Good morning and welcome to today's products and focus US 30 there is still moving into positive territory after that very positive Friday on the back of that strong non-farm perils figure And we've also seen some very interesting moves in the US dollar overnight as well with dollar yen your dollar and cable All moving in the same direction So US 30 there is hitting 17 075 next potential resistance in 17 162 And most global equity markets have have benefited from that spike your zone Markets such as Germany 30 hasn't had such a massive spike We can see here from the from the UK one hundred We had such an aggressive sell off their last couple sessions that even though Friday was great We're moving in the right direction today Now the UK one hundred certainly looks a little bit weaker than the US 30 in the SPX 500 and when the middle of two ranges right now Next potential support at 65 19 next potential resistance 65 81 Moving on to Japan 225 Which is benefiting slightly from that resurgence in dolly and we're not quite above 110 again right now Dolly ends up 109 spot 37, but still Looking kind of interesting Probably a little bit heavy at 110 incident. Let's say we have multiple attempts to break up a little bit higher We'll come back to that in a second. By the way, Japan 225 trading between two ranges 15 828 and 59 87 the next potential Resistance and you can see it's just bouncing in between these in today's already volatile session for Japan 225 As the Chinese markets come back online after the protests last week and the Chinese holidays But the protests seem to be kind of spinning out a fair bit right now. So dollar yeah Fantastic session there on Friday getting kind of close to that resistance level 110 again in this first course already trading at the bottom of the range So far today, that's not really that that that's huge dollar index just a couple of points away from it's all time That's a multi-year high sorry But dolly in probably wants to have a retest at one 110 spot 77 But there is going to be a little bit of short-term resistance here as you can see here from the tips of the candles The close we get to 110 there is undoubted the sound pressure slow to cast it there just going into over Bot territory with the signal for sale the RSI that ship sailed already a couple sessions ago MacD had to cross over already a couple sessions ago. So there There could be a little bit of gas left in the tank depending on what US data we've got coming out So moving on to cruel West Texas which continues to confine many traders out there. Obviously the story still is a lack of demand from China Long-term slowdown in the Eurozone etc. Etc. But it's still very very volatile So we're in the military ranges the fundamental still look kind of kind of weak With that kind of pent up Lack of demand from China in the future. Sorry, but then there's also a lot of crude positives You know what you do have you know Libya you do have Iraq you do have ISIS problems and oil production You would think would be affected But the price of crude continues to get pushed down. So there's a couple of things here that might that might Be a little bit problematic for those that have a short bearish view on West Texas crude just to be aware of that's obviously the Saudis and OPEC if they have a cut in production to support Cradle prices you could see a short-term spike in this But everything else is pointing to a lot of downwards pressures So just be very wary of the fact that you know, there is obviously pressure on here $89 as an expotential support and then below that it goes out a fair bit lower But one bit of fundamentals about OPEC cutting production or Saudi Arabia cutting cutting back could cause a short-term spike So just be careful not saying that's going to happen. But that is a risk Okay, moving on to gold golds looking pretty weak as ever Cradle inventory is non-farm pearls having a big impact on the price right there You're looking at the next potential support 1180 with the next potential support after that being 1155 Higher on straight stronger US dollar is not good for gold We've had a little bit of a bounce today off quite close to potential support But the fundamentals are not in gold's favor right now your dollar hit. I'll absolutely smash there on Friday hitting a multi Year low there. I'm probably pretty sure it's actually going to weekly chart so we can see exactly what's going on there Well, not my year 2012 was the last time it was as low as that Let me get the drawing tools out here for a quick second We are looking at 120 as an expotential support now That is miles and miles away from where we are right now But the fundamentals are not very bullish you and they are a lot more bullish US dollar We've not even cut rates or done any more stimulates stimulus in the eurozone So your dollar still looks very vulnerable to one spot 26 61 and potential support our resistance Sorry, and one spot 20 is the next potential support which is miles away So GBP USD looking weak again getting hit really hard by that non-farm pearls figure. We're trading below 160 We're now looking at 159 17 and if our if we break below that our next support level If you could possibly say we could be looking at one spot 5742 as broken resistance back in the day It's probably a level worth keeping an eye on So I can my day wise nothing much coming out today fast forward on tomorrow Not a huge amount out tomorrow either going to Wednesday Not huge amount on Wednesday either so you do have quite an absence of big economic data So from a technical analysis perspective, maybe a lot of things are already in play Keep you on the chart formers ever make insides put a leg going forward and join me again tomorrow to find out what happened next


Hello and welcome to HistFest 2021, my name is Rebecca O'Deal and I'm the Director of HistFest. I'm so thankful for you all for joining us this weekend and I can hardly believe that it's nearly over. Do check out future HistFest events via the website which is www.histfest.org. For those of you joining us just for this event there are a couple of housekeeping points to note. Using the menu above you can provide feedback on the event and also donate to the British Library should you wish. The library is a charity and your support really does help to open up a world of inspiration and learning to everyone. Your feedback is also incredibly important in helping the library to plan future cultural events. You can find a tab on the menu to the bookshop where you can browse a range of titles from all of the festivals, authors and speakers. Below the video just to remind you there are social media links there should you wish to continue the conversation on other platforms after the event. If you're doing this please do use the hashtag HistFest 2021. Now without further ado I am really really excited to introduce this next event. Black tutors, activists and midwives. When historical fact meets historical fiction we have a huge panel for this session so I will list them for you now. The panellists include academic novelist and founder of the Jalak Prize Dr Sonny Singh. She's also the author of the Fantastic Hotel Arcadia. We have the author and screenwriter Katherine Johnson who has written award-winning books such as Freedom and she's also the screenwriter of an adaptation of Black Tudors. We're also joined by historian and historical consultant Dr Jacqueline Riding whose works include Peter Lu and the Jacobites film version of Peter Lu with Mike Lee and we're also joined by journalist, stage and screenwriter Juliet Jilts Romero whose latest plays are The Whip and an adaptation of The Story of Medea and last but not least the actor and author and science communicator Stephen McGahn who's most famous at the moment for starring in Call the Midwife. Enjoy. Hello and welcome. I am Sonny Singh and this is his first 2021. This is the session on Black Tudors, activists and midwives. When historical fact meets historical fiction and I am delighted today to chair the session with some of my favorite people. Some I know and some I have just read. So very quick introductions, Katherine Johnson, award-winning author and screenwriter, also writer of one of my favorite historical fiction books, The Curious Tale of Lady Carabou. Jacqueline Riding historian and art historian specializing in 18th century, Stephen McGahn, a acclaimed actor. I'm not sure if Stephen needs an introduction but nevertheless. Nevertheless. And Juliet Jilts Romero, a journalist and award-winning writer for stage and screen. Welcome everyone. I hope this will be a conversation and it will be free flowing. So I will just start with a few questions and hopefully we can just pick up and go with it.  And Katherine, I think I wanted to start with you partly because Black Tudors has so much buzz around it and yet it's walking that very fine line with the sort of anger and fury about rewriting history and, you know, how could we wipe water or is it the other way around? I don't know anymore. But tell us about it. Tell us what that process has been because it's history, it's historical fiction and now it's an adaptation. Well, yeah. I mean, it's Miranda Kaufman's book. She wrote a book called Black Tudors and what we've done with the drama, it's for TV. It's like, you know, it is the difference between Orange Juice and Sunny Delight. I am not a historian. I'm looking, we've sort of milked and pulled a drama around. We've taken some of the characters and sort of made them bigger and given them stories. But what Miranda book does is absolutely, without qualification says, there have been all sorts of people here and at this time. I mean, what's difficult is that before industrial slavery, very often if you're wealthy, people did not mention your color, your ethnicity with secondary. That was a difference. That's what's been fantastic, actually. Just exploring ideas about difference before there was industrial slavery, which codified how you thought about otherness in that way because it was a commercial thing. It's about how can we make money? How can we other this entire group of people in order to exploit them? And this happens before. And in fact, in our period, slavery exists in parts of the world, but it's like an equal opportunity thing, you know? So it's not the difference in being black was not about being lesser. I mean, they had ideas about purity and goodness. But that wasn't a blanket thing. It wasn't all black people are this or even started thinking about themselves as white at that time. That was not that income for another 150 200 years. So it was not. It's completely different. And that's been interesting. The stories, everyone, you know, stories, we all have stories. There are stories in every period of stories about, you know, it's not that's not the unusual thing. The unusual thing has been exploring a world before industrial slavery and that the sort of racism that we have today. So I mean, it's still not it's still, you know, whether or not it will get made, we have to see. But it was a real absolute joy and privilege for me. My period that I know most about is the 18th century, but I am not a historian.  And where we put our story was in 1600, the Moroccan ambassador came to London to make an alliance invited by Elizabeth I and her government because England was isolated from Europe because of the Catholicism Protestant thing. So England had no powerful friends.  Yes, they'd beaten the Spanish in the Armada, but it was all still a bit touch and go Spain was the big power. And England, a Christian country came this close to making an alliance with a Muslim country, which was unbelievable that this was, it was incredible that the Moroccan delegation, you know, that arrived in Tower Hill and rode up the strand, everybody, you know, three years later, Shakespeare wrote a fellow. It was, it was an incredible time. And that's, thank you Catherine, because it nicely leads me to, I promise this, we haven't, we haven't practised it, but it nicely leads me to the question that I want for everyone here, where everyone's been part of these amazing projects and adaptations and productions. And that approach history and historical fiction, I suppose in some ways, in these really bold, different ways. These are not the period dramas that I have to say. I have, I no longer have the ability to watch yet another Jane Austen adaptation with Pretty Frogs. I am very sorry, cancel me, but you've all done these amazing things. And Catherine, you just kind of hinted at it. How difficult is it to get these off the grounds? How difficult is it to get it made? What are some of the things that people come up with and say? What are some of the blockages then? Well, because I'm the writer, I haven't been dealing with, I've been working with a fantastic company, Silverprint, who I must say have been, I'm an old cynic, I've been a writer for half my life, more than half my life, I'm very old. And they are the first company that have been so supportive in this, unbelievably so. So I have been removed from all that. But it's happening, I mean, you look, it is happening more. I think people are looking in the wider world, they're looking for a way to tell these stories again, to give the, because there seems to be an insatiable appetite for, in this country, Tudors, Victorians and Jane Austen. And you know, so maybe it's a way of telling these stories to ourselves about ourselves. And obviously history is like science fiction, in that science fiction is a way of looking at now. And historical fiction is always dependent on when it is produced. It's now, we're just looking at now, in different frocks, whatever people say. So I think maybe that's part of it, I don't know. I can just say about television certainly in production, because I've also been involved in the production side before. And just echoing what Catherine is saying generally about the challenges that you can be removed from the challenges and certain artistic sides. But the basic things are still the same and not often thought about. But firstly, history was very expensive. It generally is a lot. So there's a budgeting constraint. If you have a national broadcaster like the BBC now, I mean, per hour it's going to cost a lot more if you are all in frocks than if you are just in a contemporary police drama. Then there's also a peculiar thing about fashions. I've pitched things before where you can have an idea for something and through no fault of your own you could have been developing this project. And they did something they think is similar the year before or it didn't make money the year before. Now you can't control those things. So those challenges, those physical challenges of catching the sort of zeitgeist to make the right drama at the right time. Historical drama goes through fashions. Remember the year of and everybody was complaining about along there are the perennials like the endless Jane Austen. But there are also periods where it was apparently all bonnet drama. It was all this drama. It was all but if you look closely it actually changes fashion. And when Colin Midwife came along it was nobody did modern history post-war history as a period drama. So for a while people wouldn't even count that because it was in a doubting world. It was in a world where you still dressed in this way and you still did things they did things like that. And so there are challenges getting these things made and convincing people that all that money that they put they put it is going to be a worthwhile reinterpretation of thinking about things like Bridget and a worthwhile new take on some idea of history that will catch some wave that will be useful to them and it does go through fashions so you have to work within those fashions. I'm going to slightly defend Pretty Frogs because Peter Lou of course is the period of Jane Austen and it starts at 1815 and then ends in 1819 but it's like Jane Austen on steroids or a parallel universe where Jane Austen sort of exists. I suppose it comes in from a Jane Austen point of view you've got the Regent himself you know the Prince Regent comes in but it's the same period but it's in a way I'd like to just highlight the fact that you know I think people might consider Peter Lou to be just a different period of history to Jane Austen but it's actually running in parallel. So it's sort of so we did have Pretty Frogs but then we also had the complete plethora you know the whole diversity of society from as I say the Prince Regent the Prime Minister you know scenes in parliament right the way through the middle class is the middling sort which sort of Jane Austen deals with or gentry and so on and then right down to the to or through to the labouring and working class and all that had to be research which is obviously it's not a normal Jane Austen drama because you do have the labouring and working class centre front and centre of the entire piece so they were elements of the periods which really required some digging into and also the period where women are radical and political which again was full square and centre uh in in the movie so uh so Jane Austen but not I think you and Catherine make great sorry I just wanted to I think you and Catherine make this same point really well which is that I never cease to be amazed by by recency bias by the the idea that people look back when they when we look at period drama is we add so much of the present day to it and our own prejudices and what you two have both done is teased out those remarkable um those those hidden parts of real history within those periods and you've brought them up but people when we started even in a 50s drama people will tell you what you're doing wrong they will tell you no no the 50s wasn't like that no no you can't no and one of the classic examples of that was I suppose when we first started was um the streets too clean we don't like the streets what are the streets there's nothing on the streets where all this sanitised working classes and actually there's a very interesting I think class point we were being criticised by by people because the working class didn't look working class enough i.e they didn't look dirty they didn't the streets didn't look dirty enough now if you go and look at photographs of the 50s of course and what the reply was well what's the litter in the 50s tell me about the litter are they mcdonald's packets are they what's and actually what you see in 50s photographs is clean streets because they had a lot more work than doing them and they had just less junk that we have so that's a tiny example but what but the point I wanted to make about that was people would look back and would tell you ordinary people in the street would say no no no no that's not and it's their idea and spin of history that then gets warped and you too certainly for me why I'm a why I'm a fan is you two are teasing out these real parts of history and giving it the variety it deserves but sometimes the prejudices of not only the public but the TV companies as well will lay over that oh of course of course yeah you know there's definitely a lot of things Juliet in I think sorry sorry Jacqueline I keep keep trying to bring up you know um partly because I think you've made some really interesting points statement about um the recency of things and how we see recent history but Juliet the Windrush Chronicles I think it just I mean you know that is that is not just history that is lived and living history in so many ways I mean we are we are still living through that awful scandal and and I want you to tell me about how or tell us all about this this what happens when you write something and produce I mean what happens with something that is so contentious it's recent history it's ongoing history and legacy and living legacy and history well my backgrounds in journalism I spent close to 19 years as a a senior reporter and um and and producer so I'm all about I love news and current affairs and I love research and I believe that in order to kind of like attack these these subjects which for some people you know that they because they don't know about it they're not ready in the history book they might feel uncomfortable with the presentation of this material you have to have tent poles if you like so um for example the the the whip um which is about the behind scenes battle for abolition in 1833 I knew that I needed to get hold of the um to you know the freedom of information about the fact that we were all paying off this massive compensation amount paid to slave owners in 1833 the modern equivalent being 20 billion everybody working up until 2015 paid off that amount which was 40 percent of the annual budget in 1833 you know this is information that you will not find in in in school books and people can get very offended by this um so and I also went to the the House of Commons Library I read Hansard from 1833 to 1834 not only to get a real grasp of the time and the language but to make sure that you know the the drama was was was fact-based I had to fictionalize my characters and it is a fine balancing act you know I have a character Lord Maybourne he's based on Lord Melbourne we've seen the controversy with um I think it was a TV series you know Queen Victoria about his alleged relationship with with with her and I didn't want any of that kind of snark around what I felt was an important storytelling it also combines the history of the mills and the way that the English working class were enslaved in 1833 so the play is about the collision of the reform act you know allowing working men to to be able to to vote um reducing the hours of children's in mail so I went to quarry bank mill um and also abolition and I got hold of the actual abolition act and then discovered that slaves were then required to work for up to seven years unpaid apprentices all of this is material that is not in the public domain you know unless you research and dig it's it's not in the school curriculum so you know you can get pushback it's it's a journey of education and I do like to approach a subject from a point of not knowing because then I think I can take an audience along with me another drama I did which was for um was a rage afford drama was about the riots of 1919 um the piece was called one hot summer demobilized black veterans were attacked in the streets this happened and it was mirrored in the united states may june 1919 you know black businesses were set up a light it started in Liverpool and and spread around the country you will not read this in in any school text what I had to do was go to the british newspaper library get hold of the the reportage starting in Liverpool with all those newspapers and national newspapers and then I interwoven um factual reportage with my fictionalized characters because again where the journalism comes in I you know I am very keen to defend anything that I write so I will establish the backs first that those those tent poles um and then you know create drama to to to draw an audience into that they can experience the reanimation of of the past and if I may I'm just going to use one more example which I absolutely love and it's from hillion mantel's wolf hall there is a scene between henry the eighth and crommel henry the eighth is having this dreadful nightmare about his his brother and he's married his his brother's wife catherine and you know he wants in in his desperate to know why he's he's remembering his brother at this particular point in his reign because his brother is dead and crommel is infighted into his chambers and has to calm him down and he touches his shoulder and crosses a line and in many ways that's the beginning of the end of of of of crommel but what I love about the scene is that you know the the the book the drama tv series play it's all based on fact but as writers we have to get into the nooks and necranies historical um fiction is about the emotional journey of our characters placed within the context of historical fact and it is a tightrope and people will come for you particularly if they don't know what you're talking about but I believe that we have the right to allow this generation and future generations to reexamine the past and drama tv fair to film I think is the most compelling way to do it no I I I agree I the the thing about the riots in 1919 which were mirrored in fact by riots in 1947 um in Liverpool as well which my father was actually in it was one of the reasons you know he just come over and um a pre-windrush but the same thing and and it was it was one of the most frightening periods of his life but that thing about you know my people like me and the future generations we are I mean I am English I'm an English person this is my history this is my children's history and it is not just oh it's not just black history it's everybody's history and I think this is really important I'm writing British history and also sonny you asked me about windrush so I was very proud to be involved in the windrush conicals series and I wrote about the depth of fire um 13 young black kids were died um despite men being seen jumping out of an austin princess car and lobbing um what looked like petrol bombs at the building the kids were blamed um for this and when I wrote it a lot of people they thanked me for it and because they didn't know the history this was 1981 it's not that that long ago this was shocking to me but also it's it's galvanizing to be able to bring a story like that because you know it led to the largest or rather most contemporary black march from deptford to high park thousands bust in from across the country to take part in that because we had no black MPs at the time we had no political representation and the politicians were not talking about the children who died in that fire several months later we then had the the the the the brickston rights which spread around the country and then by 87 we had the election which brought in our first black MPs but a lot of that political will came out of the fact that we were not represented and our voice and our stories were not being told can I go back to something that pick up on something that juliet has said because I think what connects everything that we're doing whether we're doing a drama or um tv film or indeed writing a history book which would seem to be sort of more traditional history is storytelling and that's that's the key to it and as a historian and art historian who has written books of history and art history I learned a massive amount about storytelling from working with mightly in particular yeah so I worked on mr turner and then straight into peter lou and and I think that's what unites all of it and I think that as a historian I would beg my fellow historians um to not be sniffy about you know the so-called you know uh authenticity or not of drama uh tv film and so on but to tune into what's great always great about it which is the storytelling it's about character dialogue narrative etc etc historians who do exactly that can learn a lot about the way that dramatists um historical fiction authors and so on actually move the narrative on you know to an extent even historians edit history because you can't cover everything um so you pick and choose your cast which is how I now view it I choose my cast um you know you get banged for your buck with a particular individual who appears in various places like this book I'm writing at the moment on on Hogarth William Hogarth biography I haven't talked about all the people he's ever met I've got a reduced cast and I've created a narrative my narrative of Hogarth's life now it's not going to be everyone's narrative of Hogarth's life I'm rather hoping somebody somewhere big hint might transfer it to a sort of tv or film but in a way that's that's that's my experience has been working with Mike and other directors and writers and professionals in tv and film and so on I've picked up little tips for how I can do my my other day job which is as a as an author of history and art history so I just wanted to register that authenticity is great but if you haven't got good characters good dialogue and good narrative you know it doesn't matter what you're producing I personally I switch off to add a fan letter to you all for that I mean basically I think that I'm optimistic when when I come in my in my sort of from the lovely world and when we see the other side of it the consultants like yourself yet actually the historians I talk to in the right is is you get it then that actually a lot of you out there are doing great work and you you get on to set and you understand those distinctions and good scientists too do consulting on the scientific aspects of drama they can do science fiction films but they get it they get what the demands of storytelling are so so I'm more optimistic I think some historians don't and some people working in the ivory towers though but a lot of people really do and and just to pick up on your other point very quickly is is that I myself before when I've written about this I'm fascinated by this authenticity thing and I make a distinction between what are what are called accuracy and authenticity I think you need a minimum and sufficient degree of accuracy historical accuracy clinical accuracy if you're making a medical drama beyond that as a starting point the rest is I think the word you used is authenticity and so you create the narrative world which feels authentic which is authentic enough which people can feel happy that they have enough fact or ten poles as you called it before Juliet where they know they've got enough and then they're okay with suspension of disbelief they're okay being taken to a world which might have imagination in it that's okay that's good for history that's good for drama you know and I think that guys like you working in that world they're doing a fantastic job I have to say I think Mike famously says that this is a movie not a documentary so that's he that summarizes exactly what you've just said yeah just to I mean we you know as dramatists we're in the business of understanding the extremes of human behavior and that's why we do you know once we have our temples we then have to stray within you know from certain boundaries to be able to bring an audience with us the first play that I wrote at the gates of Gaza which was about the British West Indies regiment fighting in what was Palestine read like a panorama script and I had to learn you know and that that was the wonderful journey for me as a writer I had to learn about character and how character drives plot and it's been a fantastic journey so I'm very character driven which is which as it is as it should be I was very overwhelmed by the history I was researching at the time I think that's why I kind of ended up with something quite dry I mean I went to the Imperial War Museum I was reading the diaries of men who died in the field and it's it was as I said it was overwhelming but there comes a point where the dramatist has to have the courage to absorb all of that and then just have the freedom to reimagine and also write from a point of well for me sometimes it's it's it's it's rage I used to get very frustrated by the fact that everyone knows about ANZACs everyone knows about the Australian support in the First World War the New Zealanders and yet we have you know black men from the Caribbean and from Africa whose histories are ignored they weren't allowed to march in the victory parades after the First World War so people are wondering what are they doing in the country so I get very upset about these things it's like it's like a complete erasure and again this is why as dramatists we offer the opportunity to re-examine and to have to look with fresh eyes at the past because it informs our present. Can I say something I think for me what's most important is to make history and the idea of history accessible you you know I have no qualifications I don't you know I didn't even I don't even have a GCSE or an O level because I was so rubbish and it's not that it's about making these stories accessible to as many people as possible I mean I come from a background for writing for young people as well and and I think that the best drama does really difficult interesting deep stuff but in a way that everybody can access so I think that's important it's not history isn't this it's not it's not it's for everyone it's not just for people who are used to reading very dense books although I do like books but it's it's about dense ones I know it's accessible and especially they line on your foot I just wanted again to go back to something that Juliet said and Catherine and Stephen have covered it to an extent just as a historian you know I think the importance is that you read that dense book Catherine, Stephen and Juliet and then therefore you're in a position of knowledge and then it's up to you what you do with it you know because you're the creatives you're you know this is again what I learned at the knee of the master uh Mike Lee is that my job onset or during rehearsals or in the improvisations is to give him as far as we know the information what actually happened or may have happened in 1819 on St Peter's Field etc and Mike says thank you very much that's great I'm now going to do something completely different but at least I know what did happen or may have happened so he makes a creative decision based on knowledge yeah and that's whether historians that's why we're there we're there to assist and to hopefully inspire but also just to stand back and go your job it's over to you I've done my bit I'll have that as my motto creative decisions based on knowledge yeah thank you and also I'm sorry I think what you do is collaborative too I think it's wonderful at its best sometimes I know I've watched directors turning to to people like you and say look okay we want to achieve this how would they have done to give me the answers not simply so I can either choose them or discard them or something else but enable me to make this beat of drama work so if we can't make it work in this way because that didn't actually happen like that if if I you know when we work I'm watching those collaborations sometimes becomes something real involving stakeholder people in history like in my sort of modern historical drama you bring stakeholders in from the time and say no what names did they used to use how did they used to do this okay we can't do it like that you guys know to work with us walk alongside us and work and then you will often find something even better because and it's based on a real historical framework but it was different to what you maybe originally set out to do but it works beautifully because it fulfills those needs of drama as well I think that particularly works with something like language because you know my my bible when I'm on set and with going through the dialogue because as you know with Mike it's improvised and then honed and and sort of sharpened and so on as you're doing the improvisations my bible is the Oxford English Dictionary because sometimes you can get a gem of a word that actually has a kind of correspondence to modern language but allows you to at that point root it in the period but will be understandable to the audience my favorite one was bullscutter which is a Lancastrian dialect word this is for Peter Lou if you have watched it again watch out for bullscutter originally obviously the the actress said another word and I said I don't think we can use that word but I'll try and find you something that's more accurate or closer to the period to the dialect and lo and behold there was bullscutter it just means rubbish it doesn't mean you know what you think it might mean but the audience was listening and think I know what she's talking about I think uh but it's an authentic word it's something so it's those little bits where history can enliven and add another layer and as Stephen says it might even be the inspiration it might be the answer to something that everyone's been searching for guess what history might actually have the answer it's not always the case but in other in other circumstances it certainly is I'm going to pull out something from things that all of you have said and I'm really fascinated by partly because I'm working on a on an idea that's going to have to walk that fine line where what are some of the ethical questions what are some of the boundaries because I think it's a really interesting one to think about how you know yes it's a creative decision based on knowledge as you said but are there ethical lines are there ethical ways of making that creative decision based on knowledge because of course a creative could as you said you know completely choose to ignore the knowledge um and you know my you know my personal bugbear is very similar to Juliet's you know the fact that you know this country forgets that no it wasn't the English troops that won the Second World War it wasn't even Britain that won you know the Second World War um and and so it really it variates me but and yet you see you know these wonderful period dramas massive levels of historians very very knowledgeable some of my favorite historians working on those productions as consultants and then out comes the the product and they've been entirely ignored by the creative what are some of those lines what are some of those those issues that we need to be maybe creatives need to be aware of not so much as historians I think I've been lucky with my creatives so I can make that statement I just I feel quite horrified at the idea that you'd be ignored completely it does beg the question why did you bring the historians in in the first place and there's all sorts of reasons for that presumably but I'll hand over to the creatives but yeah I think I've been lucky do you want to go Juliet sorry you had your mouth um I was just kind of like thinking that I mean I think two things one of the reasons why I work so hard at this is because as a black woman you know there is pushback about someone like myself apparently trampling over British history um so I am it's not just about being careful it's about proving yeah I understand the history um and that it's indisputable yeah um because as I said you know it's like I I'm I'm now doing the the kind of dramas that is traditionally in the um sphere of you know white male writers and people are uncomfortable with that I really think that truth is important and we're living in a post-truth world and just listening to your questions and that's what I was kind of thinking where my mouth was slightly open I think was that there was a film U-571 I don't know whether um people remember it and it was about so that these these British sub-mariners boarded this German U-boat led by this this man David Baum and they captured the enigma machine and turned the course of of of the war I mean incredible bravery and then Hollywood comes along and it does its own version starring I think John Bon Jovi, Matthew Mohamed and Harvey Kytel and it's an American um group of sub-mariners who board this this boat and of course it's lavish drama that was made and I was profoundly offended by this now to an American audience you know they they they probably don't really care and for Hollywood once it makes a lot of money but I just think it's it's wrong you know to so um dismiss the historical fact of it and I don't know if the writer I should research this if the writer was British or or or American but personally I don't think I could have stuck with a project like that because it's so untruthful yeah in that instance that's fiction not historical fiction in my opinion so you know history I mean where is the history if you get that basic fact wrong or you've you know decided to ignore it it just yeah that that feels that's fiction yeah there is a constant tension between what we would like to be out there and seen by as many people as possible and private enterprise and Hollywood and fine and we cannot I'm probably reasonably confident in saying that the gathered group here could probably not as individuals go out and finance our entire on series and the minute whether you want to make a record you find the minute you go out and you're asking for millions of pounds to make drama there is a tension there is a tension with the producers there is a tension for the markets they wish to sell to and we cannot ignore that now I'm saying we cannot ignore that I'm saying we should push on it I'm saying that absolutely we should push through aware that that there will always be some form of pushback somewhere from some people who want who have their own agendas for for sales and and whatever it's always a problem and I think that sometimes I've heard of people who've left productions because they've borne no relation to the original ideas I've heard that time and time again where they just go off at a tangent and films particularly are very strange beasts they take a long time to get made and they're they're very strange at least television has a sort of especially in Britain it has a kind of a a certain predictability where you get to something green lit and you kind of it has a you know a thing but still it has a said earlier it has tastes it has biases I want to say something about the ethic thing which I know because I have turned down certain work because it's it's also a difference between TV and books so it's really difficult I think if the uh protagonist if if the people who lived through it are still here and I'm talking I'm thinking about certain uh it really important things in British history uh I think that's a massive responsibility for one writer and obviously it's good that TV can deal with you know is a collaborative form film it's a collaborative form but that can mean that things get lost because you are constantly aware that the amount of money things cost that the vision can get can change which it does and in some cases that's always for the better and the difference then with books when you book you have if you write a book obviously it's a much cheaper thing you can just write it but then there's another problem which if you write a book about somebody who is important in history but has massive flaws especially when you're writing for young people the pressure is on to present this person as present their story as oh it's lovely when you want to say actually this person is incredibly problematic you know and this is something it's something that with one book at the moment I'm struggling with a lot because this person is incredibly problematic and there are so few black Britons of note obviously they're quite a lot that we know nothing about but you know and and I think it's important that not not everybody is just perfect and because there's this plethora of white people in history who are not perfect there's a pressure to say oh yeah but that person because he exists because we know about him can he please knock the sides off I'd like to talk in response to that about I don't know if you've seen Mr Turner but that was obviously a film about one of the greatest artists he's ever lived as far as I'm concerned but there was contradictions and problematic elements of his character particularly in his relationship with women and the way he treated women and that he's in that's in part of the historical record but try and tease that out of some of the biographies that I had to read before we actually started working on it you know they were somewhat sort of pushed back or sort of laughed about and its seduction not you know and all this sort of thing and that the language the particular language around in this instance Turner and his his women and the way he removed his children from his will and stuff like that and so if you've seen Mr Turner you know his relationship with women is absolutely full square you know it's it's there was very little information on the women and that all had to be teased out and and what little we had then had to be in a creative way formed into characters and narrative and and so on and so forth so there's an example of a a problem or a kind of contradiction between you know the sensitivity of the artist of the of the painter in the same body having somebody who's very dismissive or might might seem to according to the historical record might seem to treat the unsensitive to other human beings particularly women and so on so I think I'm particularly of the many things I'm proud of with Mr Turner is the way that it took the waltz and all it said the contradictions we can't explain them because guess what this human beings we're contradictory and that's part of the joy of working on as I say working on William Hogarth what a contradictory character he is and the contradictions is where the color you know the life liveliness of the life comes from otherwise it would be a very dull story if if they were all as as Catherine said it all went nicely and sweetly and there was no trauma or problems in the character or difficulties or contradictions which I think just we've just been given the five minute warning but I wanted Juliet I wanted to bring you in partly for something that that Catherine has started to bring up and this this kind of a pressure and I know I feel that this um you know when we're writing stories about people who aren't often written about about groups of people it's no longer just a character it's in somehow you know there there are many many many white characters and they can be good or bad and evil and often in the same piece of work but when there's so few um movies or books or tv series in my case about um South Asians you know there's there's a real real need to kind of go you know should I be making them better maybe I you know should they be nicer you know should they go you know clean do I should I talk about the the terrible stuff because I just want to write a character what do you make of that Juliet how do you how do you I tied myself in knots um my first draft about the gates of Gaza because I was very uncomfortable accessing the the extremes of behavior of black men at war and fortunately you know I was able to throw the research over my shoulder just think these are people they're fascinating and to it's what I call the the Sidney Poitier syndrome he played wonderful noble characters you know but that had its place you know I think that we do need and I think Mr. Turner was superb by the way it's about you know accessing people from a 360 degree angle and I think that's what I've learned as a dramatist I don't feel the need to just put people on a platform because you know of the history is is is so noble um I think that if you're going to carry an audience they have to be able to walk in in the shoes of your characters they need to see their humanity at all peaks um but it's it was a real journey you know um I wanted to to to write this glorious piece about the British West Indies Regiment and I had to forget that you know I was writing a piece about men at war yeah and now I'm going to try and give you one last question for all of you what's next what's coming up give us a taster before we go very quickly 1966 call the midwife out on tv next week um England wins the World Cup but underneath the surface there is darkness as well as light okay I'm doing something contemporary I'm looking at criminal justice at the moment but um I also have two other historical projects but I'm not allowed to talk about the record so watch this space I'm doing an illustrated history of the black presence with fiction and non-fiction it's like it's going to be the sort of book I would have liked with nice pictures for Walker for children and I am doing a lot of other things I've got well I've mentioned it already William Hogarth it's Hogarth life in progress which comes out on the 1st of July um I'm working on a film about a boxer early late 18th early 19th century pugilist prize fighter um and I've got another project which is about the criminal justice system in the 18th century but I can't really talk about it I'll read that wow well um thank you all of you um we could be here for a very long time I my list of questions is not even quarter way through but um thank you very much this has been absolutely wonderful and enlightening and educational for me I've got lots of ideas of what to what to take to my own work so um thank you very much thank you sunny lovely to meet everybody yeah lovely to meet you all thank you thank you to you our audience for joining us today and a special thanks to today's panelists as well please do remember to send feedback if you can and also check out the British Library's what's on pages to see what other events are coming up please also check out HISTFEST's website as well www.histfest.org thank you


Well hello hello and welcome back to my channel. Today we're going to do a plan with me, but before I do that, let's switch out the cover. This is from Erin Condren, and I actually got this the other day, but I just haven't changed it out yet. So it's not fall anymore. It is definitely winter time. So let's do this. I, as you can see, don't really enjoy personalization on my covers.  Let's see here. Yep, this is, no, this is the back cover. I don't know. It really, right, no. Is this the front cover? I don't really care. It doesn't matter. It all looks the same. So replacing your covers is pretty easy. Just kind of snap them back in. And in the front, I have a little sticky note thing that also clips in, which is kind of nice. So same with the back cover. Just snap her out. And then I like to try to snap in the corners first. Come on. Get a couple teeth in on each side. And that just makes it a little bit easier to just kind of, you know, push it with, push it with your thumbs. All right. Look, it's the holidays now. Check it out. So I already pulled out some of the washi that I wanted to use. And obviously this didn't really go with the theme. So we're, we switched that out. So that's good. And I honestly didn't plan it all in my planner last weekend. I like to be completely honest. So we're going to skip by that. I feel like a planner failure, but that's okay. So this is this week as of right now, but we're going to put in lots and lots of fun things. I think for the very top, I'm going to use this. These are some really pretty little lights that I thought would be kind of cute. And there's lots and lots of crazy things happening this week. My brother's coming into town. I'm hosting a gathering. I might be hosting another gathering on Christmas Day that has yet to be determined as of right now. So not really 100% sure on that one, but that's all right. I got it. I got enough food if I need to do that. So that's good. And I need to go grocery shopping or actual shopping at like a bunch of different places this week because I'm hosting Christmas weekend. And then also my brother is going to be here for the duration of the weekend. But he should be leaving I think on Christmas Day. But yeah, so we're going to have some fun, y'all. We're going to have some fun this week. And I'm actually going to bake a cake. I know that's crazy, right? Because I don't bake nothing. But I'm going to do it. It's going to be hopefully good. I mean, I don't know. We'll see. But I hope it turns out okay. I'm going to film it in the vlog. So you guys will see. Oh my gosh. Can't talk and do washi at the same time. All right. There we go. There we go. And all right, so that's done. I'm going to put in the vlog. I'm still doing vlogmas. So that is going to go in right at the top there. There we go. There's some cute little cameras as well. And these are from these last two sheets are from Chrissy and Designs. If you are all interested and I found this sheet of stickers from Coffee Big Planner. I totally forgot that I had these. So we are going to use some of these today to indicate like work and stuff. So yeah. And then also for work, I'm going to put in this. This is like a metallic little kind of candy cane stripe. And this week there's no Saturday because it is Christmas Eve. So that's kind of nice. And I work 8 to 4.30, Monday through Friday. So we'll put that in. And I actually have like a holiday event at work on Thursday, the 21st. So I'll put that information in as well. If future Emily can remember, which hopefully she can because I've been forgetting a lot of things lately. And I think it's because I'm like hosting something, which I'm not used to hosting anything. I'm used to just like throwing on something decent to wear and like going somewhere else for the holidays. So, but it's been kind of fun.  Because I've been in an apartment and I've lived like out of state and, you know, I haven't really had any reason to decorate. So, yeah. But so I've been finding lots of things that I don't have. So I'm like, hmm, I need to make a target list. So I've been doing a lot of shopping this year. So I'm hoping next year I won't do the same amount of shopping for like random things that I'll have pretty much everything. But you know me, I'll make a list at the end of this holiday season. And if I'm missing something, I can always go in, get it, you know. So, yeah, here is my like holiday washi for working. And then these are from Coffee Break Planner. And here are my little desks and also my work. So this actually comes, the desks and work come with these half boxes as well as these little shelves in the, I think it's called the Emily's Home and Office Bundle or the Emily's Office and Home Bundle. I can, I like always invert the two words, but Coffee Break Planner's link will be below. And there's also a 20% off coupon code if you guys are interested. So just good to know y'all, good to know. So I'm just going to use a couple of just random ones. So I'm going to try to like variegate them a little bit. So I'm going to do like red, green, I don't know. I'll do something. I don't really know what I'm, I don't know what I'm doing today, you guys. I'm kind of all over the board. This is the third video, like sit down video I filmed for the day. I don't know what any of those are going to be up by the way. Oh, why did I pull this money off? I think I'm so used to like working on Saturdays now that I'm just like, oh, I got to pull out that many. Nope, didn't need to do that. Wait, so I'm going to do that one. Go with this one and this one. And I'll go with that one too. Oogie. Oh my gosh. Seriously. It's like, no, not doing that. Here we go. Wow. Some days you guys, some days I feel like I'm losing it. All right. So I'm going to frame this a little bit differently. So we're going to put these ones on the ends. This is going to drive me nuts if they're like not necessarily in order, but like if they aren't in some sort of like cohesive-y kind of, cohesive-y kind of a pattern. So then I'm going to put the green ones in next. And then the red one will be on Wednesday. Okay. Yeah. Cool. I like that. Wonderful. That looks amazing. All right. So let's put in my garbage that goes there. And then it's actually recycling day two. So I want to put that there. I know that these have actually like recycling ones on there, but to be honest, I don't like, I don't like see them right. So I like to have a little extra sticker. And this is from plan to plan sticker co. And another plan to plan sticker co right here. Clean fridge. Put that right here.  So that's always good. Let's do some damn plant. All right. So we'll do it at the very beginning of the week. And then we'll do one kind of more towards the end of the week. All right. That looks good to me. I have to call in a refill tomorrow or not tomorrow. This is actually, yeah. Oh no, it is. What day is it? It's actually Sunday, but tomorrow is Monday. I need to call in a refill for my dog's prescription. So I need to do that. And then Friday night. Oh, is it going to be laundry? I'm not sure. You know, I'm thinking Sunday is going to be laundry day for me. I know that's super strange, but there's too much going on. And I don't think I'm going to get it all done. So I think on Sunday that's going to be my laundry day for the week. All right. And then I'm like running out of these little guys. These are like my most favorite like little farmers market boxes from Coffee Break Planner. I have like all the shopping to do you guys. I need to go to Cub and I need to go to Aldi. So I'm going to write those in on here. And I think I'm going to go Monday night. I'm going to go to Aldi first because honestly, sometimes Aldi doesn't have everything I'm looking for. But then I'll go to Cub afterwards, which is like our local like big chain of grocery store. So I need to do that. I also need to go to Target at some point, but I don't know when that's going to be, but probably Monday or Tuesday. I'm not really sure. And then the bro is coming. And I think he might be coming on Thursday or Friday. I'm just going to put a little strip of washi down here because I don't really know when he's coming. He's either coming on Thursday night, Friday afternoon, or Friday night. I don't know yet. Like as of filming this, I have no idea when he's coming. So we're just going to go like this. This is just going to be just fine. And that can just stay right there. I'm going to use something a little bit different. All right. So here's one of my Chrissy hand to science binders. Oh, goodness. I'm going to use... I'm looking for like a really specific little event sticker that they want to use. Hmm. Oh, here we go. I'm looking for some of the smaller ones. Come on.  Huzzah! Here they are. Ooh. Do I have like a red or a green? Ooh, I do. I do. I do. I do. Yay. All right. So I'm going to put this right here. Perfect. And then to denote the baby bro, I'm going to put one of these in because he's in the military, but he's also a civilian that works for the military. But I mean, this visit has nothing to do with the military. It's just kind of looks like my brother. So we're going to go with it. So my brother's in Minnesota right here. So that's good. And then, okay. So I need to do a bunch of meal prep on Wednesday and Friday and Saturday. So I need to find my Aaron Condren stickers. Okay. I think I found kind of what I'm looking for. Let's take a look here. All right. I'm like all over the place here.  Like I feel the same way. I'm feeling the same way. And I think I'm going to use this one right here, rum cake because the rum cake is what I am making. I'm going to use this little guy here and the little yum because it's so good, you guys. Like it's so good. Okay. And then Wednesday night, I need to prep taco dip. So that's happening. But let's see here. Yeah, let's do that. I'm going to put this little prep ahead sticker. That's really what I'm doing. So that needs to happen that night. And then Thursday, we are having a party at the office and we're doing a little gift exchange. So that should be fun. All right. So we're going to have our office party in the afternoon on Thursday. Put that like right there.  So that's what we're going to do. It's going to be amazing. I'm excited. I'm going to put a little reminder to myself with a little present there because I need to make sure to bring my present with me on Thursday when I get to the office. Okay. So we've got most of the food stuff in. I'm probably going to go to Target one of these days, but my prepping is done here and then I have to cook and then we're having like our party party Saturday night. So let's put that in. All right. So the morning and early afternoon are basically going to be meal prep for Saturday because that's the night that I am hosting. So we'll put in meal prepping. Okay. So we'll put in a little meal prep right there. Use this little pot holder because trust me, I'm going to need it. And yeah, I think down here, I don't know what I'm going to put for down there. My brother and I, I think the plan is like we don't get to actually see each other that often. I know that he lives closer now that he lives in Iowa, but we don't ever get to see each other. So I think we're going to spend the day together on Christmas Eve. I'm not really sure 100% if that is the plan, but I'm pretty sure that's the plan. So I'm just going to put this in because I don't really know what we're going to do. We might go see a movie. We might just hang out. I mean, I don't know. So that'll be just fine by me. You should probably put like a little mug up here because my brother needs his coffee that day and I need my tea as always. All right. And I think at around 6pm is when we're going to do dinner. So I'll put that in and then we'll open gifts and have hot chocolate and just hang out. I know this is like not in the right order, but it doesn't really matter because I'm not really doing anything between those times.  And then I'm going to use one of these. Just like little wreath because it's cute, you know, it's cute. Just kind of fills up the space a little bit better. So that is the plan as of right now. I don't know if I have any other plans. I'm sure I do, but I will fill them in as I go. And as you can tell, I have a very busy week because I never have this busy of a week. You guys, this is an exciting time. It's super busy, but it's fun. And I'm excited to see everybody and excited to have my brother in town hanging out with me.  And yeah, that's going to be it. I hope you guys enjoyed the video. If you did, feel free to give it a good old thumbs up. And you can also subscribe as well. Make sure to stay tuned because I will be back with more fun content coming up very soon. Thanks for watching you guys. Bye.


Salutan al-chi-o-i yeni wud-i yi-i-i-i-i-o Ka-i chi-nok-ti-mi simple-e-vols prov-v-i-si-vin Per-i-g-i-s d-t-i-go-t-e-mi-a-cina-stud-ado Nye, nye, nye, nye Mi-e-e-c-n-e-p-o-ves pron-on-si-l Esper-ant-on-don Ka-i fak-t-e-ti-o-es-su-s pro-ble-mo last-a-tempe Ch-a-r mi-mute-st-ud-is l-acina-n Ka-i sam-tempe mi-pr-o-vse-s-s-pr-ant-on and the English and my mind thinks that you can atleast select one language during one day because at the moment you speak three languages in one day because of course I teach different people about the English because that's part of my work and then I speak English with my wife and then I start using Chinese with my parents so my mind simply breaks and of course at the same time Chinese people, all over the world why not? so yes, I simply want to give you a guide so first, I intend to often do guides about my Chinese studies because in fact that's one of my favorite things at the moment I really like to study it and I also think well maybe I can start studying another language and then I just beat myself no, you can't do that because at the moment you have another language and then I think well well, I like to study languages so I want to give you a guide I already progress a lot so when I started to study Chinese, I did the same thing what I did when I started to study Esperanto I didn't just study words and random phrases in the books, atleast when I found out that I wanted to say something in Chinese I simply turned to my wife or I turned to the internet when she wasn't there and I found out how to say that right phrase and for example a week ago I wanted to say did you see my post phone and I didn't know how to say that so I turned to my wife and I asked and she gave me the right phrase and after that I put it in my program I have a program which I myself learned and I use it to study Chinese don't ask it because it is very difficult to see it is created only for me and you can't understand it and I don't want to make a document for it but I created a program to test me and I put it in and the right phrase is a song or a show and that I can translate to Esperanto like I can't translate it it is really difficult I saw my post phone that was the right translation but that doesn't matter and I found out how to say that and I put it in my program and my program simply has the phrase and it and automatically changes the nouns of the phrase and so on because I can practice about this phrase and I will do that now for maybe 50 phrases in total because I am very tired and I saw that the teacher studied Chinese and whenever I read the phrase which I found that I needed to speak with my parents so for example I read that and after that I started to learn how to say words in the house and when I want to learn that I need to know how to say those words and also I need to know how to say those words so for example I now know how to say the most part of the place in the house the most part of the most important words in the house and also basic phrases about where to find things so for example and I want to give you an example now because Chinese is very similar to English and more similar to Esperanto so for example in English and in Esperanto you say my phone is located on the table or my phone is on the table on the table the first word on is the first the first of the noun and excuse me my cat is in the window the first of the noun I am now speaking to the camera can't you see that? so yes that word the word is found before the noun but in Chinese it is found after the noun so I say if I write a translation my phone is on the table my phone is on the table my phone is on the table my phone is on the table my phone is on the table so for example in Esperanto my phone is on the table in Chinese it is the first of the noun the second of the noun the third of the noun and this directly translates translates how my phone is on the table so it is and I just want to show you this because it is actually important when you want to learn a language you always have to learn things in context so for example if I just want to sit here and translate that idea so I have to first say it is here and then I have to say the table and then I have to say the word it all makes me crazy I can't think of that but when I practice my first word and always in context I just try to listen to that word I want to show you feel a little bit it is easy it is not as easy as Esperanto in English because I don't speak that much of the Chinese but now I can say that word I can say that I find it on the table on the table, on the table next to the table, outside the table and I can say where it is in the rooms whether it is in the, I suppose the living room my sleeping room the necessary it is not easy because I think to put Chinese because for two or three hours I have studied Chinese and probably you think that it is foreign but I like to do that and I can say that and I just want to to share that with you because I am excited about that that I can start studying new language and I intend that now I will talk about a new topic in Chinese about that video blog of course the new topic is about something specific that I previously exerted myself about because I of course can't talk about all the things but I just want to do that and that is all and I hope that this video blog is not too new so if you like it like it, share it with me subscribe to my channel if you are not yet subscribed and I will see you all in the next video and if you are not there, I will find you and I will beat your face and then your right hand I don't know why right hand but I will simply choose it and as always I want to thank my donors for Patreon I can't thank them they are the best of this channel and I am just now a donor Andrew Timp, welcome back Chris Perdue, Craig Robertson, GB Ante www.finefine.it Jacob, James Harland, Jay Z. Knuckles La Stranga, Lex de Olivier Ludisto, Margarita Kilpac Robert Nielsen, Robert Port Sarah S.C. Shane Power Tommy Linsley, Andy Mantinas Yu Nui Hu


What's going on guys, it's your boy the E.P.J. here today with another Destiny video and in today's video we have top 5 trials of a size plays of the week. The clips submit this week are absolutely epic and I want to thank each and every one of you guys for submitting. If you guys do enjoy the video at the end, if you could leave a like I would appreciate the support. Thanks for stopping by as always and I'll catch you guys on the next one. Guardian down. Guardian down. You're the last gun in the fight. Double kill. Three opponents down. All enemies have been eliminated. To the zone. Guardian down. You're the last gun. The ammo available. Enemy team eliminated. It's up to you now. Poor sitting here while others fight my battles. But I wouldn't have missed that match for anything. All enemies have been eliminated.


Hey friends, have you ever heard that you're supposed to avoid using for loops in R? Well, if you don't use a for loop, then what else should you use? Well, in previous episodes, we talked about using map functions. In today's episode, we'll see how we can do an all versus all comparison of values in a data frame using expand grid along with inner join. I'm patch loss, and this is code club. In each episode, I try to take reproducible research practices and apply them to an interesting biological question. Well, I think they're interesting at least. I don't know about you. But over the past couple dozen episodes, we've been looking at using these practices to better understand the sensitivity and specificity of the Amplicon sequence variance. Well, in today's episode, we're actually going to quantify sensitivity and specificity. Even if you don't know what bacteria are or 16s genes or Amplicon sequence variance or why you should even care, I know that you'll get a lot out of these episodes. Please be sure that you subscribe to the channel, click that bell icon, and you tell your friends so that we can expand the word about all those benefitting from all these great practices. We've probably all heard that in our four loops are to be avoided. One of the nice things about our is that it's what's called vectorized, and that you can run square root on a vector of numbers and every number you'll return the square root for, right? Or you can add two vectors of numbers together without really having to think about it. You could have a vector called x, a vector called y, you do x plus y, and voila, you have a new vector that's the sum of those two vectors. It's great, right? Well, r has performance problems when it comes to four loops. Things get really slow, and that's that's a challenge. You'll notice all through my past r code, I've never used what's called a four loop. Well, that's not going to change in this episode, we're going to learn another strategy for avoiding four loops. And that's called expand grid to solve a unique problem where we want to make comparisons between all possible rows of a data frame, you can think about this in terms of like calculating distances, right? So say you had a table that had 1000 sequences in it, and you wanted to calculate the distance between all 1000 sequences, right? Well, you could do a for loop where you compare the first one to the second, the third, the fourth and fifth, and then come back to the second and compare that to the third, fourth, fifth all the way down. But again, that tends to be very slow in r. So to avoid that, we'll use expand grid from the tidyverse package to create a new data frame that has two columns with all combinations of indices rows or index rows from the data frame that we want to do our all versus all comparison on. And then we'll use interjoined to bring that in. Again, all of this is working towards calculating the sensitivity and specificity of Amplicon sequence variance at any threshold of defining Amplicon sequence variance, as well as for any region of the six NUS gene that we're interested in. So as I mentioned in the introductory comments, in this episode and several other subsequent episodes, we're going to be looking at how we can use r to take our ESV data to generate a receiver operator characteristic or rock curve. And to do that, I have created issue 37 already here on the issue tracker. To give you a brief overview of the idea is that we want to create what's called a confusion matrix. And a confusion matrix allows you to quantify the number of true positives, true negatives, false positives and false negatives, as well as associated statistics, things like sensitivity, specificity, accuracy, precision, recall, all these things. We'll talk about those in a bit. And confusion matrices and rock curves allow you to look at the trade-off between sensitivity and specificity for a classification system as a function of different thresholds that you use. So that sounds a lot like what we've been doing, doesn't it, that we can look at the sensitivity and specificity or as we said in the last episode, the lumping and splitting as a function of the threshold we use. And so that will allow us to generate a rock curve. And so to convert our data into a confusion matrix, it's going to take a little bit of thinking. So the mindset or the mental model I'm thinking of is that we've got two classification systems. We have the Linnaean taxonomy, the bacterial taxonomy, we've got species names, and we have our Amplicon sequence variant classification. And we want to know how well those match with each other or if they're not matched. And so if we take two operons from the 16S genes from all of our bacteria, and these two operons come from the same taxa, the same species, and have the same sequence, then that's a true positive, right? So they're in the same species and they have the same sequence, those two operons go together. If they're different taxa and they're different ASVs, then they should definitely be true negatives, right? Then those are two things that are different. And they're both different. So it's what we call a true negative. If they are, if the two operons are from different taxa, but they have the same EASV, that's what we call the lumping in the last episode, and what we'll call here a false positive. If they have the same taxa, so say that the two operons come from the same genome, but they have different Amplicon sequence variant identifications, then we'll call them false negatives, right? So they're saying they're different by ASVs, even though they're the same thing. And so that's, again, what we call last time splitting. And as we saw last time, we can look at lumping versus splitting as a function of the threshold on the x-axis. And we'll do the same type of thing here, where we can, as I say down here, we will end up building the rock curve, which shows you the sensitivity, the true positive rate versus the false positive rate on the x-axis, which is one minus specificity. And we can do this for each region. And as we draw that curve, each point on that curve is going to be from a different threshold that we use to define an Amplicon sequence variant. So I've created a plan of attack. I've gone ahead and copied this text into an R script that will be the basis of issue 37, as we get going on today's episode. I'll go ahead and bring us into our project root directory. And do get check out dash B issue of 37. Good. Get status, you'll see it's already read because I again, put in that code, get rock data, I'll fire up our studio for us to do our work in there. And we look at files come up, I'm going to be working out of the code directory rather than the exploratory directory, because I can already see that this is going to be an analysis that gets kind of complicated and perhaps more complicated than we really want to put into an R Markdown document. Perhaps we'll go ahead and make an exploratory document once we're all done to kind of summarize what we found. But the bulk of the work we do is going to be done in this get rock data dot R. And as you can see, I've already copied a lot of stuff in here, including the shebang line so we can make this code executable and then run it from the command line, as well as an initial setup of our inputs and outputs. And again, copying over what I had in the issue tracker. I also put in a couple of considerations that we'll want to think about that we may need to generate data for additional thresholds, depending on the shapes of the curves, right? So if there's a big jump in the curve, that would indicate that perhaps we need better resolution between different threshold values. So we might need to then go back and get more points. Also, it might be ideal to look into how we can parallelize our steps to speed things up. I suspect this analysis is going to be really hard for our to do. It's going to be a lot of computation, and perhaps more than I really want to be able to do on my laptop, it might suck up a ton of RAM, it might take up a ton of processing power. So again, in this episode and several subsequent episodes, we'll be looking at how we can perhaps speed this up. And so that's something I'm already trying to think ahead about. So our plan of attack. Again, I like writing out this pseudo code or this outline for myself, so that I know what I need to do to achieve my goals. So I need to read in my ESVs and subset them to get the separate region and threshold combinations. I need to read in the metadata and sub sample it to get one genome per species. So we have the genome ID, ESV and count columns for each taxon. And of course, then we want to join those together. So these first two steps, I'm going to probably borrow from last episode's code, because why rewrite it? And then we want to generate the data frame that contains the separate rows for each operon and the data set replicating each genome ID, ESV, row count times. So in other words, what I want to do is I need to create that all versus all comparison where every I compare every ESV to every other ESV to see if they're the same ESV and whether or if they're different, and whether or not they came from the same genome or species or different species. Okay, and that then will allow me to create that data frame that'll be that data frame. And I can then use that data frame to generate my confusion matrix. I can look at whether or not the ESV columns are the same or different, and whether or not the species columns are the same or different to then determine if it's a true positive true negative false positive false negative. And I can then generate associated statistics for each region ESV and iteration and say iteration, because we are going to as I say up here subsample. And so we might want to run this 100 times for each region and each threshold. And I think that's really where this is going to get really computationally demanding, and probably not today, but eventually we will be plotting our rock curve and perhaps some of these other statistics across thresholds. So let's get to it. And I'm going to come back to my exploratory directory and come back to my last episode. And in this code, let's see, I'm going to go ahead and copy all this stuff. And that is going to be kind of these these first steps. And let me move some of this out. So I'll get it in the order of my of my comments here, my outline. It's nice when you've got code already, because then you can copy and paste it the downside of copying and pasting is that if you have an error once, then you propagate that all the way through. We've talked about dry in the past. This definitely is not dry. But again, although we're writing this in our script, we're still kind of an exploratory mode, and we haven't really like nailed down our analysis. Okay, so I'm going to do the join here. And so let's make sure that our code does what we want it to do. So I'm going to go ahead and remove these here statements, because that was something we used within the our markdown, I'll remove it from down here in the metadata as well. Okay. And we want to get separate region and ESV threshold combinations. So I'm going to come up here and define threshold. And I'm going to say 0.01 and region. I'll do view for I don't know why I use the equal sign. Wow, such a noob. All right. And what I can then do with this is I'm going to bring this code that I had from down here with the threshold and tack that on to the end of this, where I'm reading in the ESVs. Let me get my, I guess that indenting is right. And I will then do filter. And I'll say desired threshold, desired region. And I will then do filter, threshold equals equals desired threshold. And region equals equals desired region. So let me go ahead and start running some of this stuff. And make sure it does what I want. And I look at ESV. And I see that I've got ESV genome count region threshold. I don't need the region and threshold columns anymore. So I'm going to go ahead and drop those. And I'll do minus region minus. I'll keep it positive. Let's do ESV genome and count. And that looks good. Right. And, and so that's what I wanted, right? Read in the ESVs and subset to get separate region and ESV threshold combinations. We're good. Read in the metadata and subsample to get one genome per species. So that we have the genome ID, ESV and count columns for each taxon. And I think that all looks good here as well. Running metadata. I then have my genome ID and my species. So we're in good shape. So then generate data frame that contains separate rows for each operon in the dataset by replicating each genome ID ESV row count times. And so if I go ahead and run this interjoin, what you'll notice, I forgot to rerun this ESV where I remove the region and threshold. Okay, so let's try that again. Good. So now we have our genome ID, we have our species, our EASV. I really only need genome ID or species. It doesn't really matter. And then I have count. This is the number of operons that this ESV appears in this genome, right? And what I want really is to pull that apart, right? So this is on an EASV basis, not an operon basis. And you'll recall that we got that count column many episodes ago using the count function. And we can actually use a related function called uncount. And so uncount on the count function. And what this will do is that this will create separate rows for all of our EASVs and genome species, right? And so whereas before 972 appeared twice in this cathoranthus roseus, here we now have it duplicated two times. Okay. And so that looks really nice. We now have a row for each operon in the dataset. Okay, and let's save that as metadata ESV. And we're in good shape. Okay. Now we want to create a data frame that compares each operon to every other operon. So one thing we could do that I'm trying desperately to avoid is we could write what's called a for loop where we compare this first first line to the second line, the third line, fourth line all the way through. And there's almost 20,000 different operons in our dataset. And then we could come back to this one and compare it to the remainder and keep going like that. In R that tends to be rather slow. And so I would like to try this without without using a for loop, we might come back to doing a for loop, because in some contexts, it might actually be a little bit faster. So there's a function in the tidyverse called expand underscore grid. And I can do say one colon five, one colon five. And if I run that, it's not happy. I think I need to do x equals one colon five, y equals one colon five, run that. And what we see is the output is that it replicates x, the x column one through five, five times. So we have in x ones, and then in y 12345, and then two 12345, right? And we can do a trick then, so they pipe that to filter and say we want x less than y. This then gives us the unique combinations of x and y. And we also don't get the self comparison, right? So this is the strategy that I want to use is that if I then have a index column, a column that numbers all of the rows in metadata ESV, I can then do an expand grid with the number of rows in that data frame. I can filter to get those rows where x is less than y. And then I can do an inner join, or I can then do an inner join between this expanded grid and metadata ESV. Okay, so to get this to work, I need to modify this a little bit and do a mutate. And I'll say index equals row number. And that will add a column to metadata ESV that we see over here in the final column called index, which indices every row in the data frame. Okay, the other thing I can do is say n operons is n row metadata EASV. Okay, and that should be like close to 20,000, right? It should be 19,996. And operons, 19,996, bingo. Okay, so instead of one to five, we're going to do one to n operons, y one to n operons. And then we're going to filter to get x less than y. And again, this is where we start to see things slowing down. So while this is thinking, go ahead and make sure that you're subscribed to the channel, and that you've liked this episode if you don't mind. So we see that we have 199,901,000 rows, I guess, and 10. So it's a very large data frame. The next thing that we will want to do is to then pipe this into an inner join, where we're going to take what's coming through the pipeline and inner join that to metadata EASV by, and then we're going to do x equals, I guess x equals index. And then we will add another row, another line here, where we will then do y equals index. Okay, so we'll give this a run, it's going to be a little bit slow. I'm going to go ahead and call this all the all comparison. And we will let that rip. And I will do some editing to speed this up a little bit. Alright, so that ran through. And if I look now at all the all comparison, it's big. Yeah, I can tell it's not really happy here. Anyway, we see x, y, our genome ID x species x, EASV x genome ID y species y EASV y. So my sense is that this is probably really big. And one thing that I can do is if I return to my command line, and I do top, this will show me what processes on my computer are using the most CPU, or the most memory and I can do if I hit the o key, and then type mem in all caps, it will then sort everything by the memory being used. And I see that my R session is using 18 gigs of RAM. And I forget what my Mac has. I have 32 gigs of RAM, right? So I'm not using it all, but I'm using a lot. One thing that I could do to free up some space is I could certainly get rid of x, y, and probably species x species y, because all I really need is genome ID x, EASV, the ESV x genome ID y and ESV y. So if I remove those four columns, I could actually free up some space. All right, so let's let's do that. So let's go ahead and do select.  And then so if I run this, that that's pretty quick. And operons and then down here, I'll do select minus x, minus y. Give that a run. Again, this is going to take a moment. I'll speed things up with the editing. And now it's run. If I look at all the all comparison, I'll of course see that I've got genome ID x, ESV x, genome ID y and ESV y. Okay, so again, what I want to do is I want to compare and see for this row, do the two do x and y. So the x and y are two different operons I'm comparing. Do they come from the same genome? In this case, yes, they do. Do they come from the same, do they have the same ESV? In this case, yes, they do. So this would be a true positive, right? Here we could look at this next case, where they come from different genomes, right? And they have different ESVs. So that's a true negative, right? So what I can do is I can use our filtering or not our filtering, I can use our logic with a mutate to define our true positives and true negatives. And I can then let's see, I can add this here, and do a mutate. And I will do, I'm gonna, because I easily get confused, I'm going to grab this text for my comment up above here, I'm going to plop it down here, so that I don't easily forget what is in my confusion matrix. Okay, so we have a TP for true positive. And so that's going to be genome IDX equals genome IDY. So I'm going to put that in parentheses, and then say, and what, ESVX equals equals ESVY. Okay, and so again, I think that's good. If I run that, this is going to create a column called TP. And so as we see, that first column is a true positive and that first row is a true positive. Great. I can then add TN for the same thing. I'm going to copy this line down. Oops, must have hit the wrong key somewhere. So I got a semicolon there. So true negative is where the genome IDs are different, and the ESVs are different. And again, we can look at this and see that we will get a column called true negative. Right. And so where most of these actually are true for true negative. And that's great. And we can then do true negative false net false, false negative. And I'll again copy this logic down. And so we said that a false negative is same taxa. So they're equal, but these are different. And then a false positive is where these are different, genomes are different, but the ESVs are the same. We'll remove that, run it. So when you're working with this many rows, it gets really, really time consuming. And, and so then we've got our columns of true positives true negatives false negatives false positives. And we can summarize. I think I get my yeah, I can summarize to do TP. I'll say true positive true pause is some of TP. True neg is the sum of column Tn. And then false neg is going to be some of Fn. And then false pause is some of Fp. And if we run all this, we will get out our confusion matrix. So I'm going to call this confusion matrix. Let that rip. And again, it's going to take a moment or two, because we are looking at close to 200 million rows in this data frame. And if I look at confusion matrix, I see I've got about 48,681 true positives. I think that's like close to 199,000 or 199 million true negatives. We've got about 2,300 false negatives and about 515,000 false positives. So these false negatives again, are splitting genomes. And false positives are lumping. So splitting false negatives are falsing splitting species, false positives are lumping species. Okay. Now, again, this is our confusion matrix. And that works pretty nicely. And we can do some other summary statistics, where we might do mutate. And we could then say things like sensitivity, we could measure sensitivity, specificity. And because I always forget the correct formulas for these things, I embedded a link in my issue for associated statistics, which I will open up. And this goes to a page on everyone's favorite Wikipedia. And so the true positive rate is the number of true positives divided by true positives plus false negatives. So true positives over TP plus FN, false negatives. And then our specificity is going to be, I believe, our false negatives, sorry, true negatives divided by true negatives plus false positives. False positive. You can look at that. And I misspelled false. And we can see that our sensitivity is about 95%, 96%. And our specificity is about 99.7%. And again, this was at a threshold of 0.01. And the region was v four. So what I can do to add on to this would be to say region equals desired region. And threshold equals desired threshold. Run that. And we then have all of our confusion matrix stuff, as well as our region and threshold. I can reorganize this output by doing select region threshold. And I can instead of listing everything else out, I can type everything with open close parentheses as a function. And that will put my region and my threshold first my confusion matrix, and then all my other metrics after that. So this gets us, I think, into a really good place. And so let's call this confusion. I'm going to actually, you know, I'm going to pen these pipelines together. And we'll run this. And it's not happy. I do wrong. I've got that plus sign in our studio. Get out of that by hitting the escape key. So run this again. This will run. And I think this gets us what we want. So again, this is rather slow. I mean, I think it's slow. It takes a minute or two to run. We have 52 combinations of regions and thresholds. So take this and multiply it by 52. And then multiply it by 100. Because if we want to do 100 iterations, because we're doing that slice sample function, it's going to take a long time running on my computer. And perhaps we do it once and we get over with it. And it's not that big of a deal. But it's still going to take a long time on my computer. And I might want to do other things with my computer than watch our studio just kind of wait and wait and wait to run everything. Okay, so I think this is a good place to stop for now. We have a really good scaffolding of the project. We've gotten through all of our plan of attack. Something we might think about would be, you know, how do we iterate over these different thresholds we have? How do we iterate over the different desired regions? And then how do we replicate this, say 100 times? But for now, I'm going to keep it with one threshold, one region, one iteration, because in the next episodes, we want to think about how can we actually speed this up quite a bit. So I think again, we're in a good place. I will go ahead and do a get status and get commit or get add code rock or get rock. What we did on this episode, that was kind of unique. Again, we're seeing how we can use our code to work through a complicated problem. The other thing that we did to avoid for loops was to use the expand grid function along with inner joins. Some of that is slow. It remains to be seen whether or not that's actually slower than doing for loops or perhaps doing some other approaches that we might pursue. Again, expand grid is really nice. If you want to get all combinations of two or more variables, we used it in this case with the filter function to get those combinations of indices values that if you think about representing a cells within a square, right, we're getting all those in the lower triangle or the upper triangle, I don't know which, but in one of those triangles of that of that matrix of comparison, and then creating our columns of the true positives, true negatives, false positives, false negatives, and then using our summarize function to aggregate those together, add the number of cases, and then measure things like sensitivity and specificity. Once we're all done with that, then we'll be able to make our plot and other figures that we might be interested in out of this analysis. Okay, so again, play around with that expand grid function. Again, that was a strategy we could use to avoid using for loops. Think about your own code. Are there places in your code where you are using for loops? You know, we've seen before using the map functions, here we saw how we could use expand grid with joins to avoid for loops in your own code. Do you still have for loops after trying these strategies? Where are you still using for loops? Let me know down down below in the comments. And maybe in a future episode, we can think about how we would go about avoiding those for loops. I hope also in a future episode, we can look at for loops and thinking about places where for loops are good, and in for places where for loops are definitely to be avoided. Anyway, keep practicing with that. Please let your friends know about code club, and we'll see you next time for another episode.