bit about eigen function of the linear momentum operator we are going to revise that once again today. And the reason why particle in a box is interesting and the reason why it is taught in chemistry is that even though it is so simple it starts as it acts as or serves as a very good first approximation for some rather complicated chemical systems as we have seen already. One more lesson that we have got is that when we have more than one dimensions then we have to perform separation of variable like what we have done between spatial and temporal variables earlier this is again going to come very handy when we talk about say hydrogen atom. Symmetry and degeneracy go hand in hand this lesson goes a long way in understanding systems like d orbitals that are degenerate in a bare metal ion but get classified into two groups intertahedral or octahedral field and split further upon things like yantela distortion. One way of thinking of it is that we are going from a more symmetric to a less symmetric system progressively and that leads to decrease in degeneracy. As we have seen in particle in two dimensional box the moment we go from a square box to a rectangular box levels that were degenerate earlier no longer remains so. Also when we talked about three dimensional box we understood that we need a four dimensional function xyz for the dimensions of the box and the dimension of the wave function itself. So how is one supposed to draw it? We have exactly the same problem later on when we talk about things like orbitals but let us wait until then. So to conclude this part of the discussion particle in a box model has provided ground for provided a testing ground for more sophisticated treatment that we are going to see once again later on when we talk about approximation methods. And the question we stopped with in the last module is that what happens if the potential barrier is finite instead of being infinite. But as I said in this module we are taking a rain check on that and rather we are going to focus on something that we all know very well but perhaps do not understand all that well the uncertainty principle. The product of uncertainties in position and momentum for example has to be greater than or equal to h cross by 2. Let us see how this is manifested nicely using the wave functions of particle in a box and then we will digress a little bit and we will talk about how we will talk a little more about some general aspects of uncertainty principle. So here goes. Now we have already learned what the expectation values of position and linear momentum are for particle in a box for nth level. For position no matter what n is the expectation value is L by 2 that means if you perform a large number of experiments we are going to find that the average of these experiments is going to lead to L by 2. Let us not forget that in each experiment we find we expect to find a different value of position. It is just that the average value is L by 2 and very soon we are going to define what average value means in a little more formal way and average value of linear momentum is 0. Does it mean that the particle is not moving? Not really. What it means is that the probability of the particle moving towards positive x direction is exactly equal to the to that of the particle moving in the negative x direction. So average value of momentum is 0. But before we go any further let us make sure that all of us are on the same page as far as the definition of average and standard deviation uncertainty these things are concerned then we are going to use them.  What is the meaning of mean value? Well we have learnt how to calculate mean value when we are in class 6 or class 7 maybe or maybe earlier but a more formal definition using probabilities is this. That mean value is summation of j qj multiplied by pj which means we perform a large number of measurements of the quantity q for each measurement we get some value. So j is the identifier of the number of measurements right for first measurement j equal to 1, second measurement j equal to 2, 12th measurement j equal to 12 and so on and so forth. So every time we get some value and then let us say we perform a large number of measurements set it to the power 10 number of measurements. Then what will happen is it is not as if for every measurement we will get a different value some values will occur more times some values will occur less times and from the number of occurrences we can figure out the probability of a particular value qj to occur. Probability if we might remember is nj divided by sum over j nj where nj is the occurrence of the jth event probability is nj number of occurrence of the jth event divided by sum over j nj. That means the total number of measurements total number of occurrences. So the average value q in angular brackets is equal to sum over j qj multiplied by pj this is exactly the same thing that we have learned in school. If you have if you make some measurement 3 times I get 5 twice I get 7 once I get 2 what is the average multiply each value by the number of occurrences sum them up and divide by the total number of occurrences it is basically the same thing that we have written here. pj then is the probability of occurrence of the jth event and it needs to say perhaps that sum over j pj has to be equal to 1 total probability must be equal to 1 and it follows quite easily you keep on adding all the probabilities you are going to get sum over j nj divided by sum over j nj which is equal to 1. Now let us define something else let us define what we have called the expectation value expectation value in quantum mechanics of some quantity a is given by integral psi star a psi a hat psi d tau so does this expression and this expression do they mean the same actually they do why because we can think that for every measurement of using an operator means using a particular measurement right doing a particular measurement for every experiment you make this operator operate on psi and you get some value so that will come as an eigenvalue equation for that measurement. So what will you be left with a j multiplied by psi star psi so we add a large number of that measurements you get an integral of this sort okay so essentially the operator operating on psi star psi that is what the average value or expectation value is this particular aspect is discussed very nicely in Atkins physical chemistry book I recommend that we go through it and get our idea clear about what expectation value is and of course if the wave function is not normalized we have to normalize it also by dividing by integral psi star psi this expression that we have written is valid only for your normalized wave function. In our assignments we do have some problems where we are required to normalize wave functions and find expectation values once we work them out I think we will be very clear about this let us move on right now we are concerned not only with the mean value but also with the uncertainty so what is the meaning of uncertainty uncertainty is represented by a statistical quantity called standard deviation but to arrive at standard deviation it is better to talk about what is called variance first variance is defined as sum over j q j minus average value of q whole square multiplied by pj and it is written as sigma q square why because ultimately we are going to work with its square root which is standard deviation so let us make sure we understand what we have written here let us forget the summation for the time being let us only focus on what is there inside the bracket let us only focus on this part q j minus q so q j minus average value of q what is that for every measurement the jth measurement how much by how much does the value differ from the average value that is q j minus mean value of q suppose I do a summation of this q j minus mean value of q what do I expect to get let us say I do something like this sum over j q j minus mod well average value of q excuse my bad handwriting especially as I am using a stylus well we can also write pj here because we are performing a large number of measurement we should write probability so what we get is the mean value of deviation what do we expect this to be for a good distribution let us say I draw something like this this is the mean value that is going to remain invariant for all measurements on x axis I have j on y axis I have q j what do I expect for one measurement I should get something like this for the next measurement I might get something like this another measurement it might be like this this one might be like this and so on and so forth for a large number of measurement q j minus average value of q for any value of j is this so it can be positive it can be negative also so this summation we can expect that it is going to be 0 for a good distribution of data that summation is going to be 0 but then that is going to be 0 for all measurements provided we have performed a large number of measurements so it is useless that is why we work with the square of it how does it help if I make a square of it then this quantity let us say square of it is here and now use bigger circles this negative quantity its square will also be positive this will be positive this one will also be positive this will also be positive I am assuming that all deviations are less than 1 this is positive this is also everything is positive so when I do this summation now what do I get I get a sum of all these positive quantities essentially the area under the curve right so that is why it is better to work with sum of squares rather than the deviations themselves let me erase this so that it looks a little neater okay now we are all set so I hope you have understood what the significance of variance is variance would give me a positive number it is a sum of positive numbers and smaller the variance better is better it is I mean thinner is the spread but then it is still the square of the deviations we want to come down to its square root to do that let us expand this here q j minus average value of q whole square is of the form of a minus b whole square that anybody can see very clearly and we know that a minus b whole square is equal to a square minus 2 a v plus b square so let us write that what will this sum be the summation over j will be summation over j q j square minus 2 into q j multiplied by average value of q plus average value of q square whole thing multiplied by pj right now the summation of a sum well summation of a linear combination let us say is a linear combination of summations that is very easily understood right so instead of writing sum over j q j square minus 2 q average value of q plus average value of q square multiplied by pj I can write it as sum over j q j square pj minus 2 sum over j q j into average value of q and when I do that average value of q is a constant quantity so that average value can come outside the summation and the third term will be again since square of average of q is a constant quantity it can come out and the third term will be square of average value of q multiplied by sum over j pj let us write it this is what it is sum over j q j square pj comes from the first term here minus 2 average value of q average value of q as we said is a constant quantity will come outside the summation sign average value of q multiplied by q j multiplied by pj plus again square of average value is also constant quantity will come outside the summation square of average values or square of means multiplied by sum over j pj now see we can simplify this without much of a hassle because we have defined already that sum over j q j pj is equal to the mean value of q so the second term immediately becomes minus 2 mean value of q multiplied by mean value of q or in other words minus 2 into square of the mean value of q what about the third term sum over j pj equal to 1 so the third term reduces to square of mean value of q what about the first term the first term is sum over j q j square pj now look at this definition of mean value of any quantity that it is sum over j q j multiplied by pj now instead of q if I wrote q square then the summation would be sum over j q j square pj and there is exactly what we have here so this turns out to be the mean of squares of q so the difference between this and this needs to be understood what we have here is square of means what we have here is mean of squares they are not one and the same it is trivial for us to work out take any set of numbers 2 3 5 6 7 so what did I eliminate 4 2 3 4 5 6 7 work out the mean and take its square on the other hand take squares of each numbers and work out the mean of these squares of numbers they are not going to be the same and that forms the basis of the definition we are heading to so now let us write the expression for sigma q square what does it reduce to the first term reduces to mean of squares of q second term reduces to minus 2 square of mean value of q third term reduces to square of mean value of q so we are going to get mean of q square minus 2 multiplied by square of mean value of q plus square of mean value of q of course minus 2 plus 1 is equal to minus 1 so this reduces to a very simple expression difference between the mean of squares and square of means that is variance standard deviation is the square root of variance so that then turns out to be square root of mean of q square minus square of mean value of q so that is what we have arrived at something that is pretty well known and one can study these from well any textbook Macquarie and Simon is a physical chemistry textbook that has discussed it in some detail so one can actually look at that so now the stage is set for us to go into the study of to understand what is the uncertainty uncertainty now means standard deviation in position what is the uncertainty in momentum linear momentum for a particle in a box I think what we will do is we will talk about uncertainty in position and then we will take a break in the next module perhaps we are going to talk about uncertainty in momentum and continue from there let us see depends entirely on how much time we spend on the next part of the discussion all right so what is uncertainty in position by the definition that we have just constructed uncertainty in position is square root of the difference between mean square position mine and square of mean position and out of these two quantities we know one already we know that the mean position which is this mean value of x for particle in a box is l by 2 that is established previously already now let us work out what is this average value of squares that will take a little bit of time and we are going to use integration in parts since we do not know who is there on the other side of the camera what is the level of mathematical preparation I am going to go slow in this part and we are going to show you every step of this actually used integration by parts already but then that time perhaps I went a little fast so let us make up for that by showing every step in this one derivation later on when we use integration by parts I am going to jump steps all right so average value of squares x square is equal to 0 to l x square multiplied by the square of psi n x dx this is from the same expectation value that we have got the operator here is x square which simply means multiply by x square is a simple as that to go further we are going to need to use the expression for the wave function and this is what it is psi n of x is equal to root over 2 by l multiplied by sine n pi x divided by l this is something that we know very well already right let us plug in that expression then this is what we get 2 by l because sine square psi square right so since it is psi square 2 by l root 2 by l multiplied by root 2 by l is 2 by l comes outside the integration integral 0 to l x square sine square n pi x divided by l dx now when we have an integration like this then usually we like to simplify it by going from the square of trigonometric term to something that does not have a square and the formula that one can use very easily in this case once again going back to class 11 mathematics is the formula that we want to use is cos of 2 theta is equal to 1 minus 2 sine square theta I think all of us would actually know this formula cos 2 theta equal to 1 minus 2 sine square theta so what is sine square theta then sine square theta is not very difficult to see is a half multiplied by 1 minus cos 2 theta so here what is theta theta is n pi x by l so by substituting we get something like this the integral becomes integral x square 1 minus cos 2 n pi x by l this was n pi x by l so 2 n pi x by l and there is a half outside that half has cancelled this 2 in the numerator so this is what we have got now let us simplify this a little bit we will write it as a linear combination of 2 integrals first one is very simple 1 by l integral x square between limit 0 and l second one is minus 1 by l integral 0 to l x square multiplied by cos 2 n pi x by l dx so what we can do is we work out the first one quickly that is very simple I do not even have to say perhaps x square integrates to give you l cube by 3 between limit 0 and l and then of course in the next step l cube by l will be written as l square so this first integral essentially becomes l square by 3 what about the second one we write the second one as minus 1 by l 2 n pi multiplied by integral 0 to l x square d dx of sin 2 n pi x by l dx now why did we do that first of all let us convince ourselves that this is correct what is d dx of sin 2 n pi x by l we expect a 2 n pi by l outside we do not have it that is why we have written l by 2 n pi that part is fine but why do we have to write it in this manner in the first place because the formula for this integration by parts is this integral well since we are doing a standard integration we have written the formula for standard integral also well not standard definite integration we have used the formula for definite integral as well integral between limits l 1 and l 2 u dv dx into dx right dv dx that is why we have to write it as dv dx u into dv dx dx is equal to product of u and v substituting the limit l 2 minus product of u and v for the limit l 1 okay minus integral l 1 to l 2 v du dx dx so as you can see we will have to do it in one more step that we will come to later on but right now what do we have the first term has become l square by 3 and using this formula we can expand the second term by using integration by parts what do we have here integral x square d dx of sin 2 n pi x by l dx so u is equal to x square v equal to sin 2 n pi x by l there is a definite recommended order of priority when one performs integration by parts the algebraic terms polynomials have highest priority for being used as u the trigonometric functions comes second that is why we have used u equal to x square and not v equal to x square all right but all that is well 11 12 11 mathematics so let us go ahead let us work out what is u v at limit l 2 minus u v at limit l 1 what is the limit l 1 0 so what is the value of u u equal to x square so for the limit l 0 this u v is going to be 0 so the second term here is going to be 0 first term is u multiplied by v for l 2 for l 2 x equal to l so x square is l square no problem with that but v is sin 2 n pi x by l that is sin 2 n pi what is that 0 so this u v at l 2 minus u v at l 1 essentially becomes 0 minus 0 what about the second integral v equal to x square and well sorry u equal to x square so du dx becomes 2 x and v is simply the sin term here so this is what we get minus 2 x sin 2 n pi x by l dx so clearly once again we have to do integration by parts okay so we try to do that before that we clean it up a little bit and we get l square by 3 plus 1 by n pi integral 0 to l x sin 2 n pi x by l dx and now it is simple because I have done it once already so I leave it for you to do it yourself and convince yourself that this is the result we get okay we will go to the next one so when we do integration by parts again this is what we get integral 0 to l x d dx cos of 2 n pi x by l dx go to the next step again this time what will happen is v is equal to a cos term right v is equal to a cos term and cos at x equal to l cos 2 n pi x by l is actually equal to 1 and x equal to l there so the first term is not 0 first term is l the second term is still 0 because you are multiplying by x which is 0 and then we get this integral cos 2 n pi x by l dx which is now everybody knows how to work this out and we will do it and we use the conditions that we have learnt already that at the boundaries the wave function is equal to 0 remembering that the wave function is essentially the sin term we get l minus 0 minus 0 inside the bracket and we get l cube by 3 minus l square by 2 n square pi square this is the what have we worked out then let us not forget that we have worked out the average value of x square what are we looking for we are looking for the uncertainty or standard deviation square root of average value of x square minus square of the average value of x this is what we are looking for so let us stop here in the next module we are going to start from here and then we will get the final expression after that we will work out the expression for the uncertainty in momentum and we will convince ourselves that their product is indeed greater than h cross pi 2


If you guys never seen a toxic couple before, y'all gon' see one today. What's going on, infinite fam? Welcome back to another video. If you guys are new to the channel, make sure you guys hit that subscribe button. Turn on your post notification bell. Leave a positive comment down below for a chance to get a post notification shout out at the end of today's video. So like I said, guys, today is your day. You guys might see a toxic couple just go at it. And that is because as you guys can tell by the title and thumbnail of the video, your boy is gonna be pretending to marry a girl just so she won't get deported. So Janice is currently in the kitchen right now. She's making some, like, overnight oats or something like that. So let me tell you guys how I plan on going about this. So I'm gonna set the camera up here in the room and I'm gonna ask Janice to come over here that I need her help. When she comes over here to find out what I need help with, I'm gonna tell her what can I wear to a wedding.  So on and so forth. And that's when I'm gonna break the news to her that I'm gonna be marrying this girl that we both know because, guys, this is a real-life thing. People actually get married to one another just so the other person doesn't get deported. It's honestly crazy. I know a couple people myself that have done that. We're not gonna mention no names, but just know that this is a real-life thing. And it's gonna be even worse that Janice is actually gonna know the person that I'm talking about that I'm going to marry. All right, guys, so enough talking. I'm pretty sure you guys get the gist of what's about to go down. This is gonna be crazy. And like I said, yeah, I might see that toxic couple today. Wait a time. Honestly, I really don't know how she might react. She can either get really angry and we can turn into that toxic couple that I said you guys might see today or she might be okay with it because I'm helping out a friend of ours. I don't know how she's gonna react. This is gonna be interesting. If you guys are ready to see her reaction, make sure you guys smash that thumbs up button.  Let's get into it. All right, guys, everything is set. Which one do you think looks better for a wedding? I personally like this one better. What do you think? Honestly, it depends what's the color scheme of the wedding. Do they have any specifics? I don't know what color scheme it is. Honestly, I'm trying to get it over with. That's it. That's mean. How's it mean? Why are you trying to get somebody's wedding over with? You're supposed to enjoy that moment. I mean, just which one do you think? I feel like this one. This one's nice. You haven't worn this one. I was seeing you in this. This is dark. I don't like... Isn't wedding supposed to be like white and like bright colors and all that? Because it's supposed to be like, I don't know. Not really. White is only for like the bride and that's pretty much it. I mean, the groom could match. Yeah, but the groom... Yeah, that's what I'm saying. But here, hold this one. The groom is supposed to be wearing black and white. So... You're not the groom. So who are you worried about wearing black and white? Yes, I am. What do you even want to talk about? I have a wedding. I'm going... Who's wedding are you going to? I just said I'm the groom. My wedding. Your wedding? So we're getting married? No, no. What do you mean no? We're not getting married. So who are you getting married? Yes. For what? Because she's going to get deported if she doesn't get married. So you know, I got a married here just in case. That's not funny. I'm not joking. You know, dang well, we know people who do this just so they don't get deported. I'm trying to help her out so she doesn't get deported. You're not being serious right now. I am being serious. Why would I... I'm not... Why would you wear a t-shirt to your wedding? This is not a t-shirt. It's a button-up. Yeah, but it's too casual for a wedding. Men wear suits in their wedding. I'm not going... No, I'm not going all out for that. That's not... For us, I'll go all out. But for that, just for her not to get deported? No. Do you feel like that if you get married to somebody else who can't get married to me, you're already married? This is such thing as a divorce. I'm just trying to get married to her so that she doesn't get deported. And in the meantime, while we're married, she can do her citizen's test, right? Become a citizen. She does that. Bye-bye, Jennifer. Divorce. I didn't even get her a ring. I didn't even get her a ring. You think this is good though? Bro, I just don't understand you. What do you mean? I'm trying to help someone else so they don't get deported. That's what I'm trying to do. You're not here. I don't... Why are you... Because she doesn't know anyone else. You know she don't have people like that. You know that. Come on. Okay, but why you... What are you... I just said she doesn't have people. Who else would do it for her? We know her personally. So who else would do it for her? Because I'm just saying. There's no other person. Who else would do it for her? Name someone and then we could go and talk to that person and say, would you want to marry her so she don't get deported? Because I don't know anyone else. It's not about that though. I can have a random person on the street be like, you want to marry her? And they'll say yes. She's not ugly. Bro, it's not even about that.  Because technically she's married to that person. It's going to be a weirdo. You don't want to... So what? It was just for the whole reason of it. It's not that big of a deal. I'm just going to marry her. We're not even... I'm still with you. I'm still living with you. Exactly. So I don't know why you try to marry somebody else.  So she doesn't have the point. I'm doing a good deed. You're not doing a good deed. Getting married to somebody is not doing a good deed. I understand your intentions behind it. The intentions behind it are good. They're not malicious or anything. And so she doesn't get deported. And like I said, she'll do her citizens to us. And then I'll just divorce her and that's it.   Okay, I'm telling you right now. It's not going to be you. Sorry. Babe, so you got to find someone. Because I already told her I'd do it. I have to find someone. You don't know who took the time to tell her. No, you're trying to take charge of my wedding now. You're trying to take charge. Is it going to be you? So if you're going to tell me I can't marry her, then you're going to have to find someone else. First of all, you need to rearrange your thoughts right now. You're going to have to find someone else to marry her. If you want to try to tell me that I can't marry her. I'm trying to do a good deed. Do good in the world. And you over here trying to prevent that. You know dang well that she don't got nobody else to do it for her. And I thought that being that she's a friend of both of ours, I could do it and you'd be okay with it.  Are you dumb? Babe, it's not. Are you really mad at this?  It's not like a real thing. It is real. Yes, but the love ain't real like us. It doesn't matter. Her and me, we're not real. Like that's what I'm saying. Legally? Legally, yes. I'm legal with it. Yes, legally, yes. But that's so she doesn't get the money. So think about this. So think about this. Legally, she has access to all of our funds as well. How, bro? What do you mean how? That's what happens in a marriage. Do you not think? Okay. All right. So that may be true. Okay. But why does that matter? But why does that matter? But why does that matter? What do you mean, girl? She's not asking a friend of that. It doesn't matter. She got her own job before that. How do you know? But how do you know? People could hear the switch up. People could be like, ooh, be marrying me. You know she's not like that. We know her for years. We know her for years. And you really think she's going to turn her back on us? It doesn't matter. I don't trust that. I really don't. I think you don't trust her. I don't, I don't know. I don't trust nobody. If we're being honest. You got something. I don't trust my trust is you and me and my mom. What if we do something different? What if I do pink? Bro, honestly, I don't think you're weird. That'd be fire. That'd be fire.  I'm really not. And then I can take her on like a sunset dinner? Ooh. Go ahead.  How about that? You're taking her. You're dragging me. I'm not dragging nothing. You're going to be here the whole step of the way. If people ask, I don't know.  What are you talking about? No. People are going to be like, oh, I thought y'all was Tia. I'm like, nah, she was just a friend the whole time. I got to play it off. I got to say she was just a friend. We was never a thing. You know, if anything, we was like friends with benefits, but we was never official. Now me and this new friend. Oh my God. You don't get to take me on a vacation to Jamaica, bought me a car. Are we just friends? Because we friends. And we're just friends with benefits? That's what friends do. That is not a friend.  I'll tell you now. I'm a real good friend. I'm marrying a friend. You're not marrying nobody. Like I said. Marry her. Watch what happens. Try it. Because you're trying me right now. Try it. I'm not trying you. Try it. I'm not trying you. Because you over here trying to be cute. Try it. Well, I'm not going to lie. I am trying to be cute. But you got to pick a shirt. You got to pick one. Keep playing with me.  Pick a shirt. I need it. I got to wear it. You're single. So choose. Make your choice wisely. Well, we ain't picking nothing. Make your choice wisely. God just told me not to. So which one? I don't care. What else?  How about this. And I'm being nice by saying that. I don't want to tell you something else. All right. Just go. If you're not going to be any help.... I'm going to go. Just go. I'm going to go. All right, go. Maybe I should text her. Are you still here? If you're not going to help me with my wedding, then... I can't.... Just go. You're not going to marry her, nobody but me. And you're not getting married.  Because you didn't let me marry her. Look at it. It's never going to be the same. what's wrong with it it's ready it's not broken and it's gonna be swollen soon whatever look I'm old saying nothing I make old's better you know that you're really I can't stand you I know all right for the fans so that is it for today's video I hope you guys enjoyed it my finger doesn't feel okay I think I gotta go put ice on it or something like that what are you laughing at I'm a crybaby you're the one crying because I wasn't gonna marry you I was gonna thinking that he wasn't gonna marry me oh by the way guys I should have said this in the beginning but um that friend that I was talking about she actually got she passed her citizen's test not too long ago I forgot to tell you guys I would only know that because she was my friend first and then Janice kind of tagged along shut up so like I said guys that is it for today's video if you guys enjoyed it make sure you guys smash that thumbs up button comment down below team Isaiah all day every day you guys already know I always come with that heat isn't that right Janice and again hater so it's not time for today's post notification shout out today's post notification shot it was that to Dave hunn shout out to you bro thank you so much for the love and support if you guys want to post notification shout out all you guys got to do is like comment share subscribe and turn your post notification bells on so you know if I would ever we post a new video and with all that being said we will catch you in the next one period


Hi everyone, Joe for jaspyscasebrakes.com coming at you with 2020 Tops Diamond Icons Baseball one box random hit break number 17 from jaspyscasebrakes.com. Big thanks all of these folks right here, really appreciate it. So here's what we're going to do. We're going to open up this fresh case, select a box, pop it open, see what hits pop out of there. I'm going to go from there. Good luck everybody. Diamond Icons has been pretty, pretty kind to us. So hopefully the trend continues here. All right, so we're going to number these as well. There's box one, two, three and four. I'm going to select a die, we're going to select that red one right there. So one, two, three, four on the dice roll, five, six, I'll just roll again. Five will roll again. It's all the way over here. Five will roll again. Come on. Four. There you go. The next time we do a one box rate, we'll go one, two, three, four, five, six. It's just the first one that gets a little complicated. All right. So let's pop this open. Book right there folks. All right, now sometimes there can be an extra hit, an extra relic. We'll usually match that up with like a veteran auto or something like that. We'll play that by ear just to make 10 spots. Okay. Here we go. Good luck. We got Masahiro Tanaka leading it off, one out of 10 red ink autograph and we'll type in the hits and the order that they're pulled unless I'm comboing it with something. We're going to have a train whistle for someone. Wow. A pitilanzo, four out of five jersey and autograph with infield dirt on there. That is sweet. So out of fives and under get the train whistle, that's going to be for somebody. We've got 17 out of 25, Anthony Rizzo and a redemption. You're due to receive a diamond icons autograph card of, they put team names on there. That's going to give it away. Right. Toronto Blue Jays. Boba Chet. Nice. Put this blank card back on top here. There's Whit Merrifield two out of 25. That's another nice patch. One autograph. We've got 10 out of 25. The Hawk, Andre Dawson. We've got Max Scherzer, silver ink autograph, four out of 25. We've got Carlton Fisk, seven out of 25. And we've got, ooh, nice, nine out of 10 red ink auto Bob Gibson. And the book is going to be a dual player, dual relic book card, relic onlys. And it's Aaron Judge on the left side, three out of 10 for the book. And Giancarlo Stanton on the right side. All right. Two big sluggers right there. All right. And there you have it. We've got one, two, three, four, five, six, seven, eight, nine, 10. Perfect. So no comboing for this particular box. We've got another box in the store right now, folks. You can buy spots straight up and you can join a few mini breaks to get into, to win spots in this as well. All right. I'm going to pause the video. When we come back, we're going to type in the hits and randomize your names, randomize the hits to match up with hopefully something cool. So we'll see you in just a second. Welcome back, folks. So I have the hits all typed in here. I have one, two, three, four, five, six, seven, eight, nine and 10. Perfect. One, two, three, four, five, six, seven, eight, nine and 10. Excellent. All right. Let's roll it. One dice roll for both lists. Roll it and randomize names and hits. Two and a four, six times each. Good luck. One, two, three, four, five and six. Patrick down a wade. Six times four of the hits. Good luck. One, two, three, four, five and six in final time. After six, we've got the hawk down a bow. All right. So Patrick, you've got the hawk, Andre Dawson, 10 out of 25. Josh with the Carlton Fisk Autograph, 7 out of 25, Darren Redding, the dual relic book, Aaron Judge, Giancarlo Stan, number three to 10, Dan, the Anthony Rizzo Autograph, 17 out of 25, Daniel with the Whit Merrifield Patch Auto 2 out of 25, Richard with the Max Scherzer Silver Ink Auto 4 out of 25. Look at this, Matt Gomes. Pete Alonzo, Patch Auto 4 out of 5. All aboard the Big Hit Express. Ryan H is a buyer, by the way, Ryan Harold. Sean, last spot mojo, Bob Gibson. Nice. Red Ink Autograph, 9 out of 10, Jesse O with the Masahiro Tanaka, Red Ink Auto out of 10, and Wade with the Beau Bachette Autograph Redemption. Sign your cards, Beau. Big thanks to everybody who got into the action. Really appreciate it. Woo. And it's nice. We've got another box in the store. It's going to need a little help with a couple mini breaks, but if we hustle, we can get that done tonight. There you go. There you have it, ladies and gentlemen. Thank you very much for watching. I'm Joe for jaskiescasebrakes.com, and I'll break with you next time. Bye-bye.


Today we're going to get started editing our movie project, but first I'd like you to know a couple of things. One, you won't learn everything because there is a lot to learn about editing and production, but you will learn enough to get you started. And two, the best way to learn more about editing and constantly improve is to go into your editing software and play, take chances and explore. Learn from other editors on YouTube and elsewhere. The more curious you are, the better video editor you will become. Second, we'll be interjecting points about engineering as we go. We don't expect you to know a lot about engineering right now, but we think it's beneficial to know how engineering affects your life and about engineering career opportunities. Also, you have a top-rated engineering program right across the street at Centaurus High School. Last week we all shared that engineering requires teamwork and motivation. Engineers have to engage in teamwork and cooperation. They have to learn from their peers and they have to contribute to the success not only of themselves, but of others and the project that they're working on. This week Sarah is going to share another two requirements of engineering, demonstrating determination and creativity. Engineering Experiences Coaches will tell you what that means to them as an engineering student at the University of Colorado and why they wanted to share engineering with you and also pursue it as a career choice for them. Believe it or not, there are a lot of engineers in atmospheric and space sciences, but also in the moviemaking world. We're bringing the two together and in time we'll share our own engineering stories, each of us.


Hey guys, welcome back to another Subaru video. It's going to be a serious this time. A serious, serious, a very serious. Guys, what I got here is an 11 WRX in blue. Well, this one is a little bit special, a little history on this thing. It was bought by a fellow, a friend of my friend, let's say five years ago, I'm not sure exactly. And it was fine, you know, it's a 2.5 engine, five speed, no issues. The guy took it to a mechanic to do his timing belt. Two days later, I'm guessing, this is like a short version of the whole story. A couple days later, the something went wrong and the car, the engine ceased. Okay, not sure what happened. Obviously the guy, whoever has done the timing job, did a shitty job. So anyways, so the guy, he didn't have any 2.5 engines at the time. So he offered a free 20x, which is a 2.0x version of the EJ, which is a Japanese made, found in foresters, in prezzas, others, whatever, other Subaru's back in Japan. It's a popular swap here in America. So this thing actually has, right now it has the 2.0x. So the guy did the swap, but the car never ran right. It was bugging down, the 2.0x has exhaust and intake and exhaust AVCS, but the car doesn't. So it's not, so this car is not equipped with exhaust AVCS. That doesn't have any, you know, provision, harness even for the exhaust AVCS, right? But the engine has, so there's just two plugs hanging down from underneath the engine, missing its AVCS. So anyways, so this car actually ended up, I first seen this about a year and a half, maybe even two years ago. The guy came here, it actually sat for a while too. I think it sat for two or three years, maybe longer, because the guy, you know, he's been spending money on it, nobody could really take care of it. And he kind of got frustrated, and you know how it goes. You put so much energy into one thing, then you kind of just, you know, I fed enough. So this actually, this car actually ended up, the previous owner brought it here with the AVCS issues, all kinds of idyll lights going inside, you know. So what I told him, you know, I can't take care of this, because, you know, I don't know enough about these swaps. You need to take it for a tune, most likely.  So I basically sent him off, kind of gave him advice and recommendations for some shops in the area. So I guess the car went back to park, being parked. So this friend of his friend buys it from him, right? At the same state that I was, didn't run right, brakes were shut. Actually was here for a brake booster, I'm gonna put up a link, reminder to yourself, link for the brake booster, if you feel like changing your brake booster, watch the video. So I did the brake booster, I also did calipers, all four calipers, tires, obviously pads, rotors, the brake booster, checked for vacuum leaks, replaced a few vacuum lines here and there. I already forgot what else I've done. Anyways, so to a, a nearly, it got actually told here the first time, to a nearly non-driveable car to what's going to be a race car. Yes, let's take a closer look. And you can start as usual underneath the hood. So voila, you can tell some of you that have the 2.5s, you can see the intercooler is different. There's the new brake booster, here the replaced vacuum lines and you can see it's got, I guess the, my body actually put this on. We got a, we're gonna replace this side, no this is actually replaced, never mind, this is replaced.  A nice, a mild, nice mild rumble to it. So you know, nothing special, right, so far. Let's start with the plans for this car. We got a lot, I mean a lot of work. An IAG oil catch can. What is this? EC, OEBC. Oh, these are the brake pads that I put on. Got a better, okay. What's in there? I think that's the fuel kit for E85. Here we have some Oakland's used coilovers, which are really good actually. We got some CV axles and we got a drive shaft here and I'm, I'm gonna tell you in a second why we need all that stuff. Got an E85 kit. We got a, we got a Subaru in here, okay. There's the drive shaft, the axles. What's this? We got TGV gas or intake gasket, TGV gasket, whatever. Rear differential gasket. What's in here? Here we have, oh it's the shifter, okay. We got a shifter here by who knows who. Blank box, that's fine. We got some Motul oil and we got some seals, more gaskets, axle seals and whatnot. And there's more coming. Why all this stuff? Because we're doing a swap. So we're gonna be swapping this already swapped engine back to 2.5, which is going to be built. Then we're also going to be swapping the five-speed transmission that's in it to a six-speed transmission that came from a legacy something from Japan, which is a mechanical DCC-D. Rear differential, we're also swapping and, you know, we need a different starter. We also need a different clutch flywheel. All the whole kit basically. Rear axles need a swap. I think the front axles stay. The drive shaft needs a swap. So the engine swap, swapping the engine, the drive shaft, there's going to be a lot of swapping going on guys. Just a swap here, swap there, you know. Oh yeah, almost forgot. Most going to be installing a or fixing, I guess. The infamous problem with the WRX is if I can find it. All right, this is the 08 to 14 WRX and STI firewall spot weld replacement install accessories kit, which means when you press the clutch or is it the brake? I guess it's both. I don't know. Could be the brake. We're going to be replacing the wrong car. We're going to be replacing the mount for the pedals. Yeah, I think it's the clutch. It's not as smooth as it should be. There's like unwanted movement. Like when you press, you know, you have the arm going up to the firewall. That's where it's attached. And supposedly the welds give up and the firewall, the whole assembly there flexes and it gives you this different weird feel and kind of a squeaky noise too. So that's going to be a fix. It's going to be much easier without the engine in, I suppose. Check out these sticky tires. Vulcan RT-660s. Also going to be installing an IEG competition oil pan. It's a necessity for this, for these engines, if you want to track your Subaru. But I kind of want to, makes me want to say something about specifically Subarus, you know. Even, you know, especially STIs, WRXs, NA even Prezas, even foresters, outbacks, all these swaps out there. I guess the legacy wagons also. Bag guys, Hawkeyes, everything, right? Almost all Subarus out there eventually get marred.  They start marring their cars. No, I may be talking to you. Listen closely. No, let's throw on a, you know, so it makes, and then the engine blows up without a tune, obviously. So if you do a mad, get a tune. Talk to your tuner. Don't put an intake on without a tune. The product, the minimal, the absolute minimal marring that you can do without a tune is a cat-back exhaust. That's it. Maybe a drop in air filter. Anything besides that, you need to go get a tune because you're slowly destroying the engine.  Okay? Now, obviously, you know, this is not a perfect car. Subarus is not perfect.  What else? You know, not just rod bearings and head gaskets. It ain't much, okay? What else is there? Oh, there's this thing, oil starvation on track days with a stock pen. Yikes. Which, you know, brings me to this car again. We're gonna do it right, guys, okay? So this gonna be an example of marring your Subaru, whatever it may be, installing the necessary parts and make it real, and make it real, excuse me, make it reliable on a track, you know, and out across. That's why you, these companies like IEG, for example, good guys, good products, competition oil pen, that's probably the first and the oil pickup tool that they sell. It's a whole kit. I think it's $700.   Your choice. That's what I'm getting at. You know, do your research. Ask people around. Watch YouTube videos. Do some more research before you start changing the blowout valve, you know, or something like that, which you don't really need. I still have my original, I think the blow-in valve, because it doesn't blow out, it blows in, and my O6 STI, stuck, stuck in the cooler. And it's, it's fine. I'm pushing, well, I don't know what I'm pushing, but it's not slow, okay? If you don't need, I mean, obviously, I still hear the noise, but it's coming out of the intake filter, which, you know, it's not as loud as you may like it, but it's fine with me, you know, why buy unnecessary parts if you don't have to, unless you like it. So guys, what was I saying? If I come across something that's difficult or different, I gotta mod something, make a bracket, whatever it may be.  I mean, remember, we're doing everything. We're doing the whole, the whole drivetrain engine transmission rear diff along with some mods. All right, guys, that's all for now. See you in the next video, where I'm sure it's not gonna be a part. See ya.