Okay. So our next speaker is Nikita. Please give him a close and... Hey, thanks a lot. And first let me introduce myself and before that let me say that it's always great to see so many people in this room, people who are interested in Rust and the language itself has started about two years ago, a little bit more than two years ago and there were maybe a couple of hundreds of people who were interested in that language and now it's really great to see that it's getting traction and see a lot of people in this room who are interested in this topic. So introducing myself, my name is Nikita. I work at Madesafe and Madesafe is a company that develops peer-to-peer network technology and I think we have one of the largest code bases that are written in Rust. So today I want to share my experience developing one of the libraries that comprise our stack. And today I want to talk to you about parsing. So parsing is one of the crucial steps in the topic of compilers and the compilers is a complex topic by itself so it will be almost impossible to cover all the things that go into compilers in 20 minutes. So this will be more like an observing talk. So I will cover the basics and my goal here, my goal today is not to give you the entirety of information about compilers but to inspire you and basically to pick your interest. And actually compilers is a complex topic and a lot of people are scared about it. They open the dragon book, they see that it consists of more than 1,000 pages and they close the book and never read it again. But actually compilers are a very interesting topic and if you take one part of it, they can be immensely useful and they're not that complex. So let's start from the basics. So how parsing can be useful for you? So what is actually parsing? So if you don't know, it is one of the steps in a compiler which allows you to extract meta information about your code. So you can actually imagine the compiler as a kind of pipeline that consists of several steps. And the first step in the compiler is the lexical parsing, the lexical analysis. The lexical analysis is a simplest step that gets your code in its text representation and transforms it to a set of tokens. A token is a very simple thing and can be thought of as a word. It can be a keyword, it can be a string out of your code, it can be a number, it can be basically anything. A return is a token, a fan is a token. But having just tokens, we can do many useful things with them, right? We can do many useful things with just code as text. So what we do here is we put tokens in a token, in token trees. And out of those token trees, we create, out of those token trees, we create a data structure that's, that is called abstract syntax tree or AST for short. AST allows us to extract meta information out of our code and use this information to do basically anything. So how do we apply ASTs for our practical code? You might think that ASTs are usable only for the Rust compiler itself or for building some, I don't know, some utilities or things that belong to the Rust compiler. But actually, ASTs have many everyday applications. So you can extract meta information from your code and based on that information, you can generate code in other languages. This is very useful if you want to, for example, if you deal with FFI or foreign function interface and you want to create a library in Rust that you want to make usable from other languages. And it will be very tedious and complicated to write this code in other languages to work with your Rust library. That's why we have ASTs. You can basically scan all of your library's code and extract that information about the functions that you export from your library and generate code in other languages based on that extracted information. And you can also transform your code. It is practically when you want to apply some kind of refactoring to your code and I believe the next talk will be on this topic. So for example, you have Clippy that shows you many compiler errors in your Rust code. And it is very useful, but it will be very nice if it could do automatic transformation or automatic refactoring of your code, right? So that's what you can do with AST. With AST you have full information about your code and you can also generate new code out of ASTs. So basically what you do here is you're taking the code of your library and you're generating new code based on that code. And as an output you have a refactoring code. And there is also the metaprogramming aspect. It's basically related to macros and macros are very similar to how ASTs work. So macros basically employ the AST framework that you have in your compiler, but the macros are accessible to only within the scope of the compiler. And with AST you have the full information about your code. So basically that means that with metaprogramming you can generate any Rust code based on the full information that you have extracted from the AST. And of course you can use ASTs to compile your code to a binary, but thankfully the Rust compiler does that part for us. And of course you need to know that the use cases are not limited to those that were listed on the previous slide. There is a lot more use cases and they are basically limited only by your imagination. But of course ASTs by themselves are pretty absurd concepts. How do we actually apply them to Rust? Because this is talk about the Rust language, right? And in fact Rust libraries, multiple Rust libraries already apply that concept and we use these tools every day. And Rust FMP is also another great example of code transformation because what it does is basically takes the AST that it has extracted from the source code and outputs this AST with a formatting that follows the preset rules about how indentation should work, how to put the brackets, where to put the brackets and so on. And Clippy is a similar beast. So it extracts the meta information from AST and based on that extracted information it checks whether your code has any bad patterns in it and suggests how to fix those bad patterns. And there is no magic in it. You can basically write your own Clippy based on the compiler technologies. And finally if you use IDEs or text iterators with a Racer plugin installed you are also using ASTs. ASTs extract information from your code and you have code completion, syntax highlighting and all the nice things that IDEs provide you. So IDEs basically a compiler that extracts information from your code and makes it more usable and convenient for you to write your code in the user's interface. So how do we actually use these ASTs? And of course you don't have to write your own library or you don't have to write your own code to extract this information or parse your code into ASTs. You have it already in the Rust compiler and you can use the lip syntax that is an integral part of the compiler to basically extract this parsed information and use it in your code. There is a caveat though that lip syntax library is available only in the NITIL version of compiler. And Rust use it to parse your code and it provides it basically as an API but if you can't use the NITIL version of the compiler an alternative version will be syntax. That is a crate that has been imported from the lip syntax to a separate crate. It's basically a code that has been taken from the Rust compiler and put into a crate that can work on a stable branch of the Rust compiler. And it has the exact same API so you can basically use it interchangeably in your library if you want to. If you are not allowed to use a NITIL version of compiler you can basically just link this library and it's a drop-in replacement. But there is another caveat in that this library has been deprecated and it's usage mostly confined to legacy projects. Well, you can still use it. It's still available on the crates.io repository but there is also an alternative and if you're starting a new version of your... basically if you're starting from scratch and not from some kind of legacy code you can use an alternative library that's called SYN, S-Y-N. And it is used by multiple projects too and this syntax crate is used by Rust FNT stable so it's basically a matter of preference although the authors of this library would prefer you to not use it. So how do you actually... to put it in practical terms, how do you actually use that? You basically import the syntax which is part of the Rust compiler as a crate. You add a separate feature flag that says that it's allowed to import private parts of the Rust compiler and you basically import it and use it as a usual library. So then you provide a file name of a Rust file that you want to parse and as a result, you get a vector of items. So items are actually enums that represent all that you can use in your code. So it represents functions with their arguments. It represents statements. It represents all the expressions that you have in your code and a nice thing about it is that it's an enum and as you know, we have a very nice language construct in Rust that works with enums that is called match. And by using pattern matching, it's very simple. It's very easy to actually extract the information from those items. You basically match on a type of your AST item which could also carry all the relevant information with it in its enum variant and you use it however you like. So that's how it could look. It could be a function declaration which has its inputs, its arguments together with its types and it has also an output type. So it goes on like that with other kinds of items with other kinds of ASTs. So it's not a rocket science so you basically can continue in the same manner. And finally, there is a code generation aspect. So code generation has lots and lots of useful and practical applications. For example, when Mozilla started to develop Serbo, they stumbled upon an issue that there is many libraries that are not written in Rust yet. So to use these libraries that are written in C and C++ they got together with a library that's called RustBindGen. So what it does, basically it uses C-Lang to extract the meta information from C++ code. So basically you can think about it as an analog of that lip syntax from the Rust compiler but it works for C++. So it extracts the meta information from the C++ code and generates code in Rust. So that way you get a library that can talk to a C++ library but you don't need to write it by hand which will be, of course, very tedious and error-prone. So then there is a serialization aspect. So if you work with protoboffs or ARO or other frameworks that work with other languages they basically follow the same pattern. They have a description of data structures that you might need to use in different languages and they basically use code generation to provide this feature and in Rust you can do the same and I believe there is already a bunch of libraries that provide this thing for you but if you want to make a similar thing you can use code generation as well. And finally, why do we use ASTs? Why do we use parsing instead of just going by macros?  So macros are kind of isolated by the compiler context. They can't access the input output. They can't treat a file from your file system. They can't go to the network and so on. And with parsing, by parsing your code you can basically have all the power that the Rust compiler and the Rust language provide you and not only the Rust language and the full power of your environment. And the second aspect of it is that macros 2.0 that should be available in the Rust compiler soon should cover at least a part of these use cases so you might want to follow this closely. And finally, how do you actually generate your code? You can use a tool that utilizes the builder pattern. You basically call the functions. So to construct a function you will call itemFN and provide the context of that function. You provide the function name. You provide the function arguments and you provide the function body. And as a result you will get the AST item that will contain all the relevant information for your function. And from that AST item you can convert it into a string and get the rescue as a result. But it's not very convenient. So whatever you can use instead we can employ the concept that is called quasi-quotation. It is widely known and widely used in the LISP language and it's widely used by some functional languages like Haskell for example. And the concept is quite simple. It's a very resembling of macros but actually instead of outputting just a string it provides you with tokens and the AST items that you can use further. So there is also a Rust library that's called quote that provides a bunch of handy macros that you can use to generate your code. It looks like this. As you can see it's almost the same as you would have written it if you have dealt with macros. So you can just create a new identifier and place it in your code instead of placeholder. And as a result, if you convert it into a string you will get a resulting function, a resulting source code. And you can now put it into a file or do whatever you'd like with it. And finally a small case study about how can you use parsing in your project. So at Matesafe we dealt with our task was to provide a library to be used basically in multiple languages. We have a library that talks to a peer-to-peer network and we want people to use it from basically any language that exists and we provide this library as an FFI interface so it exports a frame function interface and it's available as a C library as any other C library. But as we wanted to be used by JavaScript or from Python and from Java and from other languages we... And it's a very tedious process to just write that code by hand to write the language bindings code by hand. We came up with a solution of parsing, basically parsing our entire library and looking at the exported FFI functions and generating Java and C-sharp and Python code based on that. And besides that Java wouldn't work simply with that code so we also generate JNi bindings in Rust so we generate Rust code that exports JNi functions that Java understands and that's the entire code of that library is generated by basically as a result of code generator and parser. So that's it and if you have any questions please ask. I have a question. Is it possible to manipulate the ASD during the compile time? I mean if I'm compiling my source code, my library and I want to replace some structures during the compile time of the same library I'm compiling is it possible to do that? Well the question is can you use... basically can you transform ASTs in the compile time? So when you're compiling your library can you transform the ASTs to have some other representation? And of course it is possible and you do it with macros so basically that's what macros does. They take the AST3 and they produce another AST3 so that is sold by macros and also there is a procedural macros thing and there is also a macros 2.0 so Rust provides multiple ways to transform your code to some other representation and you can choose whatever suits you better. Well specifically I was thinking about like generating a mock object and replacing it with original instead of original structure so that during the specific test case I would be using not the original structure but the generated one so that I wouldn't need to define traits for that. Yeah so the question is can you basically do a mock testing in Rust by replacing structures with some other versions with instrumentation and test functions and so on and yeah I believe it's possible if you use the compiler plugins and the procedural macros and if you use the derive key word that what it basically does and that's also how the Serda library works it derives your structs so you just write derive serialize and the rest the Serda library takes that instruction and generates the serialization and deserialization code for your structure so I believe that can work in a very similar way for the mock testing and the mock features so for the mock version of your structs. Any other questions? Yeah so the question is is there a project in Rust that is basically compiler generator that takes a description of a compiler and generates a compiler from the BNF grammar or whatever it's called. Yeah there is a bunch of such projects I believe one is called LALR and it is based obviously on lower parsing so yeah there's a multiple projects and you can basically find them by googling Rust compiler generator and there is a prominent once that are being actively developed so you can find many of them. Thanks all for your attention.


surrounded by the fire ashes all over her struck by the door and smiles the oppressor surrounded by the fire ashes all over her struck by the door and smiles the oppressor her body hits the wall the thud breaks Ali's silence his whale shakes the earth on the wall left a crater she begins to fall and the earth softens for her as her door guilty burns itself quicker winds change direction and sands form her bed until lies on a heartbroken floor far from her she lies helpless as over her men gather two men and two treasures they shatter Ali's hopes they crush as the hand is raised and the womb is crushed like a nail by a hammer cheeks once kissed by his very own messenger bruised the red like remnants of a razor her eye catches the loosen not of her veil so into the hard floor she presses her cheeks further standing tall or under a door no one sees Fatima and the mark of Mohammed's footsteps become her protector as she remembers her father to her feet she leaps weaved within his name a silent Haidar in his moment in this moment every wing of every angel falters their voices whispering in worship Shadr no pain will prevent her defense of Ali their queen stands no support and no helper oh lion of God have you no strength to lift her this door blinds my eyes easy was Haidar the queen of heaven is strong Ali's equal after all but even the cause of creation summons her creator taken was my father and my rights I'd surrender but oh Lord will you also take my youngster I produced ripples in waves out of your love Mohsin is yours now and forever towards a cradle turns Fatima reunited son and mother and his voice consoles her like Isa and Maryam I saw every tragedy with you oh mother of my brothers in your eyes oh mother I saw the horror when Mohammed closed his eyes and gave permission to enter an angel given powers to extract from bodies souls I saw this angel tremble as courage he would gather he placed gently one wing on the chest of your father your own hands underneath it his body armor my hand held yours we witnessed this death together God placed me by your side to grant you this power I saw deceptive eyes watch Karar the commander I helped him build for you the house of despair and torture I walked with you daily and ensured you were safe for you poems I'd recite in his honor I was with you when you wept and collected every tear that was enough to soothe my every fear until I thought God would make another ocean except your cries of despair no ocean could bear our house was never the same after Mohammed's departure dad would still smile at my brothers but it was much harder his absence broke us all most of us cried at night but your days were much the true mourner many saw your heartache they all knew you'd suffer but I'm the only one who saw you into his into his old room you'd enter it was as if he still stood as you walked inside but in his place I saw Gibral your new supporter I was behind the same door as you denied the dictator his taunting and flaunting still haunts me oh mother I felt the same kick you felt as it struck us and breathed in with you smoke and vapor with no eyes I watched a nail scissors cutting paper with no breath I sighed as your silence got louder and then together we'd scream and agonizing sound and then together we'd scream and agonizing sound and with no heart I knew I was your heartbreaker and with no heart I knew I was your


This does not look like a desert. They do a pretty good job Hiding the sand Hi freedom family from Dubai Many of you got unlinked yesterday looks like YouTube didn't forget and we're going to keep Creating strategies to help you grow so you can reconnect with freedom and remonetize your channel Many of you submitted bug reports for the freedom for the crypto miner. We will be fixing all those Please wait for the next update and I want to show you Dubai from my perspective I'd love to explain what we have planned for Dubai in the future if things go well And can you read the message on the wall behind me? It's in the hotel room and it says time to start the journey That's right. Let's start the journey.  I'm really on that plane There's a lot of desert on the way to Dubai Lots and lots of desert then you start seeing some trees and all of a sudden poof There's Dubai in the middle of the desert with no desert to be seen with pools and architecture and roads and cars and traffic in the middle of the desert and Here we are just approaching landing and we're about to touch down touch down This is probably the biggest baggage pickup hall I've ever seen in any airport There are over 12 different carousels To pick up baggage from different flights. We're number 11, but just have a look at this huge place First impressions never been here before. This is my first time in Dubai. This is the vehicle We will be driving and it was very convenient. I just opened up the uber app and When we arrived the car was waiting for us pretty cool. Let's Let's have a look inside This is our transportation to the hotel And we will get to see from the window how it all looks. This is my brother Mirko who is my partner on this trip and And Here we go Dubai is beautiful This is the scene out of our car on the road to our hotel and there are flowers grass trees even Chucky cheese I've never been to Chucky cheese. It's here. We are in our hotel checking in very impressive large entry area and We'll show you the inside when we get there. Now. This is really why we chose this hotel a Free play Pac-Man machine Okay, so this is me playing and trying to record and dying To play Gallagher one of my favorite games as a kid that I actually paid 25 cents each time I wanted to play now I just push this free play button and We can actually choose from all these different games In this arcade Dubai is also a business center. Look at these office towers in downtown Dubai beautiful architecture clean Modern this feels like any of the US or Canadian cities that I visited and it's in the middle of a desert This is why we're considering opening up an office and An operation in Dubai you can see there's still a lot being constructed There are cranes everywhere where you look one of the services we're thinking of offering is Having people come to Dubai to live and work make videos And if you're willing to live outside of your country for more than half a year You will also benefit from the taxes of Dubai, which are zero You literally pay no tax for company income and personal income If you live for more than half a year out of your home country in Dubai We will explore all the economics and create Packages for those of you who we feel could benefit from this experience. We're gonna call it the freedom experience What do you guys think about that? Tell me down there in the comments below Here is our hotel room very simple one big bed A little view. Let's take a look outside This does not look like a desert They do a pretty good job Hiding the sand Here is our first meal in Dubai. This is a lentil soup and a salmon Pink salmon And we also got some healthy drinks. This was a yogurt spinach coconut mix and this is a carrot and other healthy drink So this is the restaurant. We are at this is in the hotel again very impressive and This is the cocktail menu everything is priced in You a AED the local currency I Got burnt cheeseburger That's an expensive cheeseburger. That's divided by roughly four. So that's like $15.00. No 1530. Yeah, $15.00 cheeseburger USD I'm a fried chicken burger Okay, they have some humor to this divorcee beef ribs. Hmm interesting Let's try frogger. Here we are playing frogger How good am I? Am I good or am I bad? Let's find out Not so good one of my best tips to you is Never give up because that's the only way you'll ever actually fail. I Am George and you've been watching Click that I to partner with freedom and join the freedom family so we can all Grow together you get many perks like position music you also get epidemic sound a lot of other access to royalty-free videos Sponsorships many things to help you grow just click the links down there in the description below To get involved in our community our forums our discord chat servers meet our graphics team Meet our community team all of that on discord and the forums What are you waiting for get started and we will grow together as a family because this is the freedom family You are part of it. We are all part of it, and we're all growing together To get more George click that big F that will subscribe you to freedom Central home of the George show and PewDiePie gave one of you freedom family a big shout out Click that video to see the shout out and to see our new 3d sets for you And click that video to see what YouTube recommends you watch next


We, shoyro run baupendo, i ti mumoy lehidi tsmaskina beloz bobao, i mi baashasnu lo shmavarchivo el o terzhon maho. I, it's such a small shmavo, yet it's used all the time because it separates sentences from each other. You might have heard a few of them in the introduction. Listen again. We, shoyro run baupendo, i ti mumoy lehidi tsmaskina beloz bobao, i mi baashasnu lo shmavarchivo el o terzhon maho. The reason for i is that a breedy is at minimum a celbre, and if you have Sumti following the celbre, and then start another breedy with a Sumti, there's no way to know that the Sumti starting the next breedy isn't continuing the previous breedy. So that's why you need E. Note that also it doesn't end a breedy or start a breedy, but separates a breedy. So it's not correct to use E before the first sentence in a document or a speech or whatever. It separates breedy, and the first sentence isn't being separated from anything that came before it. Put another way, E terminates a breedy and starts a new breedy. E is a shmavo in the celmaho E, and is the only member of that celmaho. There are a lot of celmaho like that. Celmaho are grammatical categories, and often there are shmavo that serve a single purpose, so they get a celmaho all for themselves. With that out of the way, let's talk about connectives.  Zhe is an example of a connective. Zhe is what is called a Tanru afterthought connective. Afterthought connectives are connectives that occur after the first word being joined, as in black and white. Whereas a forethought connective is a word that comes before the things being joined. The closest English has is both black and white, but in lujban the word both would already indicate that the connective is and, so you wouldn't need and, but instead some word that just separates the things being joined. Okay, there are four major connectives that are marked by vowels. These are a, e, o, and u. They mean inclusive or, and, if and only if, and whether or not. I think the simplest form of connectives are for sumti. So suppose I want to say that I talk to a cat and to John simultaneously. And now to include you in the conversation. Going back to the first example, I can negate the first part. I talk not to a cat and to John. Or I can negate the second part. I talk to a cat and not to John. Or I can negate both. I talk not to a cat and not to John. With forethought connectives, we would have this. I talk both to a cat and to John. So for sumti, the forethought schmavo is g plus the vowel for the connective. And g is the separator. But connectives only connect to sumti. So you can't just add g, do to add you. You'd need something like I talk to both a cat and both to John and to you. In this case, it means the same as I talk to a cat to John and to you. To negate any part of a forethought connective, add nai to it. I talk both not to a cat and to John. I talk both to a cat and not to John. I talk neither to a cat nor to John. Just as we did with sumti, we can use connectives for whole breedy. For afterthought connectives, we just add j plus the vowel right after e. I talk to a cat and I talk to John. As with plain old e, prefix z with na to negate the first breedy and suffix with nai to negate the second. I talk to a cat and I don't talk to John. Not really. And I also don't talk to John. Just as with sumti, there are forethought connectives. But instead of using e, we just use g plus the vowel and gi with whole breedy. Both I talk to a cat and I talk to John. Often the x1 sumti of two breedy are going to be the same. The cell breed plus all of its trailing sumti is called the breedy tail and we have connectives for breedy tails. There are only afterthought connectives for breedy tails and they use gi plus apostrophe plus the vowel. So, mi tavla la John gi hem la tu. I talk to John and I am a cat. Well in that case, mi lachmo fijo le farna la John gi hem la tu. I meow in the direction of John and I am a cat. Fijo is a modal tag that turns the next cell breed into a modal tag itself. Fijo se farna means in the direction of. Tanru afterthought connectives use gi plus the vowels. So, ja, je, jo, and ju. Mi hekri, je ma pram la tu. I am a black and fuzzy cat. And Tanru forethought connectives use gu plus apostrophe plus the vowel. Mi gu hekri, gi ma pram la tu. I am both a black and a fuzzy cat. We can sum things up in this nice table. Now, you might be tempted to translate something like this. Mi tavla pram la tu. I je nai mi tavla la John. I talk to a cat, but I don't talk to John. That is not the correct translation. By using but, you're pointing out a contrast and there is a way to do that in Lojban. Mi tavla pram la tu. I cu he na mi tavla la John. I talk to a cat, but I don't talk to John. Cuhi is a discursive, meaning but, or however, or in contrast. Discursives are often attached to e so that they apply to the whole breedy, but they can also be applied to individual words, as in na mi cu he tavla la John. I, however, don't talk to John. Here we're emphasizing that I'm not the one talking to John, but maybe someone else is. Here are some other fun discursives. Li ha mi tavla la ma la tu. Obviously, I talk to cats. I so hon nai mi tavla la ma la tu. Seriously, I talk to cats. I ta ho ji ha la ma la tu su tavla mi. By the way, also, cats talk to me. I ji ho shuhi na mi fenki. I swear, I'm not crazy. You can read all about connectives in the complete Lojban language, chapter 14, linked down below. Uhu, sesre ra. Thanks to commenter Ace Gravity for this one. Can you tell what's wrong here? Lo nu la tu k kri nu, lo nu la internet. Cats are the justification for the internet. What's wrong is that nu takes a breedy, and la internet is not a breedy. If you plug this into the parser, it would break. So how should we fix this? Zasty, X1 exists, could be used. Lo nu la tu k kri nu, lo nu la internet, zasty. Cats are the justification for the internet existing. Or this. Lo nu la tu k kri nu, lo nu mu zhe sam sel chana. Cats are the justification for the internet. Mu zhe sam sel chana is a lugevo that essentially comes from a tanru for a universe computer network. Also noted by the same commenter in the table of numbers from video three, I mistyped 7 as za. It should be ze. In these five videos, I've covered a ton of stuff, and you can probably start creating your own Lojban sentences from here, remembering to get all the details from the official grammar pages, link down below, and the online dictionary, link also below. In the next video, I'll take a short break from explaining Lojban and show how I'll try translating the second sentence in the Hobbit. It's a fairly long prose sentence, so I'm looking forward to breaking it down. In the meantime, if there's a category of grammar you'd like to hear about, leave a comment and I'll consider it for the sixth video.


It's five o'clock in the morning. This is really early. Today I'm shooting Alice Lea who is the Noomsun at the A-list. Her schedule is so busy I'm going to need an energy drink just to get to stay started. It's Alice and welcome to my life. The Marine Parade Garden Court where they got a woman in business meeting so we're going to check it out and see what that's about. Why did you move to Hillcrest? One of the main reasons was because all our families up in Hillcrest and we really wanted a gorgeous garden and in Durban North we had a big terraced property so we had very little garden so the idea was to move and have rolling lawns which is not really affordable in Durban North. You get much better value in Hillcrest and I also sold my business about a year ago which was based at my home so I had a separate office at my home and I just wanted a clean break. What's your formula? It's kind of a bit of spray and pray. There's so many things that need to be done in the day. I'm a great to-do list maker so I find if I don't write things down and I just actually don't get to them. So this is everything that we've been talking about. She's talking about wanting a garden for the family as opposed to having a terraced area where she wasn't Durban North and finally this would be a good fit for them especially being really close to other family members. It seems that community is quite a strong word in their life part of that community is family. Salty and wasteful. I'm at the Robin Hood Cheese and Wine auction evening and yeah that's what Alice is up to so she's going to be doing some of the auctioning tonight and getting people to raise some funds for a good cause so busy lady running a company running a family and giving up her time for charity so really awesome. Find the space you need in a home you love. Private property, a home for everyone.


How to make $900 a day while traveling the world. Have you ever asked yourself, how could I make money while I was traveling and seeing the world? Well, this is the video for you. You're going to like this. Of course, you could have been asking the question, how in the world am I going to travel? Well, I don't have any money. This is the video for you. You're going to want to watch this.  It did mine. And I do a lot of traveling now. I don't now because we're in the middle of a pandemic at the time I'm filming this, but normally six to seven trips a year to places I want to go and enjoy myself and I still make money. And I was confounded by the fact that people could do this and I finally figured it out and how to do it. And I want to share it with you in this video. Don't forget to subscribe.  It really helps the YouTube algorithm. Okay, so I'm going to give you some things you can actually physically do. Okay, this is an actionable video. So I'm going to give you stuff you can do. Now the first thing is going to be to teach English. Teach English? Yeah. Yeah, teach English. There's a lot of people around the world who want to know English and there's so many sites you can go to and you can actually just Google Teach English and you're going to find sites you can go to and teach people English. Now don't stop there. Maybe you speak Spanish or German or French. You can teach any language you want. You can teach a couple languages if you know them and actually make money as you're on the road. Now you can do this obviously from anywhere in the world. All you need is an internet connection and a laptop or computer. Okay, you're going to need that. Now this next one is kind of interesting. I used to run a car dealership many, many years ago and half of my staff, almost half my staff, would leave for four to five months out of the year and they would go down to Mexico. The dealership was in San Diego. They would sell time shares. They would sell time shares. Time shares can be tremendously profitable. You can make in the hundreds of thousands of dollars a year. You can travel to a nice resort, stay in a nice area and actually make money. Personally, I wouldn't sell a time share but I'm trying to share with you on this video some of the things you can do. They are always looking for time share salespeople, always. You will be able to find a job. I don't care what your background is. I don't care what you've done. I don't care if you were a waitress or dishwasher. They will hire you to sell time share. I promise you and they will teach you how to do it and you'll make money pretty much all of them do but it is a little bit of a grind but I'm telling you you can do it if you want to travel the world. The next category is travel blogging. Oh my gosh, has this taken off? And I'm guilty because I watch a couple of these travel bloggers like Mark Wiens. I watch him. I watch the Food Ranger, Mikey Chen. All of these people I actually watch and they're very interesting but they have turned this into a tremendous business where they're generating millions of dollars a year. They have programs that you can download. They have things you can buy, t-shirts, hats, all kinds of stuff and not to mention that when they post these videos on YouTube they monetize their channel and they get paid for ads on their channel too. So that's a tremendous area for you to check out if you want to travel the world, see things, blog about it and make money. The next thing you can do while you're traveling is affiliate marketing. Affiliate marketing is great. I love affiliate marketing. I've done all forms of it. I actually have people who are affiliates who sell my survival food products in my courses. I've also sold other people's products. I also use affiliate links. If you look down in the description you're going to see some Amazon links down there. Those are affiliate links and all these things work no matter where I am. You know, I could be on a cruise ship. I could be in Mexico. I could be in Italy.  Selling products online. That's the next thing you can do and you say to yourself, well JR, if I'm selling products I'm going to have to be there and I'm going to have to package things. I'm going to need a warehouse. No, you don't. You can drop ship all these products. You can actually open a Shopify store. You can integrate it with AliExpress. You can select some products you want to sell and you can actually sell them online without buying inventory. AliExpress will actually ship them out to your customer. I've got some actual videos on that. You can search my channel for it and I've also got a course below by the way. It's a $97 course. You can get absolutely free. That gives you a little bit more insight into how some of this stuff works. But the bottom line is you don't even have to buy the products before you sell them. So you can actually put those products out there for sale, have somebody else ship them to that customer and you could be anywhere in the world as long as you have an internet connection and one of these little things here to do it on. Now, this isn't on the higher end, I will tell you. However, you could probably get a job anywhere in the world by cafe work, restaurant work, working in a restaurant. Maybe you can bartend. Maybe you can wait tables. But when you travel to other countries, we all need those services. Now, I know somebody who puts up in the comments we're in the middle of a pandemic and you can't do it right now. However, it will end. Okay? The pandemic is not the end of the world. It's just not.  Please don't beat me up in the comments. But what I'm saying to you is it will end. Something will happen to end it. They always do. We've had pandemics, you know, every hundred years or so for, I don't know how long, for a long time, longer than I've been around. But they do end. So you will be able to do some of these things that you don't think you can do now. Now, the next thing I'm going to recommend, I think is awesome, is website design. Why? Why is this so awesome? Well, it's awesome because there are softwares now that you can buy or you can use to design websites. You don't have to know how to code anymore. You don't have to know how to do any of that stuff. You could actually use templates that are already there and just fill in the people's information.  And if they don't have one, they're going to need it. And if they do already have one, they probably need a new one. So check that out too. If somebody's website hasn't been updated in a long time, and I go to things like whois.com to find out who owns the website when it was updated. And if it hadn't been updated in a long, long time, you can go in there and offer them some. Say, hey, I'll update your website for X number of dollars. You can once again do this from anywhere in the world. You don't have to be in any particular place. You just need an internet connection and one of these right here. Hey, are you talented? Can you play a musical instrument? Did you know that more people are learning how to play instruments online now than ever before? And if you've got that talent, you can actually teach people online. Now, you can do it individually or better yet. You could just do a course on how to play a guitar, on how to play a flute, on how to play a violin, whatever it is, these courses are needed. And they're needed more than ever because we're in the middle of this pandemic right now at the time of this recording. They can't go out and learn from people the way they used to. They need an outlet. A lot of these people would love to learn instruments. They have the time now. They're at home now to where they could actually learn these instruments and you could provide that service. Do you have a town you really like? Maybe it's in the middle of Spain or Mexico or Italy. And you know a lot about it. What about a tour guide? Now, we're in the middle of the pandemic. Okay, I got to prefix it with that. But that will end. And when it does, they need tour guides. They need people who are really knowledgeable about these areas. Now, initially you would think, well, I'm just going to go get a job with some tour company. But you know, you don't have to do that. And you can check out the regulations, get your own license and do your own tours and charge all the money and keeping yourself. Many people do this and they make a ton of money doing tours of cities they love. Photography, right? Can you do photography? Would you like to sell your pictures? You can do that. There's so many sites. All you have to do is Google, sell my photos. Smug mug is a great one you could sell on. Shutterstock is a great site you could sell on. There's plenty of sites out there and you actually can sell your photos on those sites and make money from anywhere in the world. Now, you can also do work exchange. Go to websites like worldpackers and helpx.net. Both of those sites will help you find work exchange situations. You can also go to woof.org. That's www.of.org. And you can see all kinds of jobs there that have to do with organic farm work, if that's your thing. Now, it also says be creative. You may have some skills in some areas. Maybe you're good at makeup, okay? Maybe you're good at doing Facebook ads. Maybe you're good at, like I said, building websites. Any of these things that you have a talent on, guess what? You could do a course on. I have a lot of digital courses. I have one on dropshipping. I have one on how to set up a Shopify store. I have one on how to set up an e-commerce store. I have one on Facebook ads. I have one on email marketing. I have a lot of courses and more coming out. But those courses are great because I can sell those over and over again. They're a digital product.  And I don't have to teach it every day, okay? If I'm just teaching online, I can make some money. But if I make it into a course, oh my gosh, the door's really open up. Now, where do you put your course? You can put it in Thinkrific. I prefer Cartra. I'll put a link below. Cartra memberships are great because you can host them yourself. You can also use it for your email platform, your sales pages, everything else. It's an all-in-one type product. If you click the link below for Cartra, you can actually watch a free video. You don't need a credit card or anything like that.  So I would definitely check out Cartra. It's a great place to put your courses. Now, you can also put your courses on affiliate sites. You can put it on Clickbank, a site like that, or JV Zoo, so that not only are you selling it, but all these other people that have list of names can email it out to their list and they can sell it too. How about that, okay? That's pretty cool stuff, right? They could be making money for you and you don't have to do anything whatsoever because you did the one course. Now, if you don't think you could do a course, I thought the same thing, okay? When I first got involved with it, I was like, oh my gosh, I've never done that before. I don't know how to do that. But pretty much anything you know in life, you had never done before until you knew it, okay? So you kind of got to get the mindset that you can do anything because you can, okay? If you've got the ability to watch this video and comprehend what I'm saying, you could do any of the things I've done. It's not that hard. The hard part is actually getting started and actually doing it. I'm telling you and that's hard every day. It's hard every day for me to get up and say, okay, I need to go to work but I don't have to because the bills are paid. I don't have to go to work. I could just sit there and watch TV all day and probably be fine but there's other things I wanna do with my life. Now, if you're going to a job every day and you don't like it or you don't love it, I'm gonna even say don't love it. You need to do this, okay? If you don't love, love, love what you're doing, why are you doing it?  That's essentially what you're doing.  It is a trade-off. It is a trade-off. To get this freedom of traveling and doing what you want, you gotta put forth the effort and I implore you to do that. If you're having issues with that or problems with that, put your comments below. It will help a lot of other people. Maybe you've overcome some of those objections and you've been able to accomplish stuff. Put those comments below. I'd really like to see those. As I said, there is a course below. It's a $97 course. You can click it and get it for free.  Seriously? Have you not subscribed? You need to do that. There's a big button right there and if it's red, it's red because it's telling you. It's a warning. It's a warning button. It's saying you haven't subscribed to me yet. You need to click it and then you need to turn on all bell notifications. Well, that was a bad bell ring. You need to turn on all bell notifications. Ring the bell and get notifications every single time I do a new video or go live. I go live a lot and we could maybe talk online. That'd be pretty cool. Don't forget to give me a thumbs up. It does help the YouTube algorithm. I really appreciate you watching this video and I'll see you in the next one. Subscribe to my channel and click that little bell right here so you can be notified every time I do a new video. Also, click on one of those videos there. Keep watching on my channel.


Julian Assange was arrested last week in London, and he awaits legal proceedings designed to extradite him to the United States to be tried on hacking and espionage charges. The U.S. government has sought to prosecute Assange since at least 2010 when WikiLeaks released video footage of U.S. forces murdering civilians, including two Reuters reporters, during 2007 airstrikes. Many additional leaks followed, which served to make WikiLeaks and Assange the enemies of a diverse number of politicians, bureaucrats, and government intelligence agencies. Thus, his arrest has long appeared nearly inevitable. Hello, this is Ryan McMakin, and you're listening to Radio Rothbard. Given Assange's role in exposing government lies, corruption, and abuse, one would think that most journalists, most of whom fancy themselves as warriors against government abuse, would call for his release. That's not what's happened. Instead, many self-described journalists have claimed that Assange isn't a journalist at all. In the wake of his arrest, the Washington Post and U.S. news both dispatched columnists to define Assange as not a journalist. Not surprisingly, the right-wing media, i.e., national review and commentary, which reliably sides with the military establishment, has also denied Assange is a journalist. But why exactly is he not a journalist? According to Kathleen Parker, writing for the Washington Post, quote, he is not after all a journalist despite his claiming to be because he isn't accountable to anyone. No filters, no standards, unquote. Parker goes on to claim that real journalists must subject their work to huge corporate media outlets like The New York Times or The Washington Post, thus allowing editors at those organizations to then decide what information ought to be considered worthy of public disclosure. Writing for U.S. news, Susan Milligan claims Assange is not a journalist because his motivations are not sufficiently pure. She claims Assange released certain information for the purposes of retribution or personal amusement. The fact that this information was also potentially significant in identifying government abuse and corruption is apparently irrelevant to Milligan, and her mind, legitimate journalism, is defined by your feelings about the information being released. Not all journalists have fallen victim to the fetish for making journalism a special protected class of approved experts. Demanding that Assange be granted the usual protections afforded to journalism demanded by the establishment media, Glenn Greenwald has supported Assange, as has James Ball at The Atlantic. The editorial boards of some small American newspapers, being outside the D.C. New York axis, have taken a more principled stand on exposing government crimes, declaring Assange to be a journalist indeed. The Pittsburgh Post Gazette's editors write, quote, Mr. Assange's critics dispute the notion that charging him is an attack on the First Amendment. They say Mr. Assange is not a journalist, just the curator of a website that puts secrets on display. One might argue about the craft of journalism. One might argue about the quality of journalism. But in terms of the exercise of First Amendment freedoms, revealing what is hidden is journalism. That makes Mr. Assange, apart from his personality or his politics, a journalist, unquote. Most of the, quote, unquote, standards the media establishment are using to redefine Assange as a nonjournalist are purely arbitrary. Whether or not one gets the approval of someone at the Washington Post or some other official media outlet has exactly nothing to do with whether or not one is a journalist. After all, the standards used by journalists today to define their exclusive group were invented less than a century ago. They were pushed by those who wanted to popularize the idea of expert journalists, who could dictate to the general public as to what information was relevant to the public interest. In her column against Assange, Milligan defines journalism as, quote, collecting information, checking the facts, getting the perspective of the people affected by the information, and then putting all of it together in a way that puts the details in perspective, unquote. But she's just repeating quaint brahmides they teach undergraduates in journalism school. Prior to the triumph of the progressive myth of journalist experts, the definition of journalism was far more broad and far more flexible. Although today's J. School priesthood insists not just anyone can call himself a journalist, that certainly wasn't the case in the days when anti-slavery activists routinely set up their own newspapers to report on the realities of slavery in America. Yes, people like William Lloyd Garrison and Elijah P. Lovejoy were ideological anti-slavery activists, but they were also journalists. Virtually no one disputes this today, although pro-slavery activists at the time certainly denounced these newspaper men as mere agitators and jackabins. Unfortunately for the slave drivers of the antebellum South, Kathleen Parker of The Washington Post wasn't around to demand that the first-hand testimonies of escaped slaves, a common feature in the abolitionist newspapers, be submitted first to the wise editors of the New York Times. Only then it seems could we know if anti-slavery information was in the public interest. Given that the mainstream press of that period opposed abolitionism for the most we could expect that the slave narratives would have been deemed irresponsible and not up to the standards of quote-unquote journalism. Thank goodness our modern-day gatekeepers weren't around back then. Although many establishment journalists are going to great pains to pave the way for Assange's prosecution, they face a problem. There is nearly universal agreement among journalists that Daniel Ellsberg is a hero. Ellsberg, of course, is the former Rand Corp employee who stole government secrets from his employers and sought successfully to have them published in two major news outlets. Today these documents are known as the Pentagon Papers and their release was a watershed moment in journalism and in the Vietnam War. The documents showed, among other things, that President Lyndon Johnson lied to both the public and to Congress about the U.S. involvement in Vietnam. It was an embarrassment for the U.S. government overall and the military establishment. It helped hasten the end of the Vietnam War and helped to cast a pall of illegitimacy over the entire endeavor. At the time, the information was classified. Ellsberg was eventually prosecuted for theft and espionage. The case was dismissed. Ellsberg's reputation, however, means it becomes necessary for journalists to claim that Ellsberg and Assange are fundamentally different in some way. For his part, Ellsberg himself sees no difference. In an April 11 interview, Ellsberg denounces the arrest of Assange and clearly considers Assange's actions to be comparable to his own. The primary difference, it seems, is that the methods of disseminating information are much different in today's world than was the case in 1971, when Ellsberg released the Pentagon Papers. The distinction between Ellsberg and Assange appears to be merely one of technology. But why is so much ink being spilled over whether or not Assange is a journalist? Yes, some of it is just the usual narcissism we've come to expect from reporters. Journalists regard themselves as an exclusive club, and they like to excommunicate those whom they suspect of moving in on their territory. But the stakes are higher than that. If Assange is a journalist, then his arrest and prosecution is an attack on what investigative journalists do every day. While there have been some attempts in the media to define Assange's investigative methods as substantially different from journalism in general, no real distinctions are clear. Much of the rhetoric surrounding claims of Assange's criminality stem from the assertion that he asked Chelsea Manning to give him more government information. Yet this behavior is common to journalists everywhere. Ellsberg, for instance, states, quote, if that's a crime, then journalism is a crime, unquote, noting he had been asked on numerous occasions by numerous journalists to provide them with more information. He adds, quote, unauthorized disclosures of this kind are the life's blood of a republic, unquote. At the heart of the matter, we find an additional problem, the idea that journalists enjoy special rights that ordinary people don't. Consequently, if Assange is a journalist, then he gets special legal privileges and whistleblowing and releasing sensitive government documents. If he's not a journalist, he's then presumably open to prosecution. The authors of the First Amendment, though, did not envision any such distinction. In the late 18th century, as in the days of the antebellum abolitionist press, news paper men were simply people who set up a printing press and sold newspapers. If you could convince someone to buy your papers, you were a journalist. Governments hated this, of course, the ease with which journalists could print nearly any opinion or revelation was why John Adams wanted the Alien and Sedition Acts to shut journalists up. But freedom of speech was so ingrained in the American mind by that point that there was little the federal government could do about journalists. After all, the First Amendment says simply that Congress shall make no law abridging the freedom of speech or of the press. It doesn't say anything about those freedoms being restricted only to people who are deemed journalists by the Washington Post. How the authors of the Bill of Rights wanted this to be the case, they could have said so. Today, things are quite different. Lawmakers, courts, and their accomplices have managed to define up who is a journalist in order to protect the government from embarrassment. Establishment journalists have been happy to play along, claiming special privileges for themselves while demanding those outside their circle of friends be sent to federal prison. Thank you for listening to Radio Rothbard. Have a wonderful day. For more content like this, visit Mises.org.


Our goal with this channel is to explore the vast world of global martial arts and get comfortable with stepping outside of our own styles to see how others practice. Today, we have a very special guest that is on the same mission. Sensei William Christopher Ford, often recognized for his role of dentist in the Karate Kid Part 3, is here with us today to talk about his experience with Shorin Ryukarate, his exploration of contrasting martial arts, and if you stick around to the end, we'll have some fun Karate Kid 3 behind the scenes moments. So, we'd like to give a warm welcome to Sensei William Christopher Ford. How did you come across to martial arts? What art did you start in? Was it Shorin Ryukarate? Well, yes and no, and I'll explain what I mean by that. My first exposure to martial arts was through the original Kung Fu show with David Karate. And I hadn't even taken karate at the time. It was seven years ago. I was like, I was a kid. But that was a show that was on and it became my favorite show. It was the first time I'd seen martial arts ever. He walked around with almost like superpowers and I couldn't wait to watch him every week. After that, my parents took me to a local theme park here in California called Japanese Deer Park, which was a theme park that was based on Japanese culture. An experience would be like to kind of go to Kyoto, Japan, where there was koi pons and that kind of decor and Japanese dance and whatnot. And one of the things they also did was they had a live karate show that was hosted and performed by Sensei Fumio Demera and his students. Back then, he was kind of a trailblazer now. He was already kind of on a few magazines and things like that. But that was before he became super famous becoming the stunt double from Mr. Miyagi and all that. But his show was very theatrical, very dramatic, very exciting. And it was like watching almost like watching a scene from a movie. And that was the first time I'd experienced karate live. And you can feel the power and the energy and all that. And then shortly thereafter, a friend of mine, I remember I think I was around seven years old or so, I started taking karate at the local dojo. And he was only added for maybe a couple more months, more than I was, but he was already kind of positioning himself as sort of like the karate expert. And he was showing me things and he also said, you've got to come and join the dojo now. You've got to come, you've got to take it. So, okay. And I went down there and I met a man named Glen Robago. And I thought I had to talk like Quentin Kane. So, you know, here's Sensei Glen Robago and he's just a spreader from Hawaii. I said, yes, master, but first may I use your bathroom. And he just kind of looked at me strangely. And my mom was like, you know, what is going on? So, I went and I got my uniform and that was my first day. Now I only trained with Sensei Glen Robago for a few months. He was a great martial artist but had a lot of demons and it showed up in class. And now you're dealing with little kids, you know. And so there's a difference between running a tight ship and having discipline and also, you know, you could physically abuse kids. And you know, it wasn't a good environment and I definitely wanted to quit. But fortunately, his brother Richard Robago took over the dojo. And I really thrived under his teachings. And it was Shorin Rukarati. And the reason why I got into that was just because it happened to be the local dojo.  But that was the one that I started with and that's what I ended up sticking with. When you like something, you practice more. And when you practice more, you get better at it. And when you get better at it, you tend to like it more. And when you like it more, you practice more. And when you practice more, you get better at it. And so it's this wonderful cycle that just feeds in on itself that makes you better and better. And pretty soon, you know, now 48 years have gone by and I'm still a student of the martial arts. I hope to inspire the kids that I'm with by my example. So in your school, you teach a mixture of arts or is there still primarily Shorin Ryu? Well, Shorin Ryu is the base art. You know, that's where kind of our foundation is.  I'm a fan of the way that the ties kick.  So there's a lot of good stuff out there, Filipino martial arts. We're very quickly, my students are very quickly putting their hands here. And yes, we do chamber on the hip or the ribs, but I'm limiting that to my kata practice. You know, that's where my art lives. That's where the history of the art lives. You know, yes, there is a purpose for that, but I'm also finding that if I can get my, you know, my students to keep their hands up here, they tend to get hit a little bit less, you know, especially coming in with somebody.   I have found that by going outside my art, so to speak, I have found things by able to look at things in a different perspective that may have already been in my original art, but I just didn't recognize it. You know, there are throws and grappling and things like that that are, you know, they've either been hidden or forgotten or, you know, maybe they were never intended to be there. But because I'm looking at things through a new lens, suddenly I'm able to see a movement and go, you know, that's could be a throw, you know, and not even realizing it. So I think that for me going outside my art has actually allowed me to be better at my art. So speaking of the history of the art, Shorin Ryu is pretty much one of the oldest forms of Okinawan karate. How does it stem from Shurite and like what are some notable differences? You know what, the differences that I've noticed in a lot of the Okinawan styles are in the kata, you know. You know, the stances in Okinawan karate tend to be higher and, you know, the theory was from mobility, but the way that I was taught by Shorin Ryu was we favored lower stances and not, and not like maybe as low as like a Shotokan stance. Theory behind that was that, you know, if you can learn to move quickly from a lower stance, then it will be there when you go to a higher stance. Interestingly enough, there are, there are no round kicks in any of our kata, you know. There are plenty of front kicks, some side kicks, but no Mawashigeri. So there are some theories out there anyway in regards to, well, where did the, what, where did the roundhouse come from? And we use it all the time. So I don't know if that was even part of the original, you know, arts, you know.  You know, I think the early 1930s is when it was actually like point karate and even the calligraphy was changed from like China hand to empty hand. You know, it's all very simple and more, more, more similarities than differences in my opinion. You know, things are different when you have resistance training, right? Nobody leaves their hand out, right?  It's different when you're working with your partner. You know, even if it's just, hey, let's do some, let's just do some free grappling and see what happens when somebody is not cooperating. It is a little different. That's a big part of the, what I think is important in training is let's pressure test. Let's resist. I do want to go back to Simon. He makes, I wanted to ask you about the punches because there seems to be this debate about the vertical and the horizontal punches. How does punching, how does punching differ in show and review versus like, can you elaborate on what this debate is? You know, I can only tell you what I was taught and I was always taught, we always did, we never did the vertical punch really. It was either that or it was that it was either counted or horizontal and it was always taught the first two knuckles. You know, never punch with a pinky, obviously. That seems to have been what worked. And then later on, when I started incorporating more of the boxing, then it was, okay, how do you bring it around in a circle? And when I was first taught that, we had an assistant instructor over at the school named Dave Loob and he was highly influenced by boxing and infoslay and whatnot. And that was the first time I'd actually learned how to throw a hook. The first time I learned I threw a hook, I was like, and I thought that's the stupidest punch I've ever seen. It doesn't work, you know? And he was like, no, no, no, no, you know, you got to put your shoulder into it. You got to turn your hips, you know? And, you know, that by the mechanics of by the mechanics where they'd be boxing or karate, right? It's like, okay, there's got to be a rotational force. You've got to move towards your target. There's got to be some velocity so on and so forth.  But I also discovered that it's like, oh, you know, in kakas like Naihan Chi, we have punches that are kind of like a hook punch. And if you just kind of bring it up and you can either turn it this way or turn it this way, it can be a good thing. There's a lot of debate whether, okay, do you hope this way or do you hope this way? I like them both. I think they both, you know, they both work. So I teach them both. So Sean has a lot of circular motions to it, correct? It's a very circular based art. What people don't know about me, a lot of people is that one of the people that I learned from that actually was my sensei sensei was a man named Tadashi Yamashita.  He's one of the, I would say the pioneers, you know, of the American karate movement. But if you ever looked at the way he moved, he did a lot of circular motions.  And for years, I was like, oh, you know, Sean is a very, very circular art, but I didn't necessarily see it in our kata. I didn't see reflected in our kata except for maybe when we do this thing called, you know, a kake-uke or a kake-uke, you know, where it's sort of like a parry and this one comes in here. This almost looks like Filipino martial art, right? Where you're checking here and you're struggling here, right? But he was good friends with a man named Tino, Tino Terusuga, founder of Lima Lama. There was a Chinese Polynesian influence that he had adopted, and eventually he combined his shorinu karate with that. In my opinion, I may be wrong. You call it suikendon, which kind of translates as fists being the way of water. And if you look at him demonstrate, it's like, that doesn't look like your typical karate movement.   So I don't know if there is that conception of shorinu being circular, but there's only one kata that I practice that has circular motion in it. And it's called gochushiho, and it has movement like this, where you're moving like this, and then you go into a spear hand and then another spear hand. Everything else is mostly linear. And I want to use that topic of, you know, mixing the arts and different influences to segue into your channel, kaizen dojo films. And if I understand correctly, kaizen means continues improvement, is that correct? It is a Japanese word that has come to mean in modern times, continual improvements. It was adopted by the Toyota Corporation within their company culture. And that's how I really first heard of it, and I started doing some research on it. And when we opened up the dojo 10 years ago, I thought kaizen dojo was kind of a cool way to describe how we teach and what we teach. You know, the idea of continual improvement, not only as martial artists, but as human beings. And as long as somebody is continually improving in some way, then you're succeeding. Now tell us about the iconography of your logo. Is there a significance to the turtle? Oh, I'm glad you asked that. The turtle is my connection to Hawaii, and my mother is from Japan, but she believes her father was actually Hawaiian. And we have a lot of family who live in Hawaii. So that's my connection to Hawaii, but also the turtle in Hawaiian is called a honu. And to me, that represents connection to nature, longevity and wisdom. But the honu, the legend is that she was a goddess who was able to transform herself into a woman, and she would stand on the beach and watch over the children to make sure that they were safe. So I like that legend, and so I wanted to incorporate the Hawaiian honu into our dojo logo. And then if you'll notice that there's the shell, which represents defense, but then the fins are blades. So the turtle is thought of as being a very, not a predator, it's a docile creature, but I wanted to have the symbology of the shell being defense and the fins being offense if we need to use them. And if you look on the logo itself, there is the kanji for kaizen right in the middle. And that's what we talked about, continual improvement. The red dot represents Japan, which is where I'm from. The red dot with the circle inside represents Okinawa, where my heart comes from. And then you'll see the stars and stripes represents the US, where I was born.  If you look at the negative of it, it's like three tears. But if you look at the black part of it, it's like three blades. And you oftentimes see that associated with martial arts from Okinawa. But if you go further back, one of the gods was the god of war called Hachiman. And one of the samurai clans, they adopted that three-pronged thing. It was like a symbol of Hachiman. And the Okinawan version of it, it's a little bit thicker and it looks a little bit more like the blade of a kama. So there's some history with that. But thank you for asking that. Most people don't think to ask me that. I love it. I find it very striking. The colors are still bold. It just stands out. And I've always thought it was a very striking image. So I was really curious to know what the meaning behind it was. Because it looked like it was very deliberate in its design. It was. And I do appreciate that. And I took the time to ask. And when I started the YouTube channel and I started wanting to create little films about martial arts and shows, documentaries, things like that, I just decided to call it Kaizen Dojo Films. And that's a perfect segue to my next question. Because I absolutely love what you're doing with the channel. Your whole series on the 52 Masters and how you're working to bridge the gap and understandings and bring different education, different arts together. So people can see that there's a lot more out there. What was the original motivation of your channel? And how did you transition to the series? And tell us a little bit about 52 Masters. Well, you know, the original motivation of the channel was just to, you know, create some awareness about the Dojo. So more like, hey, you know what? You got to get some videos out there.  Then I discovered that I enjoyed interviewing people. What I eventually got really comfortable with was, you know, first of all, people would say, oh, you know, you're pretty good at this. You know, you're easy to talk to. And then that's when I, you know, I really honed in on that, being able to not talk to people, but talk with people, communicate with them, get them comfortable, have it be a conversation, not a monologue, talking about martial arts. How they got started in it, like you and I were doing, how we got started in it, what's our philosophy? See, I'm 55 years old now. I'm going to be 56 this year. The idea behind 52 Masters was when I was 51, I wanted to do something to celebrate turning 52. And so 52 experts, 52 black belts, 52 people were pretty good. 52 Masters. Oh, that's the one. 52 Masters is a catchy title. So that's how that was born. And the original concept was, let's go to celebrate turning 52. Let's take the next 52 years, the 52 weeks, and train with one master per week, document the training, and then do an interview. I haven't finished the series yet.  But I only have 15 more episodes to go or so. So I'm almost there. So, but mark my words, I will finish. You know, I got it finished. Well, for anybody watching at this point, guys, I do recommend going to check out the channel because there's quite a few right there now. And it's a lot of material to watch. And it's so fascinating to watch because I love the structure you do too, because you guys, you do the introduction and then you do a training, like a drill training session and then you do the sit-down and talk after that. And I think it's such a great reflection that you can offer right after showing a little bit of the art. So I love the format. So I can't recommend the show enough. I appreciate that. And I appreciate it even more coming from you because, you know, you do something similar.  If they want to dive in, there's these nuggets of wisdom there. And people want that. Sometimes I'm surprised at the lead.  It makes it real. Yeah, somebody who like, well, I didn't know that they could generate that much power or, oh my gosh, this person is brilliant. You know, when you feel somebody's power, you know, up close and personal, my friend Michelle Manu, you know, I've known for years and years, but being able to experience that with her, but they also have a tremendous amount of self-control. They don't hurt you. They don't show you how good they are. They don't have to. Now, you also have a very touching sentimental episode up there, a documentary, Chronically Sensei Fumio-Demura's Last School. Can you tell us about The Last Dojo? That project is very dear to my heart. It's probably, it's probably the piece that I'm the proudest of. And it came about because my own instructor, Sensei Richard Mubago, he had a dojo close to mine about, he had it for over 35 years, and the landlord told him, hey, you know, Carl's Jr. wants to expand and get a drive-thru, so that means it basically made me an offer I couldn't refuse, so you guys got to go.  No, that can't be. I call him up and he confirms that.  That's what he did for about six weeks. And then he passed away. He had heart condition, and he passed away in his sleep. His cousin, Kurt Abduhan, came by to pay his respects at my dojo. And I have a piece of the original dojo floor that was salvaged. This was, you know, a plank. And this was something we all used to train on. And it has 35 years of DNA and sweat and blood and energy and all that. And I was able to salvage this. I got this. And so I put it out on Facebook. I said, hey, anybody who has trained with Sensei Robago at this dojo, come by and sign the back of this thing. Uncle Kurt came by. He signed it. And he's also an Emmy award-winning cinematographer. And he says, is there anything? Let me know if there's anything I can do for you. And I said, well, you know, that Sensei Demera is kind of going through the same thing that Sensei Robago is. The city is saying, I'm in a domain and that you got to keep going pretty soon. So they're trying to close this dojo down. We went to Sensei Demera's dojo. He was kind enough to be interviewed. And Kurt took all the feral of all the dojo. He took pictures of the pictures on the walls and everything and the old doors and the mats. And he comes back and he says, I think we have something more here than just in there. So he comes back to my dojo. We do it at night. And he interviews me when it was put together and edited by Nate Joseph. And the music by Randy Miller was inserted in. It was composed for the movie itself. It became a 20-minute little gem. It's my love letter to Sensei Demera and his students. And anybody who's trained in the traditional dojo, the dojo isn't there anymore. And the good thing is that Sensei was, he was paid by the city and he hasn't even heard the dojo. But that dojo is there for almost a few years. So there's a lot of memories there. The sad thing is also is that the city basically kind of changed their mind because there's a McDonald's on the corner and they said, no, we're not going to go. And the city backed down. So it all came down to the almighty dollar. It was really about money. And McDonald's wasn't about to leave. So Sensei's dojo was destroyed really for no good reason. And everybody who came together, including Sensei Demera, to participate in that made it super special. And if your viewers could go and watch the last dojo, it is on YouTube, you can watch it for free. It's going to be on Amazon very soon also. But it's the piece that I'm most proud of. Maybe more than anything I've ever seen. You can just feel the soul. I watched it just recently. I put it on just to kind of watch it for a second and I found myself just totally into the whole thing. And so you can feel the soul of the school. You can see the history of the school. It's so beautifully filmed that it really, it's like as a viewer you can feel lost even just through the video of what happened and the travesty of it. But it's a wonderful piece.  So with your channel too, I noticed that you also like to throw in a little bit of levity here and there. And with that being said, I have to ask you, how is your relationship with rice paper Japanese screens these days? Well, I'm thinking about founding a style called Shouji Guru. Based on my infamous destruction of Shouji screens in the film Karate Kid 3, where I played Dennis Domenis, you know, Cobra Kai Henshman and trainer of the bad boy of karate, Mike Barnes. So my relationship is okay, you know, but I think you still have some issues, you know? I think Dennis is still walking around with a Shouji screen under his arm and he's got some, he's definitely got some issues, you know? But he's trying. I love that film. I watched it when I was 10. I mean, I love the whole trilogy, but like I watched that one so much and so I just, you're curiously, when you got the role of Dennis, were you given any sort of a backstory to him? And if not, what do you imagine his backstory was and how did he get tangled up with Terry Silver? You know what? It was basically, they were under the gun. They needed a Henshman and I Henshed. So, you know, I had originally auditioned for the part role of Mike Barnes. Didn't get that. I thought that was done. I get called in like a day before production is supposedly starting. I go down and I meet Pat Johnson. He looks me over. Yeah, you look okay to me, but it's really up to John.  And it was like, John came out and actually talked to me. Most of the people he didn't talk to, but he came over and talked to me. I gave him a picture and a resume. He said, how old are you? I said 22. He says, you look too old.  The day before we're supposed to start productions and rehearsal, I'm back down on the lot. John comes in, says, well, how old are you? I said 22, sir. He goes, ah, you look young enough. Let's hire him. And then, since Demer was there that day because he was the stunt double for Pat Merida, obviously. He saw me.   You know, we had maintained a friendship over the years. And he actually vouched for me when John came out. He says, John, this kid, okay. And John was like, good enough for Sensei, good enough for me. Let's hire him. In regards to the name, I actually, they asked me, what do you want to name your character? And I was like, ah, ah, ah. And I thought Dennis, Dennis the menace. And so I just called myself Dennis because I was under the gun and I needed to come up with something really quick. And I was like, okay, Dennis. And that's how that came about. And I didn't really give it any thoughts until years later when I thought, you know, he was probably this hotshot martial artist, my character. And he was recruited by Terry Silver to be the trainer or something. I've heard fan fiction rumors that, you know, he's Terry's son, but I was never told that. I was never told that Dennis was related to Terry or anything like that. I just thought, okay, he's the guy who was good and Dennis hired him. I mean, Silver hired him.  If Dennis were to cross pass with Laruso again, does he still have that famous Cobra Kai grudge? It can go one of two ways. It can either go like that, you know, where, you know, I haven't let it go. And it's like, okay, we're going to have a rematch or we pass each other going into the Home Depot. And I'm carrying a shoji screen. We do a double tape where it's like, nah, it would just keep going. It would be fun to be able to show that, yeah, you know, I can do more than just get thrown into shoji screens. And I got a few good kicks left in me. So I think it would be fun if I could do that. If they could show some dimension to the character and what his motivations are. If he's bad, let's find out why he's bad, just like they've done with the other characters or maybe he's not so bad. And let's find out why he's not so bad. Either way, it would be a fun rematch. Forgive me for bringing this up, but you were one of the more notable martial artists to be in the film. And yet Dennis seems to be the only Cobra character that Daniel happens to throw aside no problem. What's with that? I don't know if Dennis is just having a bad day. Maybe he's just got good PR, you know, but think about this is that Dennis, you know, if you rank his skill compared to, you know, you can say, would Dennis be able to beat Mike? Would Dennis be able to beat Johnny? Would Dennis be able to beat Vidal? Would Dennis be able to beat Dutch? He hasn't even been able to beat Daniel yet. You know, in the rankings, if it was like an MMA world, you know, Dennis is kind of at the bottom of the list there. Well, I think he got a big splinter in his hand when he chopped that shoja screen. And the wood went really, really deep and it created this infection and it just affected his performance and he just wasn't able to bring it when he fought Daniel. Sounds legit. You know what?  So I appreciate that you noticed that because I've wondered that for years. Well, to be fair, I've probably watched all three of those films way past the healthy level. Well, you know, I have not been the biggest fan of Karate Kid 3 in, you know, despite the fact that I'm in it, but I do believe that Cobra Kai makes it a better film. It fills in gaps and it kind of explains things. You know, and just like, I don't know if you've ever seen the animated show The Clone Wars. Yes. The Clone Wars makes Revenge of the Sith a better movie. Absolutely. That's what I think Cobra Kai does for particularly the Karate Kid 2 and 3, but particularly 3, because think about this. Terry Silver is this billionaire, right? He's like Elon Musk. Like if Elon Musk was going out and harassing an old man and a guy who was like 18 years old over karate schools or something like that, it'd be like, why would he do that? Right? It doesn't make any sense. And he'd be in a lot of trouble. But now you're kind of going, okay, I can kind of buy into this now. You know what I mean? Yeah. If let's just out the context, it's actually giving more support to what we saw before. And, you know, I never really got a chance to hang out with Thomas Ian Griffith. He's a legitimate Taekwondo guy and he is a tremendous actor, writer, producer, and I have a lot of respect for him in that regard. And he was playing over, Terry Silver over the top, not because he wanted to, because John Abelson asked him to do it that way. You know, where he's like laughing maniacally.  And he's like, John, are you sure? And he was, you know, he did it in his credit, but he really wanted to make it more grounded. He wanted to make it more realistic because he's an actor who comes from theater, you know, and, but that over the topness made him memorable. And as much as Crotty Get 3 was not liked as much as the other two, when it was announced that Terry Silver was coming back, the internet broke, right?  I have a question for you. And this is something that's bugged me for years about Crotty Get 3. Officially in the Crotty Get canon, the trilogy, Dennis is the only bad guy not to go up against Miyagi. However, when you watch the scene in the Banzai shop, there is a weird edit there where after he takes out Snake, Mike Barnes gestures to you and points to Miyagi and all of a sudden it cuts to Mike Barnes attacking. Is there a deleted scene where Snake did face off with Miyagi? There is a scene where the way we filmed it was Miyagi comes through the doors, Mike points at me, both Snake and I attack Miyagi. He takes us both out. And I threw a punch at Miyagi. He does this thing where he carries the arm on the outside and puts his hand on my elbow. So it's like this kind of move and he pushes and then I go summer solving over. We filmed that and Pat Morita was the one who did it to me, that's when they were done. So he did that. Much to my surprise when we saw the finished film, I was like, Oh, it's not there. It's a weird jump. And my thinking is that for some reason it just did not sound. You know, I tried to sell the hell out of it, but it was almost like I might have done it too much to where it just was like almost like Miyagi's got Jedi powers or something and he's just like, he goes and I just go, I might have oversold the thing, but they didn't say anything to me at the time. So I would have loved to see that, but I still have this frame of somebody who was on set and took a picture and it's kind of blurry, but it does show me punching Miyagi and it shows him like this. I'll send it to you, but it's a frame of us and it's proof that that does exist. Awesome. That is awesome. Now you can see better. I'll let you know. Oh, I feel fulfilled now because I've wanted for years. But do you want to point out a fun fact? I don't know how many people have read this, but I actually do have the novelization of Chronic it through. Oh my God. I think I'm in the novelization and I'm described as the friend or something. Yeah, because Snake doesn't exist. I believe it's just you and Mike Barnes in the book. And they don't call me Dennis. I think it's called, and then Mike Barnes is friend or something like that. Well, I'm thrilled that you're still willing to talk about it and that you're still having fun with it. And yes, to answer your question, you are referred to as the thug. The thug? Okay, there you go. But we know it's Dennis though. Well, that's really cool. So I do appreciate that. You know, I am grateful for the experience on Chronic it through, and I'm still acting. I still do projects of my own.  And I'd never knew that 30 some years later, I'd still be enjoying the benefits from that. You know, thank you for keeping Dennis alive. It came out the same summer as the original Batman. Tim Burton Batman, I believe, 1909. And the other movie that was that summer was Star Trek 5 directed by William Shatner. So that's what I remember. And we did a preview screening for the cast and crew and John Appelson gets up and he says, Batman doesn't have a chance.  That was a real big, you're right. It was Chronic it through in Batman and Star Trek, but there was also Back to the Future 2 and there was also Ghostbusters 2 the same summer. That's an amazing summer. Oh my gosh. Yeah, that's awesome. And I just really personally want to thank you for doing such a great job, doing what you're doing with your channel, always exploring, just trying to educate others, bring awareness to the other arts. I think that's such an important mission, especially we're in a world now where there's a lot of toxic politics where people are like, oh no, this my art's better than this art. I think just doing this open door policy of exploring other arts is so important just for everybody to appreciate what we're doing. So I just want to say thank you for the work that you're doing with your channel and for being available and spending time with me today to talk to our viewers and just kind of share your experience. Well, you know, since it's my honor and pleasure and I'm happy to do it, hopefully people will enjoy the interview and maybe get something positive out of it. And you know, I strongly encourage you to keep doing what you're doing and doing it your way. And for all of our viewers out there, you know, it's the same. You know, it's got to be about people first. You know, all the other stuff will take care of itself. Thank you so much to Sensei William Christopher Ford for spending his time and sharing his experience with us. I highly encourage everyone to please go visit his channel and check out his short film, The Last Ojo. Anyone who likes martial arts history will be able to absolutely appreciate that as well as his awesome 52 Master Series. He's got some great content, so please let's show him our support and go support his channel. Thank you all for watching, and as always, we welcome your feedback in the comments, like, subscribe, and we'll see you back on the mat next week.


So we are about to dive headfirst into what a lot of people consider to be the most difficult part of Unreal 5, which is programming logic and blueprints. So I will be completely honest with you guys. I came to Unreal from Unity, meaning what I am most comfortable with is coding in C-Sharp. That is the environment I feel most natural in, which is why there is a huge massive part of me that just wanted to learn to translate all of my C-Sharp stuff into C++ because I felt like that would probably be easier than translating my C-Sharp stuff to blueprints, but I know that blueprints is way more popular, and that's what most of you wanted to learn. So I am going to try to learn blueprints first, and hopefully we'll get the hang of it. If not, then I'll probably give C++ a shot, but before I do that, I just really wanted to give blueprints a genuine, honest, solid try. So in the next few weeks, I will be sharing with you everything I've learned how to do in blueprints using Unreal 5. So I hope you look forward to it, and as always, I hope you have a fantastic day and I'll see you around.


This paper presents a novel approach to predicting blast-induced ground vibrations at the Micurana quarry. It uses a Bayesian neural network, BNN, which is a type of deep learning algorithm to analyze data from eight input parameters and one output. The results show that the BNN outperforms other machine learning algorithms, such as gradient boosting, k-nearest neighbor, decision tree, and random forest. Additionally, the SHAP values indicate that the BNN is more accurate than the other algorithms, because it takes into account all the features of the dataset. This article was authored by Yoho Halashet Fischa, Hajime Ikeda, Hisatoshi Torea, and others.


Hi guys. Welcome to this channel. It's Meks from Women's Creation. Remember, when we talk about residing, we talk about the probation period, we talk about the employment rules. Remember, in most of these countries, they have what you call labor laws, what you call the employment laws. There's a little bit of something that you should understand clearly regarding these particular countries or regarding these countries or where you are. You may be in Oman, you may be in Kuwait, you may be in UAE, you may be in Saudi Arabia.  In today's video, what has to share, there's a problem in one of the subscribers. He has a problem living in UAE. Let us try to share out and see. If you feel you can also try to advise, you can get in the comment section, you can give your view and we try to see how we can help this person generally out of this whole mess. I'll just read what he said and this is what it goes. I joined the Dubai based company 3 months back. However, I have been paid less. 50% of the salary that was tupleted in the contract have decided to resign. I claimed my pending salary over the last 3 months. My boss advised me when resigning, I have to pay around 6000 for the visa conservation. What does it mean? Remember, this is a person that joined the company. It is just 6 months within the probation. Something that I need to let you know, the probation period in Dubai or probation period in UAE is supposed to be 6 months. However, for this kind of situation right now, this person joined this company in 6 months. But however, even in the course of the 6 months, the first 3 months of payment were 50% meaning that he was paid half of what was agreed in the contract. Hope we are still on the same line. He was paid half of what was agreed in the contract. First of all, something that you need to notice out of that is the breach of the contract. If your employer pays you less than what he agrees in the contract, that is the breach of the contract. But at the same case, he thinks of resigning leaving the company because he has not seen anything good out of the company. But the employer tells him that he has to pay dirham 6000. That is for what you call the visa cancellation fee. In your own view and your opinion, who should he pay or not pay the amount of money. Alright, let's go into the video and say, remember when we are looking at the UAE, we look at the UAE, then we look at the employment law. There was new labor laws that were bought into effect in 2022. And remember one of the employees, one of the labor laws, one of the rules of the new employment law in the UAE says in case in any situation, things get out of hand, you can resign even in the probation period. However, how does it come? Yes, you can resign even during the probation period. But remember, even your employer can terminate you during the probation period. In case both of you or in case one of either side does not move or in a case any of either side breaches what you call the contract that was signed. So if anyone party breaches the contract, if he does not move with the contract, you control, you as the employee you can move or you can resign and go during the probation period.  But again the case is that who bears the cost, who bears the entitlement. In case it is a visa cancellation, who bears the visa cancellation fee, that is what you need to understand, that's what you want to understand. Those people who are living in the UAE, if you are living in the UAE, if you are working in Abu Dhabi, if you are working in Syriza, you are working in the free zone, if you are working under one, if you are working in Dubai, Abu Dhabi, Syriza, you are working in the free zone. That is why to know what it should be and what are you supposed to do. Remember, when you sign your contract, you sign a contract with your employer, read and clearly understand the rules and the speculation and the clauses in that contract. When your employer breaches one of the contracts, for this case, this employer is paying 50% of the salary, meaning that in the salary that was agreed in the contract, the employer is paying this person half of the salary. For 30 months, he's only paying him half. Meaning that this employer has already bleached what you called the contract. He has gone against the contract rules. What are you supposed to do? In this case, this person can resign, but remember, we have a resignation which can be submitted with a notice period of one month and is what you called a notice period of two months. In this case, this person has not yet finished off the probation, meaning that the notice period, first you have to understand the notice period of resignation is supposed to be one month. But before you resign, yes, I'm already giving in my resignation for one month. What am I supposed to do? Go to the Ministry of Human Resource and Immatrization. Report your case. Report your employer. That is what the law says in the UAE. That is what it says in accordance to what you call the article 45 of the Employment Law in the UAE. It says, if you feel your employer is bleaching the contract that you signed, in this case the employer is bleaching the contract, write your reason, then report this person to the Ministry of Human Resource and Immatrization in the resources. Within the 14 days of your resignation, remember, I quote, it's supposed to be in the 14 days, before the 14 days of your resignation, you are supposed to submit your company to the Human Resource, the Department of the Ministry of Human Resource and Immatrization in the UAE. And what is going to happen? The Ministry will notify your employer about your resignation and about your company. If your employer does not, if your employer does not remit, if your employer does not change or he is not willing to cooperate, then you can resign according to the Ministry or according to the Ministry, you can resign and move without even paying a single coin or without even paying the visa cancellation. That is what is against the law. And remember, in this case, if your employer does not respond, the Ministry will advise him to pay all the settlements that he owes to you. All the money, all the settlements, let's be anything that a single coin that you demand from your employer will be paid for that case. That is what the law says. It will be paid up. So meaning at that time, you would not pay anything at all because he bleached the contract that you signed and he was not willing to be positive or willing to change or respond to what the Ministry said, then you can go free. Hope I've tried to cancel you out. So for this case, in this case, your employer has to pay back all the money that he's not paying in the three months, also any settlement or any area that he has to pay to you, he has to pay them according to what you call the law because according to the law, if the employer bleaches the contract and does not actively respond according to the Ministry, he has no obligation to charge you any amount of money either directly or indirectly. Even if it is visa cancellation even if it is visa, he has no right to charge you that amount of money. Hope I've tried to share with you something. Thank you so much for coming back to this channel and if it's your first time come across this channel, consider supporting this channel by subscribing to this channel. Remember, it's made from the next creation. See you again in the next video.