Joe Jaspy here, live at the National in Chicago, coming at you with a nice little break here. 2021 Gold Rush basketball vault, six box random team break number two from jaspy'scasebreaks.com. Very big thanks to everyone here for getting in on the action, appreciate it. And all 30 teams are in. Let's roll it, let's randomize names and teams two and a five, seven times for names and teams. One, two, three, four, five, six, and seventh and final time. You got J down to David. All right, two and a five, seven times for the teams. One, two, three, four, five, six, and seventh, and seventh and final time. We got the New York Knickerbockers down to the ATL Hawks. So here's how the Rando shakes out. J, you got the New York Knicks, Sean with the Raptors, Chris with the Kings, Sean with the Sixers, Julian with the Clippers and the Heat, David with the Wizards, Josh with the Nets, Chad with the Thunder, Daniel with the Cavs, Ross, you got the Magic, Michael with the Spurs, Ross with the Nuggets, Sean with the Hornets, Oliver with the Rockets, Mike with the Celtics, Joe with the Bucks, Sean O with the Jazz and the Warriors and the Pelicans, Allen with the Pistons, David with the Pacers, Sean with the Grizzlies, Peter with the Mavs, Joe P with the Portland Trailblazers, Daniel with the T-Wills, Michael with the Suns, Jason with the Bulls, Joe with the Lakers, last spot Mojo, star next to your name, and David Baker, the ATL. All right, let's alphabetize by column B by team and we're gonna keep the video rolling, but let me know if there's any traits. Let me know if you wanna do any traits. And don't forget to check out the details of the promo on jasmeaskasebrakes.com. Brand prize, $4,000 a break credit. Ross is looking to trade Magic or Denver for Golden State, if Sean is around. And remember there's a basketball only repack product so trade at your own risk. There could be old school guys in addition to new school guys, so on and so forth. Maybe not, maybe we should roll. We got a third case up of this. This is our second case, third case, in the store right now, jasmeaskasebrakes.com. Jopie has the trailblazers up for trade. Oh, you don't want a Damian Lillard, Jopie? Clyde the Glide Drexler. All right, TWC trade window closed. All right, so let's flip screens right here. There's the vault. We're doing all six boxes, three cards per box. Thanks for joining all the breaks here live at the National Appreciate It. Hopefully we can try to deliver a little slice of the national experience to you if you're not able to join us in Chicago. David B saying, you think you got Atlanta one box too late? Maybe. Or maybe not. There's a rookie Trey Young from Prism Basketball. Could be gradeable, think you're all right. Yeah, Jopie wins that bet. Award-winning autograph for the Sixers. Dikembe Matumbo, 33 out of 60. For the Sixers, that's gonna be Sean Oat. And usually it's two cards and then one graded card to encase cards and then one slabbed up card. And from 2019, Penini Daunris, Optic of Basketball, Jaumarant, nice. PSA 10, Jaumarant. That'll be for Sean O and the Memphis Grizzlies. Second box. Hey, how's it going? I'm gonna open this box for some reason. I'm in a lot of trouble here. Some Kings. That's a Fox in the Box, De'Aren Fox from Penini One and One Basketball. It's a nice texture in that relic there. 30 out of 35 on card autograph. Sacktown, that goes to Chris Boggs and the Kings. How about some warriors come out to play, yay. 2012-13 Marquis basketball rookie, Clay Thompson. Sean O'Leary. Card hard to get out here that got it. Is a PSA 10. Josh Jackson, 2017 Penini Daunris Optic Basketball. The Rookie's Hollow PSA 10, Josh Jackson. I'm sorry, Miss Jackson. Michael Hepler with the Phoenix Suns. David Robinson, five out of 10 from Illusion's Basketball. That'll be for Michael. Joe Peay, you should come to the National, you can tell him yourself. And we got a dual relic, Golden Pairs. Anthony Davis, true holiday. Two champions right here. Two out of 25. Pelican's edition, going to Sean Oat, the graded card. Or no, no graded card in this one. It's Nate Archibald for the Kings. 13 out of 25 from Immaculate basketball. Can't see the Kings' courts turning to the Sacramento Kings. All right, halfway through this full case break. If there's a graded card, I'm trying to save it for last. All right, next up is gonna be Jason Tatum, rookie card from Prestige Basketball. Celtics, that'll be Mike Tower. Got an autograph, we have NBA Inc. Seth Curry. Two out of 10 for the Mavs. That'll be for Peter in the Mavs. And the final, the third card in the box. Wait, what's wrong with that blade? The graded card is a PSA 10, Carl Anthony Towns. That'll be for Daniel Katz in the Minnesota Timberwolves. Nice. And the next one. I'm good with a knife, Jopie. I'm good with a knife. I'm not that good at stuff, I'm not sure. Yeah. We're pros, Jopie, we're pros. You're like, try yourself and do it, I've been doing this for like seven years. Yeah.  By now, next one is a printing plate. And that is Oscar Robertson for the Cincinnati Royals. Did the Cincinnati Royals turn into the Kansas City Kings? Yes, the Cincinnati Royals turned into the Kansas City Kings, which turned into the Sacramento Kings. So that's another king for Chris Boggs. And that's a one-of-one, Chris, all aboard the Big Head Express. Woo-hoo! Chris Lambrose, what's going on? All right, next guy is, hey, John Moran. From Prison Basketball, rookie card. Grading potential here. Memphis, that will be for Sean Oat. All right, what do we got here? An authentic autograph, authenticated by Beckett. It's the worm, Dennis Rodman, Piston's edition. All right, Detroit, that's gonna be for Alan, Alan Murdoch, Alex, what's going on? Pete, what up? Tunnel box in the final three cards. Good luck, everybody. Got an autograph and it's Jason Tatum. From Prison Basketball, sensational signatures. Nice scope parallel here too. From 1819, that'll be 2018, 2019, not the year 1819. Jason Tatum didn't even exist then. Mike Tower with the Boston Celtics. 2018, 2019, Prison Basketball. You know what I mean. We have, whoa, LeBron James. From 2013, 14, Fleer Retro Basketball. I guess the checklist on 2013, 14, Fleer Retro Basketball. Probably be calves, right? Cause that's in his high school gear. Yeah. 2013, 14, let's see what the checklist says. I think that's my, he was in the Miami Heat in 2013, 14. That was the Heat year. Just wanna make sure that's correct. Yes. Yep, that is Miami Heat edition of LeBron James. So that goes to, that goes to Julian in the Miami Heat. Getting that 2013, 14, Fleer Retro Basketball. Nice. There you go, Julian. Congrats. But not least, graded a nine-five. It's a Lumberjack Mini, Michael Jordan. Nice, 2019, upper deck good wind champions, Michael Jordan. There you go, nice Lumberjack. Bulls. That'll be for Jason Kersh and the Chicago Bulls. And there you go, everybody. I'm Joe for JasperysCaseBreaks.com and that was a Gold Rush Vault basketball. We've got some, we've got one more case in the store, so make it happen on JasperysCaseBreaks.com. Thanks for breaking with us, thanks for watching and we'll see you at the national, bye-bye.


Good day everybody Dr. Sanger Sanyal, Professor Department Chair. This is going to be a demonstration of the venous drainage of the heart So we have removed the heart from this cadaver and I'm holding it in front. Let's take a look at the anterior intraventricular groove and We can see running in the anterior intraventricular groove is the LAD or the left anterior descending artery and accompanying that we have this vein here This is the Anterior intraventricular vein. So this is the beginning and we can see the full course of the anterior intraventricular vein here And we can see it going under This anti intraventricular vein as it runs up in the intraventricular groove It reaches left part of the anterior coronary sulcus and there it makes a bend to the left This is the place where it becomes known as the great cardiac vein And if you notice when I pull here, it is moving here. So this is the continuation of the anterior intraventricular vein This is the great cardiac vein in the left part of the atrial intraventricular groove It is accompanied by this artery that we can see here. This is the circumflex artery So both of them run in the left part of the atrial intraventricular groove and here we have an anatomical curiosity Normally when an artery and a vein run together the blood supply in the two of them are in opposite directions That is what we know from our normal knowledge, but this is one of those rare cases where an artery and a vein Both of them are running together in the same groove and the blood flow in both of them are in the same direction So this is a situation where We have the circumflex artery and the great cardiac vein both of them running Right to left blood flow is in this direction Let's continue with the cardiac vein. The great cardiac vein now runs in the posterior coronary groove and Somewhere in the posterior aspect. It is not visible in this cadaver. A vein will come from the left atrium And that is known as oblique vein of the left atrium Which some say is a remnant of the left superior vena keva Once the oblique vein of the left atrium opens into the great cardiac vein then the whole thing becomes known as the Coronary Sinus and now we are tracing the coronary Sinus This is the coronary Sinus and the coronary Sinus then continues in the coronary groove and it opens into the and this is the opening it opens into the right atrium Fill with clot and I have removed that clot And so we are seeing the opened out portion of the coronary Sinus and we can see the remnant of the clot deep inside It opens into the atrium near the interatrial septum very close to the atrium ventricular node So this is the full course of the coronary Sinus how it is formed and how it changes its name Now, let's take a look at The tributaries of the great cardiac vein and the coronary Sinus. So again, I'm turning the heart We have already mentioned the formative vein namely the anterior ventricular vein So we shall not talk about that anymore Let's take a look at this vein here, which I have lifted up and we can see it is opening into the great cardiac vein This is the left marginal vein which accompanies the Left marginal archery, which is a branch of the circumflex archery. So that is one branch Of course, there are many other branches, but they are unnamed branches. Now. I'm turning the heart slowly Now we have come to the diaphragmatic inferior surface This is the posterior ventricular vein Which runs on the diaphragmatic or the inferior surface of the left ventricle and we can see it is opening into the Coronary Sinus and we have separated it here to show the arteries This is the coronary Sinus Now I'm going to turn it even further We can see yet one more vein here and I've lifted it up here and we have cut it out from the coronary Sinus This is the middle cardiac vein. The middle cardiac vein runs in the posterior Interventricular group accompanied by the posterior descending artery, which is this one and This opens in the coronary Sinus and Finally, there is supposed to be a vein on this side here. That is known as a small cardiac vein But in this particular cadaver we do not see it in all probability It has been obliterated because of the previous mycardial infarction So therefore to summarize the four important tributaries of the venous system are marginal vein the left marginal vein posterior ventricular vein middle cardiac vein and The small cardiac vein which usually opens at the coronary Sinus near its termination, but we cannot see it here So these are the various tributaries at the opening in the trip Coronary Sinus may have a small valve and that is known as the valve of the coronary Sinus also refers to as the Thebsian valve Which is not of much significance. There can be anterior cardiac veins Which open directly into the right atrium and there can be my smallest cardiac veins or venae cordus minimae or thebesian veins Which directly open into the chambers of the heart, but mostly to the right atrium. Those are very small and they cannot be seen here So this is about the venous drainage of the heart Thank you very much for watching Dr. Sanjay Sanyal signing out if you have any questions or comments, please put them in the comment section below. Please like and subscribe


Hi friends, today in the video we are going to be talking all about a website called skinstore.com and the products that I got from them. Skinstore reached out to me and asked me if I would show them some love on social media if they sent me some products and I said sure I'd be happy to and they were generous enough to let me pick out what I wanted. And the reason that they asked me to do that is because they're having a really great sale start on October 8th and continue until the 16th. And that sale is going to be everything on their side except for a handful of brands that's going to be 25% off. Now I do have a code for you that is going to be Melissa 25 and I'll make sure I link all of this and list it all down below so you have all that information. That is not an affiliate code. I don't make any money off of that. That's just a code that they gave me to give out to you guys so that you know that. So we're going to get into reviewing several different things from there and we're going to take a look at the website itself. And I was really surprised how many brands they have. They have a lot of high-end brands on on hair care and skin care and makeup but they also have brands like the Ordinary there. iCo thinks that are just that in between spot where it's not very expensive. Plus what's great about skinstore is that I absolutely love that they have sales going on all the time. And the sales that they have are anywhere from like 10% up to whatever and they have specific sales at different times but this one is particularly, particularly special because skinstore is offering 25% off across the board on all their brands except for a very select few that decided not to participate in this. All right, so I want to talk about some hair items. Caronique is a fantastic brand that has been around for a long time and they deal specifically with the hair and keratin is their ingredient that really helps the hair health. And so I got the scalp stimulating shampoo from them and this is promoting microcirculation, strengthening and thickening. I can't talk strengthening and thickening reduces buildup and blockages. So it says to go ahead and lather this up as regular but leave it on your scalp for two to three minutes. I actually leave it on for quite a while because I find that these kinds of shampoos really do stimulate the scalp and really help the health of your hair and help stimulate growth which starts at the follicle of the hair. So I've been enjoying this. I've used it a couple of times so far. And by the way, I haven't had this stuff for very long. I think I've only had it for a week, but we wanted to make sure that we got this video up for you. That sale does start on the eighth. Hopefully that's today when I'm putting up this video. This shampoo though, it's really a good one. It's got a nice lather on it. It's got a nice fragrance on it but it's not overwhelming. Sometimes when you get these shampoos that have a little bit of vitamins in it, they can be a little bit overwhelming. Well, this isn't bad at all. So I really have been enjoying that and then I also got from them something that is going to take a little bit of getting used to. I've already used this as well, but I have it in the box still. This is from Keranique and this is their Micro Exfoliating Follicle Revitalizing Mask Pre-Shampoo Treatment Stimulates Microcirculation Gently Unclog Follicles Maintains Healthy Scalp Supports Longer and Stronger Hair and it's again enriched with Keratin Amino Acid. I found this really different. It actually has the little scrubbies in it. And when you get that on your scalp and you're first using it, you're thinking, oh my gosh, what have I done? So you're basically wetting your hair. It's not meant for the ends. It's actually meant for the scalp. So you're massaging that in and you feel that dirt. It almost feels like sand in your hair. And so that is a little bit different. But I'll tell you that when I got done with this, my scalp felt so tingly. And so I could tell that the blood was coming to that area. And then it has all the other ingredients, the amino acid and everything that helps so much with hair help. And I really enjoyed this. I will tell you over the long haul later on how I liked it, you know, over the long run. But so far so good with this. It was just different. It came out okay when I shampooed my hair with the other shampoo. It came out just fine. But this was kind of different to be putting that in your hair and feeling all that sand like product in there. But it was good. So another hair care product that I got is from Grow Gorgeous. And this is intelligent hair care. And this is the volume botifying leave in serum. This is for hair thickening for it to be easier to style for limp hair to be lifted. And you can tell today that my hair does look a lot better as far as its volume and stuff. And I did curl it. But a lot of it is due to this. This was really good. It's very, very lightweight. It's just a really great thin formula that seems to absorb into the hair. And I have very limp and fine hair. And it didn't get the hair crunchy or hard to comb through or anything like that. It was really easy to style. Now this is not a heat protectant. It's just for that botifying, that volumizing. And it really does help give your hair a lot of lift and a lot of shine. And it's just full of amino acids and different products that are really good for hair health. Next product is from Strivectin. This is the Double Fix Lips Plumping and Vertical Line Treatment. So on this side, you have what is supposed to go around the lips. So this isn't actually going on the lips. This is treating the lines that are around the lips. And it comes with a brush tip right there. And you put that on. And then you put on what actually goes on the lips. And this is a plumper that doesn't have any stinging or any tingling in it at all. And I have used this ever since I got it like a week ago. And I have noticed the plumping effect. My lines, my vertical lines on my lips have lately really been bothering me. So to get something like this that is actually a targeted treatment for that, I'm excited to get it. And then I also wanted to try this product. This is the Dark Circle Relief Cream from Biopel. And this is just a regular eye cream. It is, you know, it's not a heavy cream. It actually sinks into the under eye area fairly quickly, which is kind of surprising because I would think that it might need to be a little bit heavier in order to do something because I have very bright under eyes. But think of this more as a serum.  But I was really glad to be able to get something that's specifically targeted for dark circles because I do have really, really bad dark circles. This one right here is from Niyad. And this one is the Neck Elasticity Catalyst. I've been wanting to try this for a long time. And I can tell you that this does feel different than any other product that I have in my skincare at all right now. It comes in a glass jar. So I'm not crazy about this delivery system. I think that they could do a little bit better. Maybe a squeezy tube would be better or something. But it is a very, very thick ointment-like product. When I dip my finger in here, it almost feels like honey.  But what's great about it is I can actually feel that sink in. And so I've been using it from this area right here on my declatate all the way up to about lip line right there across my cheeks. And I've been loving it. When I put it on at night, I use it a little bit thicker. When I use it in the daytime, I'm using a much thinner coat because I don't want it to disrupt my makeup. But so far, so good. Now, I just put that on the back of my hand right there. And I told you it was like honey, there's nothing sticky to it all. I can go ahead and snap my fingers and it just feels so soft on there. Now, again, as far as long term, whether or not it's going to help all the sagging skin that I have, that will have to come later. But for now, I'm enjoying it. It does feel really good under makeup if you use a small amount. You're not using a lot in the morning. But at night, you can use a little bit more. But other than that, I've been enjoying that one so far. I also did get, and this one I've already used, these are the Ahava Mask Moment. There is, I think, nine or 10 different masks in here. And so they come in a single packet. There is the Extreme Radiance Lifting Purifying Renewal Peel Hydration Cream. This one is a peel off detox, a mineral mud. And then I've also used another mud one. These aren't sheet masks, by the way. They're not masks that you pull apart and put on your face.  The one that I used was supposed to be super hydrating. And it was, it kind of had a funky glow to it. So it was kind of fun to use at the same time. So I was excited to be able to get these and get all different masks and be able to use those. And then I also got this one, which I'm really excited about. This is from Bobo Botanical's Daily Shear Sunscreen Extra Sensitive For Face SPF of 40. It says it's ultra sheer and lightweight. It's soothing and moisturizing. And it has the broad spectrum of 40 in it. Now, I have been using this for several days. And yes, you can definitely tell that it's the mineral. It's thick.  But I think if just letting it sit for a while, it doesn't look like anything on my skin. I mean, it doesn't have that white cast. But it's really beautiful under makeup. I'm wearing it today. I've sweat quite a bit already from my hot flashes. It does feel quite sheer. It doesn't feel heavy on the face at all. So that one I'm really enjoying. Also, I got from Stila the One Step Correct Primer. I've been wanting to try this for a really long time. So you have all these color correcting primers in there that do the different, you know, the different colors do different things. Green is for counteracting redness. Peach is for counteracting darkness. And then the lavender is for counteracting Saloness or dull looking skin. So they have all these in one and you put it across your skin. I feel like it's brightening. However, I'm not a hundred percent sure how I feel about it yet. Because when you put it on like that, you're getting all those colors in there. But when you mix all those colors together, you're actually just getting just a little bit of a tint. That's all it really is. So I will let you know on this one, it's not, it's the moisturizing. But in being a primer, it doesn't have any of the poor refining benefits or any of the makeup grip. But I really have been enjoying the color correcting properties of it. All right. And the other makeup item that I got is from Wander Beauty. This is the Nude Illusion Foundation Liquid Foundation. I can tell you already that I've tried this twice. I'm not super excited about this one. I am not crazy about this delivery system. It has that doe foot applicator with the stopper in there.  I don't think that is the most sanitary way to deliver foundation. So I'm not crazy about the packaging at all. I was really excited about the coverage though. It gave beautiful coverage on this first pass. And then where I have all of my scarring right through here through my cheeks, it did cover in two coats. One of the things that I will say that is a negative about this foundation is I did find that it settled into my fine lines fairly quickly, which is unusual because I have really dry skin. Now, that also could be that it is a better formula foundation for somebody with oily skin. So I loved the coverage. I actually loved the wear time on it. I just didn't like the way that it settled into my fine lines and wrinkles so quickly. From Kevin Aquan, this is the Sensual Skin Enhancer. I don't know if it's essential or what it is. It's supposed to be just a foundation or a concealer or whatever. But this is uber thick. You put your finger down in there and you get too much out when you put your finger down there. I did that this morning and I basically just took it on my other finger and just got this complete coverage for it. And the coverage is fabulous. Absolutely fabulous on it. But within an hour, that had settled into my fine line so badly. So I'm going to continue to try this because I'm not doubt by how gorgeous this is as far as being so good in covering my dark circles. So I'm going to keep trying it. This is only the second time I've tried it too. I will keep trying it with powders and maybe with a Beauty Blender and just some setting spray on there. If you like the it by by under eye concealer from It Cosmetics, that is what the consistency of this is. It's super, super thick, which is okay for most people. But you really have to go really light handed. And then you have to make sure you set it down somehow. And then lastly, I want to really bad to try one of Kevin Aucoin's lip liners because I've heard so many good things about his and Tom Ford and Mark Jacobs and I don't have any of all three. So I wanted to try this one. I really like this. This is a very nude color. It's a gorgeous pinky rose color that goes with any nude. And it's what I have on today. It just went so well with I did a really very nude lipstick and then a little bit of gloss over top of it. It just went so well with those. And I really do like it's very creamy. It doesn't tug on your lips at all. It does help not to bleed out. I love the way it looks on my lips and I'm excited that I got to try a higher end one. I'll get back with you on that one as well. Have you guys ever heard of Skin Store before? I had not myself, but I'm really glad to be acquainted with them. Go over and check them out. Make sure that you sign up for their email list and you'll be able to get all of the sales. They have sales so much better than Sephora or Ulta because their sales are going on different things all the time. I hope that you did enjoy this video. Thank you so much for spending a bit of your day with me today. Please give this video a thumbs up on your way out of here. Please take care of yourselves.  Love you. Bye bye. Rubbing this on your...


All right, the wait is finally over. The Sony WF-1000 Mk5s are finally here and yes, these are the latest from Sony in their true wireless buds. Now, why are these really important and special and how well do they stack up to everything else? Let's start off with just looking at what the XM5 brings to the table and how it's improved from the XM4. Now the XM5 price point is 299, which is similar to where the XM4 started off last year, but it comes with some really new cool improvements. We've got six microphones here, built into the device now, giving you of course, a better noise cancellation as well as also a better audio quality. Speaking of that noise cancellation, also speaking of the processing of audio, they have a new integrated processor. It's the V2 processor as well as also a new noise canceling chip called the QN2E. Now what does this all mean for you? It means better noise canceling that we got last year and that was pretty good, really great, pretty much the best I think in all categories and also better audio quality. Now speaking of that, there's also brand new drivers, dynamic X driver as well as also you've got bone conducting sensors, yes, built into as well. So there's a lot of tech that's packed into this very small frame. And when you look at this again, say the Mk4 from last year, you are actually surprised as Sony was able to cram all this stuff into a smaller size and package. The Mk4s are bigger just in terms of the size of the case, also bigger when you look at it with each earbuds in comparison and this has more tech built into it. Now the other thing to note is that you also have that quick charge, three minutes now gives you 16 minutes of play time. So a little faster there. Now we can talk about the comparison between these two all we want but there are a ton of two wireless buds that came out this year and how well does the Sony XM5 stack up to the rest of the competition? And speaking of that competition, I'm gonna give you the lineup quickly here. The first one are the Beats Studio Plus coming at $169 comes in three colors and in terms of battery life, we're looking at nine hours each earbuds or 36. While the next one are the Soundcore 4NC which are $99, five colors in total, battery life is 10 hours on the buds and 50 with the case truly impressive. The JBL Tour Pros 2s coming next with that display on the case. First of its kind in the industry, $249 in terms of price points comes in two colors and a 40 hour battery life in total. The Nothing Air 2 comes in next with $149 two colors and battery life of 36 hours. Then we have the Techniques AZ80 which is pushes up to the premium tier with two colors, black and silver, $299, battery life is seven and 24. Of course, we have the Galaxy Buds 2 Pro came out earlier this year, priced at $189. Yes, you can find it cheaper. Three colors, eight hours per bud and of course, 30 hours with the case. Then we have the AirPods Pro 2 came out last September priced now at $248 from Apple. And of course, your battery life is six hours and 30, six hours with the buds, 30 hours with the case combined. Then of course, the XM4s which I showed you earlier, two colors, $278 right now, eight hours with the buds and 24. Now the XM5 also have two colors and also come in terms of battery life in hours and 24. So let's start off with our very first category, battery life, who has the best battery life? I've stated all of them for you here, but I'm actually gonna tell you what I actually got from each one.  Even though nothing claims 36 hours, it didn't get me anywhere close to that. It probably lasted about four hours just with the buds themselves. Hopefully that's a software issue that will fix that, but that's what I was getting between four and five hours with that. Then of course, next up are the Techniques AZ80 with that 724, it's pretty standard, it works that way. Then of course, the XM4s and the XM5s with the 824, then followed by the Galaxy Buds with 30 hours, tied with the airports also at 30 hours. And then of course, the Beats Studio with 9 and 36. Then the JBL tall pros with 40 hours and finally the Soundcore is at 50 hours. Truly impressive, this is Soundcore. At $99, really brings a lot to the table there and packs much. Now let's move up to my favorite category, which of course is audio quality. How well do these sound? How's the audio quality? How good is the listening experience, especially when you're listening to the music you want to. Now with the XM4s and the XM5s, I always suggest make sure you use the highest level codecs in any earbuds you're using. Make sure you use the highest level codecs you can. LDAC is available and you can go ahead and just select that within your Bluetooth option menus for whatever buds you're using if it's available through there. But Sony has it through that option. And with the XM5s, this is where they brought in a lot of things that makes it really different and fresh. Now you've got of course some really warm sounds but also some really nice clear highs when you're listening with the XM5s, you can clearly hear everything come out really fresh and exciting, but when I say all this, what does it mean in terms of ranking? Who's the best and who's the worst? This is where it was really hard for me because honestly I think this year everybody has done a really good job in making the earbuds sound much better. So I'm gonna start from the top and go the way to the bottom because it was just really difficult. And I think the XM5s take the win here slightly because they just feel more robust and also much of a wider range between the high mids and lows. You can hear more separation there followed by the XM4s coming in which were my best audio earbuds last year in terms of audio quality and they still sound really good. Close third are the Technics AZ80. Now the AZ80 have a much warmer sound. It's really nice, I love warm sounding audio and it does a good job there with the audio processing. Now coming to the number four spot I have a couple devices tied in here. These are the AirPods Pro 2. The Galaxy Buds 2 Pro, the Beats Studio Plus and the Nothing ERT 2.  Well, the one thing to note is that Beats have really done a really good job in increasing the audio quality this year. Same thing with Nothing really surprising there. I think the Galaxy Buds 2 Pro really did a good job early on as well as also the AirPods Pro 2. The adaptive EQs on the AirPods Pro 2 don't really work for me. They tend to change the way this audio sounds but still works for some people. So that's why it comes all four coming at the number four spot. And then in the number five spot it's tied with the Soundcore 4NC and the JBL Studio Tour 2. Now that doesn't mean they are terrible. They sound really good. It's just a really tight race. The Soundcore especially is priced at $99 so you're getting your bang for your buck there. The JBL Studio is yes, they're priced at $249 but they are very bass heavy and they lead more into that bass audio. So if you're a fan of just super bass and your music this will work really well for you but it doesn't let you hear a lot of the highs and also some of the mids are crushed. Now let's move over to audio quality when it comes to voice calls. This is very interesting because we have some very new tech with the XM5, of course bone conducting sensor which also uses the microphones as well. And I have to say they have done a fantastic job. I remember the XM3s were manageable at best and XM4s were much better but this is a huge leap. Now normally Apple usually wins this category here and this year it is a tie because I think Sony has really done a good job moving things forward that bone conducting sensor as well as also the extra microphones really do a good job in making sure the audio quality is crystal clean and clear. The AirPods Pro 2 just stellar as always and it was really hard for me to pick between the two. After that everybody else just comes in second, third, fourth discontinuingly but they all actually do a good job in the audio quality. I will give the last place to the Techniques AZ80 because it actually uses the left ear more than the right ear in terms of the microphone picking up your call. So when I had conversation with just one earbud people noticed that I was far away with especially when you're doing the right. So that is why I'm putting that at the bottom. Now let's move over to of course noise cancellation. How well is the noise cancellation here? Now all of these buds have noise cancellation and to me it's stacked up there with the XM4s and XM5s then closely followed by the AirPods Pro 2. Those are the top three and then after that are the Galaxy Buds 2 Pro which could have been also number three really close there and then everybody kind of follows down the rest. I think it's a mixture and the mixed bag with most of the other brands within this battle but of course the XM5 still takes the case because I think Sony has probably the best noise canceling in there but be reminded make sure you have the right fit with your earbuds or else you won't actually get the best listening experience and also the best noise cancellation here. Now what about transparency? Well transparency mode is where Apple always wins and in this case, I still give the edge to Apple. I think the XM5 has come really close but Apple still feels more natural in terms of the transparency while the XM5s are almost there. I mean it's really, really close and also again, you have to note that if you're using comply foam tips or memory foam tips, you will get a different sound so that could be affecting it here but Apple takes the cake here followed by the XM5s, then the XM4s then you move to the Galaxy and then we kind of move down from there on that spot. Okay, so all these buds have different features built into and also some of them have some more extended features which brings us to software. There's a lot of software applications that you can use between all the different buds but which one actually gives you the best and also the most comprehensive and this is where it kind of varies between two devices. I give of course just the best software to the XM5 and XM4s because they bring in a lot of useful features that allow you to use the buds more effectively. Some of those features include adaptive sound control allowing you to of course change your ANC and ambient noise depending on your location as well as also the built in EQs that you can customize.  So that's really comprehensive. Now everyone has a really good app. The second best I'll give this of course to the JBL Tour2s not just because of the app but because you have those controls directly on the case as well. So if you don't have your phone next to you you can still do a lot of the functionality on the case. Then followed by the Galaxy it's really robust app there. After that it's the nothing year two and then finally at the very end we have the AirPods Pro 2 because Apple just doesn't have an app for the AirPods. Everything is done with an adaptive system and sometimes I think it doesn't work as well. So what does that mean for the best wireless buds among the back here? And I think the winner is pretty clear. It's the Sony WF 1000 XM5s. Now that doesn't mean that it is absolutely perfect. It does have some issues that I don't like. For one, the battery life even though it's smaller and there are some other smaller devices here have longer battery life to be a bud and also longer in general. So I'm hoping the Sony actually makes some changes to that. I also don't like the feel of the buds themselves because it's really slippery with the casing. I prefer the more textured casing on the XM4 to the XM5s. So I think that's also might affect some of your fit there. And I do wish they also offered more silicone ear tips and not just a comply phone, which are great. But that being said, they are still the best in terms of combined audio quality, noise cancellation and all the other features built in. Now everything else here you see though they're all really, really good. Now it doesn't matter which one you pick you will find one that fits you quite well. And I think whichever the buds you see here that you select will do the job for you greatly but my pick is still the Sony WF-1000 XM5. So if you guys have any questions or any comments let me know, otherwise don't forget to like, share, subscribe and always enjoy your end statements.


So, again, thanks for coming. It was not a fantastic performance. 25 years later. And it's also beautiful to see just the streaming of the end of the videotape, these kind of cosmic rays, and that's all what we see, little specks of lights and sounds. But maybe just let's go directly to Gary. What comes to your mind when you see this? And you said you never saw the video. I don't think anybody saw it, or very few people saw it. They just made it to have a record of it. What I kept thinking is that you could shoot it on an iPhone now, and it would be a million times clearer than that. There has its own aesthetic. One of the best things that I continue to show people, even though it's something that Vincent Fremont shot for Andy Warhol in 1974 with Charles Rodell and Bridget Berlin called to fight. It was just improvisation. It was shot in a very early porta-pack, and when you see it now, you can see that when the camera pans, if it passes across a light source and this big streak just goes... I don't know. I would have... Well, I don't know. It would be nice to see it enhanced, maybe. I mean, I understand what you're saying, but I like the technology we have now a lot better than what we have then. Thanks. Greg, tell us a bit about... How did it all get together? What was the story of it? Well, Jack Smith died, and Rons was something a little more than acquaintance, not really a close friend, but enough to have visited Jack a few times and gone to some of his performances. And as he said, it was part of this whole world, but a very small world of avant-garde theater makers at the time. But Jack, at that time, was almost completely unknown, almost forgotten as he talks about in his work. If you said Jack Smith to even theater people, very few people knew who he was. So Ron wanted to do something to memorialize him. So he talked to Penny Arcade, who was the executor of the Jack Smith estate, and it came up with that tape, what's underground about marshmallows. And as Ron said, Jack Smith's performances could be up to nine hours. So the first thing was what he said. He went to Amsterdam, he was performing with the Wooster Group, and so on his off hours he took those slides. And then he came back here, and I think the first thing was, we went to the Walker Arts Center. They brought us there to work on it. So he performed the Jack Smith part. At that time it was in a big boat. We constructed this boat like a big row boat. And like in one of the movies, I think it's Alibaba, isn't it, where he goes across the Red Sea or something. Anyway, it was all this boat and there was all this treasure and all the jewels and everything, all these chests of jewels. So we did that, but I think it was about an hour then. And Ron was like, it's not enough. It needs a companion piece. So then we came up with the idea of Roy Cohn. I had been reading all this stuff about Roy Cohn. And as opposed to Jack, we wanted to do something that was opposite of Jack. Roy Cohn was very well-known. He's like Donald Trump now, and as you probably know, he was Donald Trump's mentor. He was at the post. He went out with Barbara Walters all the time. I mean, he was a big New York person, and he was very good friends with Cardinal Spellman and like Kitty, all the big people. And so anyway, it came up with the idea of Roy Cohn. And I happened to read in this biography of him about how he had made that speech he talks about. But we tried to find it. Marianne Weems was our dramaturg, and we tried to find some record, but we couldn't. So then I thought of Gary, because I admired Gary's writing so much, and I wanted to do something that was very political because Jack was like totally non-political. He never mentioned anything political. It was like he wasn't even living in our present world. He really was living in this kind of Hollywood, you know, exotica fantasy world. So then Gary started. I told him the idea like what the speech might have been like, but as a kind of satire. And Gary wrote that, and then I wanted it to match in the time, roughly. So we did a lot of editing. Gary's speech was originally much longer. But we went to Los Angeles to the Mocha Museum of Contemporary Art, and we did it there, a kind of work in progress. Also, people couldn't... I kept saying, you know, this is theater, but everyone kept thinking, oh, it's not like a regular play, so they would put it in these art spaces. So anyway, it was there at Mocha. And when we were at Mocha, Julie Lazar, who was the programmer there, hired some people, and they taped Roy Cohn part, just Roy Cohn, because Jack Smith wouldn't, just by the audio, wouldn't be enough. So, yeah, and I have copies of that, and I forget, there were some other artists too, but they had like a radio program. So anyway, we did it there, and then I think that was it, and then we did it here at the performing garage. And then subsequent to this, at the performing garage, we went on tour to Europe, and we did it in Amsterdam, in Brussels, in Berlin, in London. I think that was it. And then, less than two years later, well, Ron always wanted a film to be made of it. This Jack Smith was never recorded. What am I saying, Jack Smith? Roy Cohn. Yeah, they did the Roy Cohn, and then they sped it up. Yeah. So then it was just like, ugh. Yeah, I just remember getting... They were like, well, it can't be that long, it won't be 30 minutes. And I was like, well, I don't want to cut it. And so then they were like, well, we'll just make it faster. Well, I don't know, but the Roy Cohn part of this seemed to me kind of sped up, like part of it. This? Yeah. No, this is the real performance. Yeah. You know, they didn't... But it seemed like... I don't know. It seemed like it was... I couldn't understand. Yeah, no, he went really fast. The sound's not so great on this. Yeah, well, that's what I mean. In the theater, I think you could understand it. Yes, you could, but... Alisa, I think it's also, of course, a play of its time of the AIDS crisis. At the end, perhaps, also, of something that happened in New York. So what do you think that fits all in, and how do you see the work? Wow. That's a big question. I mean, first I just have to say how emotional it is to see Ron, you know? I just need to say that. I mean, it's just really intense and beautiful and heartbreaking and... as the piece was at the time. So this was... What year was this? 1992. So by then, you know, we're already into a kind of second phase of theater pieces dealing with AIDS. This is when I wish David Roman was here, because he's really an expert on the theater about AIDS.  So I guess, you know, to make a really... to paint it with a very broad brush, because I'd say, like, early in the epidemic, we had... the things that were most visible were pretty straightforward narrative dramas, like, I guess, The Normal Heart was the first major one, sort of adjunct, proppy, powerful piece of work by Larry Kramer. And as is, William Hoffman's play, realistic drama about a man and his partner dealing with one of them dying. And by this time, 1992, it's an interesting moment. I mean, for one thing, Roy Cohn was all over in a way, and there was that Citizen Cohn, is that what it was called? That had just come out, and Angels in America came out around the same time. Exactly the same time. You know, with the Roy Cohn character. And I guess the other things that were happening around that time, Ron Athe's work, the performance work dealing with AIDS in a very different kind of way. Hot Keys had started around then. Jeff Weiss's great serial drama. That was indirectly but unmistakably dealing with AIDS in this incredible combination of cheeriness and mean-spiritedness. It was kind of great. But I think this piece may be commenting on that through these other characters. But it's interesting that he didn't want to be interviewed or made into, that he didn't want to put himself forward in that particular photographic way. Right, and I just want to say that we went to see all those plays. And as you can imagine, probably Ron wasn't too fond of them. And didn't want to make any kind of normal play about AIDS. That's not what he was interested in. So it was in some ways a reaction. Just like the work of the Wooster Group and many other people is in some ways a reaction against the regular commercial theater that was and is all around us. And yet, I wonder maybe you could talk a little bit about acting. I mean, Ron didn't work only with the Wooster Group. He worked with Mebu Mines and other projects. But I think that the nature of the performance in Roy Cone, Jack Smith is very different from the nature of the kinds of ways he would be on stage in the Wooster Group. Yeah, it was different. You know, that was a process. One of the things I remember, he didn't want to have any accents. He was very insistent, I don't want to imitate them. And at a certain point, I said, well, you just have to have the Bronx accent. You just have to for Roy Cone. I mean, it just doesn't make any sense if you don't. And so, of course, I think he gives a brilliant... As he said, he's not sound exactly like Roy Cone, but that the interior, what I noticed this time, more than sometimes other... I've only seen it one other time since 25 years ago. And what I'm so impressed by, I'm an actor myself in rehearsal right now, so I could use some of this, is his ability to instantly change from something really funny and technically brilliantly timed and everything to something deeply tragic and still and interior. But without pointing at it or how actors can be, without showing off really, except it is kind of even more showing off because it's just so virtuosic. Well, that's one of the things that's so great about the contrast and the people. Right, and then when you see that, you're like, I can't even believe it's the same person. I mean... But also that it is a very interior... You know, the Roy Cone is very interior, and maybe that's the word I was looking for in contrast to other work of Ronce that I saw over many years. And then to contrast that with the onion scene, which is a masterpiece just in and of itself, those three minutes, whatever they are. Well, the other thing is that very Woostergrove, he's actually listening to an edited tape of Jack Smith, and if you listen very closely at the very end of the piece, you hear Jack Smith's voice.  And because he had seen his performances, his performance style was, even though it wasn't six hours long, I think it gave a good impression, like you're like, what is... Such a different attitude about time on the stage and what an actor can and can't do and all that stuff, which he just breaks every rule there, every it was. And I think he captured that so well by just, you know, it would drive me crazy, but I would just be like, he's like, no, we have to wait. And I was like, well, what are we waiting for? But my favorite is when he says, that was in the early 60s. And then you can just... He doesn't do anything, but you can just see like the whole early 60s. And then it comes back and he's so sad, it's like, oh, it's not the early 60s anymore. Could you say something about, sorry, about the pauses in Roy Cohn, those two, because I'm just thinking of what you said about the time and the tempo.  And I mean, it's great, but you know, there was plus just practically for the actor is very tiring because it's so intense. And so I made those pauses and I remember, he was like, well, what am I gonna do in the pause? And I said, don't do anything. And I used the image of Greta Garbo at the end of Queen Christina, where she's just looking. And I had read this, I always read biographies, I've read this biography of her and the director, Ruben Mamalian, she asked the same question, well, what do I do? And he said, don't do anything, just look. So that's what he did. And then I said, well, look at the audience. So when he's looking out, he's looking right at the audience. And it also gave him a chance to sort of, you know, compose himself and get ready. Because it was, as you can imagine, quite a workout, especially for someone who's ill. Yeah. I think when I saw the Belinda performance that they have, he was no longer as strong, I think as a performer. A question to Gary, did you work with Ron on the text? Or did you just deliver it? Or it was so long ago, how did it work out to get your text right? We actually got a lot of kinescopes that are old. We tried to get, like, documents of... Interviews with Ron. ...interviews so that I could get Roy Cohn's vocabulary down and also a little bit the rhythms that he spoke in. And he had also... There was like three or four books that he had ostensibly written or had written for him. So, you know, we've all read all of that.  He'd never said anything that was in that speech. Cohn actually was quite, I mean, he was smart. And he could, in that really mean way, he could be really funny. And he was also very skilled at presenting himself in public. So, like, in all these interviews, he would say funny things and he did talk just like... I mean, he'd talk really fast and he would name drop constantly and, you know, all that stuff. Yeah, I mean, I thought it was fun to do, but I'm sure that's because he was dead. Which would not be the case if you were trying to do something with Donald Trump. The thing he was dead, he would have sued you. Oh, yeah, no, he would sue you for anything. Yeah, I think... And that's where Trump learned everything, was from him, basically. In the latest, the Vanity Fair project of Roy Cohn, they claimed for a long time, they spoke daily, Trump and Cohn, and it was one of his... He was his mentor, Mephistophilus, in a way. No, he was. Roy Cohn told him...  You know, that's how all the Trump buildings got built. And... But he taught him, like, don't ever apologize for anything and don't ever back down.  And that's what Roy Cohn did. I mean, he was one of the originators of the frivolous lawsuit, that could bankrupt somebody that he was pulled into litigation that was frivolous, essentially, and without foundation, but would bankrupt the people that he went after. I mean, and... We just live in the debris of Roy Cohn and that weasel in the White House. Stephen Miller, I think, was the other protege of Roy Cohn. Oh, no, Roger Stone. Roger Stone. But that weasel looks just like him. Stephen Miller looks exactly like Roy Cohn. He's like he was cloned from him. I just want to recognize Pedro Juan Rosado, Chico. Maybe put some light on the audience, if possible. Is there anyone else in this room who was involved in the original production? No. Anyway, but there are several people here, many people probably, who also worked with Ron, and we wanted to open it up. Well, Lee Brewer is here. He directed Ron in Lear. Do you want to say something, Lee? Have anything to contribute? We have a microphone coming. We hear better, but we also record it. But yes, it could be questions, comments. It was a great privilege to work with Ron in Lear and I had an amazing cast, including our dear friend over here. Pick a wave. Lola Paschalinski. Who played Kent. And sitting next to Alissa, who was the dramaturg, and Karedos Gendel, Ruth Malachuk, and Greg, who was up there.  Who was amazing. But I must say, I really wanted a Mississippi accent and Ron was the only one that gave me a perfect one. He played Regan, who was just brilliant. Bill Raymond played Gonerl. And who else? Is he Monk? Is he? Isabel Monk played... Gloucester. Gloucester. It's a long time ago. But it was... and Pauline Oliveres did the music. So it was quite an exciting group of people to work with. But Ron was one of the stars. I just wanted to pay homage a little bit. This was a great performance that I saw tonight. I never saw the complete tape. I saw a little bit of it over Greg's at one time. But this was one of the greatest performances I've seen. I've seen maybe get it ranked with the top two or three performances that I've seen. I think it's just a great piece of work. And from a directorial point of view, I think that Ron was brilliant in this piece. Absolutely brilliant. He believed everything. It was absolutely hilarious. And it was totally tragic. It was a beautiful combination. He was a great actor. And it was a great loss. So I just want to say, bless you, Ron Lutter. Anybody? Jill. Can you hand that mic to Jill Godbinlow? Thank you. Just briefly, Greg, you can answer this. I once read somewhere that Ron said that when he was growing up and realizing he was gay, there were only two public gay figures, two gays that he knew of. And one was Roy Cohn and the other was Jack Smith. Is that just wonderful legend or two ways to be gay? I don't think that's true. But I know when Ron moved to New York, he immediately contacted the Gay Liberation Front.  Is it true that he mixed in some of Jack Smith's ashes into his eye shadow? Yes, that's true. I just want to say one other thing. Into the glitter. The glitter. Ron had two brilliant texts to perform. And he learned to perform texts with the Worcester Group and other work he did. And they come from three different sources and they were perfect, but somebody wrote that Jack Smith, that Roy Cohn, and Jack Smith wrote that other text. And every actor should have texts like that to work with. We have a microphone coming. It's going to come right away. Lola Paschalinski. This is just sort of a side thing just for point of information. I wasn't it true that Ron played Roy Cohn in the London production, the first London production of Angels in America? No. Am I imagining it? There was an interview in The Times. Yeah, there was a double interview in The Times with Ron Vaughn and Ron Liebman. Right. They invited, I went to the thing.  So they asked them to speak about that. And I think Ron Liebman had done it in London before he was asked to do it here. Right.  Right. Must the innocent suffer. And the actor who played Roy Cohn in Citizen Cohn has just been accused of sexual harassment. Yeah. I love that you have him out and catch. That's a great moment in the script. I'm glad you clarified that. They did ask Ron after this. They asked him to play the engineer in Miss Saigon. So they gave us the tickets, the fabulous tickets to Miss Saigon and then Ron wanted to leave during the first act. And I said, you can't leave. They gave you these tickets. You have to at least sit through it to replace Jonathan Price, the original person. LSD. Just the high points. I remember he was in the audience one night. I'm such a star fucker, really. But I remember that. And then you and Jonathan and Ron went out to dinner after. And it just so happened that I and a party of other people went out to dinner at the same place. Yeah, no, it was a great success. It was I think partially because it was so different than Ron's other work that it attracted all, you know, this old audience but also a new audience too. So, yeah, that was very exciting. I think, you know, one thing we didn't talk about was that it's a maybe this is part of why I mean people came to it because it was great and word got out and that's why people came. But I think also part of it is that it's it's a piece about among other things, homophobia before AIDS. You know, it's it's it's very much of its moment and still very timely. Unfortunately, but but neither of the people he's representing, even though both of them died of AIDS are are in a moment. They're represented at an earlier time. And what we come to understand about them has to do with the. And you use that disease imagery in the in the context toward the end of homosexuality itself as a virus. And it just sort of speaks to the that, you know, poison of that that social poison. The parts that you're you're talking about there. I put them in because the reaction to the to the epidemic initially was very much the same as the reaction to the gay rights bill. And it was couched in the same kind of language of contagion infection disease. Something you can catch. I think we have time for one or two more questions, comments. This is really question for Greg, because I think you'll remember about this thing that I can't quite remember. There was a really beautiful sort of behind the scenes making of documentary about the tour of this show in Europe that that German woman made. Gaye Kaltagener. And sometime every once a year, the Siegel Center has a festival of theater on film and video. And that was really never released beyond maybe a little festival circuit. But if someone could dig up a copy of that, I have a copy. This woman, German documentary filmmaker, Gaye Kaltagener, who unfortunately died some years ago. She just idolized Ron and she, you know, she was European and she made these Europe, small European films. And so she said, oh, can I just follow you around on the European tour and and make this film? So she did. It's called Free Fall and it's a beautiful, it's she didn't shoot any of the performance. She only shot like backstage in the hotel. Yeah, like no real, I think like five seconds. Someone opens the door and you see him on stage, but it wasn't about that. So yeah, that's a good idea because it gives a yeah, as you were saying, it was later and he was that was a very difficult tour for him and everyone involved. And so there's a lot of him like lying in bed in the hotel room and she's she asked all these very simple questions and he talks because he knew like this was this kind of last testament. So yeah, I'll look for that. That's an interesting idea. Maybe a John, if you want to make a comment and then you. Do you want to, John? John Jezrin, after we did this show, we did. Well, there were two more projects that happened. I'll tell you about the last one first. The last one was, oh no, there were three. After this, we decided, oh, we'll do a play where, you know, I directed Ron, he'll direct me. So we did this play that Lola was involved in called Queer and Alone based on a novel by James Cormony. My name is, oh, Jim Strauss, sorry. My name is Desmond Farquhar and that is my real name. I just hate it when people change their names all the time, don't you? That was the opening. We did that at the kitchen. Then we did this play, well, Ron did this play, Philoctetes. It was three different versions, correct me if I'm wrong, John, but it was, I think, Sophocles, Andre Gide, and then Ron commissioned John Jezrin to write the third adaptation of the ancient myth of Philoctetes, which he gets bitten by a snake in his exile to an island where he's tormented. So, John, can you talk about that experience? Just a little bit, but yeah, I did want to just say that it is interesting, I think Jill was saying this kind of connection between the writer and the actor. That it is kind of important that Ron was able to pull this stuff out of the writers. He seemed to have some kind of radar of what he wanted to get, and so he was able to persuade me to write this, I did not want to write a Greek anything at that point. Basically, he kind of said, well, it doesn't have to really be a Greek, just write a play and we'll call it Philoctetes, kind of idea. So that was that kind of a way of pulling material, not by dictating it to me or anything like that, but there's a great connection between actors and writers that people don't talk about. And in a way, they don't even talk about it. It's just kind of this osmosis and a connection in what one thinks the other one might be able to do. So, yeah, this was a completely, you know, idea completely came out, to me, completely came out of the blue. And then I thought, oh my God, now Gary and Deanna has written this great thing and I have to write a Greek play. So what am I going to do? So anyway, I just think it's important to remember there's this very interesting connection. So that's kind of how, you know, my play came about and also had to be done very, very quickly. There was a kind of a time limit, which I think Ron was very honest about. He said, you know, this is it. Who knows. So I had to sort of work quickly and sort of under a cloud. And so, but anyway, so that's kind of how that happened. And he did, I think he had a great connection to, I mean, you can say, to language that it was important. And I think, yeah, some of it did come out of his work. He certainly had a lot of great language, but I also think, to his credit, he, you know, keeps the writer on their toes. You know, it cannot be less than, you know, he can do for you. So I was, you know, thrilled with that. So anyway, yeah, that's one more person. I just want to say something that I just want to ask John something, actually, because I was thinking the whole time we were watching this, that we were under this, we were all operating under the strangest constraints and weirdness, because we didn't rush developing Roy Combe. We didn't.  And it was one of the stranger things was that the project, we had such perfectionistic wishes for it that we refused to, you know, I mean, it took a year to develop it. And during that year, as I think when, correct me if I'm wrong, in the parlance of the time that Ron Siro, I mean, he went from being HIV positive. Well, it was officially diagnosed. Yeah. I think actually afterwards the performances started. No, no, before. Before. But maybe not publicly. But it was weird. It was just very strange. Yeah. No, it was, it was, well, that was the thing.  There were many, many people in the theater who were, you know, designers, all kinds of people who were like, well, I want to work. I mean, I'm sick, but I want to work.  You're like, what?  And then every day you'd read about peace when you go, oh, Michael Bennett. Oh, yeah. And so, yeah. So I mean, I'm sure a lot of you know, but in this case, if the actor had died, there wouldn't have been any play. Right. So this was, this was beef. No, it never opened. It, they did a couple of performances and then he couldn't do it. So after that, we took a train. We got a grant from the Rockefeller Foundation to go to, what's it called? Bellagio and Lake Homo. And we worked on the final thing we ever worked on, which was called Dark Victory, which was included all these parts of novels like Brothers Karamazov and Uncle Tom's Cabin and all these scenes where a dying person, two scenes. It was for me and Ron. I said, you directed me. I directed you. Now we'll work together. And Susan Sontag was the director. And it was all these two scenes. And we alternated between the person who's dying and the caretaker person. But when we got to Bellagio, that was it. He couldn't do anymore and had to go to the hospital. And then he just wanted to go back to New York. So we got on the plane and he died on the plane going back to New York. I would say I'm seeing this might be a good moment to go over. It's already this possible. I know. What? Yes? Oh, okay. Well, I don't know if she's here. There's a biography coming out of him by this author named Teresa's. Oh, hi. So maybe you should ask her. But okay, I think that's enough. And we're going to have a short reception now. Yeah. Again, thank you for coming. And thank you for being here. And thank you. We have a reception. Thank you.


Welcome to Socap 18! I love how much yellow there is in this crowd. It's really, it's going with our Socap vibes today. It's sometimes kind of surreal to be standing up here after all the work that goes into this and knowing every corner of the world that you've all flown in from. So thank you all for being here and we have a really big week ahead of us. I'm Lindsay Smalling. I'm the CEO of Socap. This is a really, thanks. It's a new title, kind of same job but pretty good new title. So this is a really special year for Socap. Last year was our 10-year anniversary, but this year marks the next, the start of the next decade of impact and that's really the way that I've been thinking about this since Socap 17 wrapped last year. And just thinking about what do we already do well, what do we need to keep doing, what do we need to change, where are we headed and who else needs to be in the room. In our closing plenary last year, that was one of the big themes is who isn't here, who needs to be here. So if you're a repeat Socap attendee, you'll notice that in this next decade we've made some changes to this event and if it's your first time at Socap I hope you'll find that this feels more like a festival than a conference. We've always had a lot going on on campus with more than 10 parallel breakout sessions, great parties, lots of side events, but this year you'll find that there are people in programming everywhere that you look. This year the main stage, this main stage after tonight will run parallel to all the breakout sessions so that'll be running through the morning, through the afternoon, your choices about where to spend your time will be even harder. We have over 12 themes for you to explore this year. There's multiple formats, so we've really recognized that having over 150 panels is a little overwhelming so we've mixed that up with some workshops and also some facilitated networking sessions recognizing that there's as much wisdom in the room as there is on stage in any session so please take advantage of all of those different formats. And then we have different experiences and interactive places throughout campus. There's the Indigenous Dome, there's the Africa Lounge at Socap.  So take a moment to experience those and have those be part of how you plan your day. People often tell me that Socap is like drinking from a fire hose, which is literally, I probably hear that once a month and that exact phrasing. So why are we leaning into this even more? Why are we creating an even more frenetic sort of chaotic experience? And the reason we're doing this is because I really believe that that's where the magic happens. This variety of themes attracts people who might never be in a room together and the way that we curate invites questions and conversations and this beautiful spot right on the bay on this sprawling campus opens people up to new possibilities, new ways of thinking, new collaborations. So as much as you may feel on Friday that it was a total whirlwind, it's sort of by design, so just sink into it and let it all happen. I was asked earlier this year if I would be interested in having a manifesto video made for Socap, which then sort of prompts the question, what is our manifesto? And I had actually been thinking about this to some degree in different, not exactly those terms for a while because in 2016, Socap was acquired by a new set of investors who really saw the potential of Socap, of this community and I had to think about with this new backing, with this support, with this enthusiasm, what were our values? What did we really want to hold onto as we grew the Socap community and the Socap brand? And so I rambled to these generous folks who offered to make us a manifesto video about all of the things that I've learned from our founders and the people who have shaped Socap over the years. All the listening that I've done from Kevin Jones and Rosalie Hardin, Tim Freundlich, Penelope Douglas have all taught me so much about this labor of love that they've really built with all of you over the last 10 years. And something in those ramblings must have landed with them and sparked their creativity because they created this beautiful video for us, which I'm excited to present to you now, present an ode to Big Tents. If you were alone in the whole wide world, wandering the wilderness in the cold, quiet world, I'd venture to say you want one of those one-man tents that pop right up and keep all the elements at bay, but nothing that would do to make a little bubble just big enough for you. Now, if you were one less than thrice, you'd go for one of those two-man tents. Yeah, that'd be nice. A bigger little bubble just right for two, but bump into nine or 910, you definitely need a much bigger tent. A generous, tremendous, voluminous tent.  What could you station in such an unselfish habitation? Circuses, celebrations, ceremonies, conventions, convenings, comings together, forward operating bases of operations on the front lines of very decisive battles and places to look after those on the front lines of very decisive battles. Places to take refuge. Spaces for talking and learning and making a start for when it takes everyone and when you need a big canvas for everyone to paint their parts. They'd be good for crowds guessing the weight of cows. That is, all those things where a lot know better how to count than any one person singled out. In fact, there's something like a laboratory bursting with beakers for experimentation spiked with catalysts added to speed reactions or like a brain on out waves singing in the shower prone to taking disconnected reflection and snapping them into electric connections. And they're a good way to spread sticky things, viable things, contagious things for better or for worse. So everybody wash their hands, but more to the heart. Everybody wave their words. Lead with helping, lead with hearing, lead with compassion. Consider that if we were alone in the world, those blessings would never exist because if we were alone in the world, neither would big tents. It would be just us wandering the wilderness in one of those one man tents that make a little bubble just big enough for you. But we're not alone. So we need these places, these places for everyone to connect, collaborate, collide, catalyze, to be surprised, synergized and unified. Always remember that I am not, you are not. They are not alone in this world. So we're going to need a bigger tent. You're all in the big tent right now. We are the big tent convening in this growing field and that isn't just by chance. It's a choice. We continuously are looking to invite broader participation and we want to prioritize discussions over definitions. This is not about experts. It's about creating spaces for intelligence, wisdom, fun, rigorous debate to all coexist. This is not a red carpet affair or the white glove service. I would not be any good at that. But we do invite everyone into this big tent to sit around this table. We serve really good food and we do our best to make everyone feel welcome and taken care of while you're here. I hope that Socap is never about who's in but that we're always asking the question about who's still out and how do we get them in? How does their voice and their value intersect with these conversations? We have to make this tent bigger and that's not going to just happen at this annual conference. I'm so excited that what I see in this next decade of impact is that you're going to see Socap grow to a year-round events and media platform. So we'll take all of the things that are sparking discovery and connection and inspiration here in the annual conference and reach a much bigger audience. We've already started. So through our year-round Socap 365 events, we've done over 40 events in nine cities and we've also launched a podcast Money and Meaning to reach all the people who aren't in those nine cities and we need to keep getting these stories out to anyone who's never going to make it to a live Socap event. I'm personally just so invested in getting this story, all of your stories, out into the world. But as much as I've been thinking about these big picture ideas of Manifesto and the big tent and reaching far-flung members of this community, I also know that what happens in this room matters. The physical experience of being here with these people and the new thoughts and questions and emotions that bubble up throughout the week are pretty much impossible to create remotely. I want to encourage all of you right now and throughout the week to just feel your body. Check in every once in a while and see where you're feeling the event. I'm someone who operates from my head and when something grabs me in my body, I remember it. And some of my most memorable experiences at Socap over the years have been a moment of true emotion from a speaker an inspired performance by an artist an actual disagreement allowing itself to play out on stage. That's what I want more of. So, I hope that this year this experience somehow lives in your body whether it's a memory of being out on the bay it's a speaker you hear from and to help make that happen this year I've invited two thoughtful, really creative artists that I've had the pleasure of getting to know through Socap to be our emcees. So rather than seeing me up here a bunch you will in this opening plenary throughout the rest of the week, not as much. I've invited Aishara Akindayo and Sami Bloom to join us as emcees this year and I know that they're going to bring an amazing energy to really weaving all of the pieces of this conversation together.


Like solid night at the plate anything in particular click for you in the batter's box No, not really. I mean small sample says to this point. I've been seeing the ball. Well got some better pitches to hit I guess tonight late and counts Thought I worked the counts well and kind of stayed within my plan and hopefully continue to do that After a little bit of a rough weekend in Tampa Bay What do you think about the way the offense broke out and rebounded tonight? Yeah, I mean, I think we're gonna go through, you know periods in a season just like any other year where You know, it might not be clicking for two three days Yeah, obviously in a shortened season. It's a little heightened and you want to get going even quicker But up till those three days we've been doing great got back on it today. So I'm not too worried about it And I don't think the guys guys are either What have you thought about the way Aaron judge has been swinging the bat? It's just fun to watch. Honestly, I couldn't happen to a better person and You know his start's been incredible, but he puts that work in and You know, he works just as hard if not harder than everyone. So it's awesome to see Who else has a question for Mike did Meredith look Meredith did you have a question again, or did you just follow up? Yep, go ahead Just starting pitching has been a little bit of an issue as far as length is concerned Do you look at what Montgomery was able to do tonight and get encouraged about the starting staff as a whole? Yeah, I mean, I think you know with the short summer camp that that was gonna be a thing coming into the beginning of the Year, but I got a great start out of packs. Cole's been great all year And then money tonight through the ball really well. So, you know, it's encouraging You know, we got a half coming up soon to knock us throwing the ball great Not worried and in the in the least but I think the bullpen's probably pretty happy that he went far into the game George King you have the next question go ahead Like you talk before the game about, you know, you get consistent at bats. That'll help this Showcase of what you can do if you get elongated at bats. I mean, yeah, I'm a very confident hitter I know I can help, you know This team win given the chance. That's just kind of my personality Thought I thought I did pretty well proven proving that last year with consistent at bats up here Obviously, it's a small sample size again. So you got to keep doing you got to keep changing just as the league changes with you So there's a little adjustment periods But you know three three days in a row of a bats definitely helped me out tonight and go from there Let's hopefully keep playing


Hey guys, a Thunder E here and in my hands I've got the Galaxy S21 versus the iPhone 12. Want to find out which is the best in terms of speakers and gaming because that's what we care about right here. So let's find out. Alright guys, thank you for joining me on the channel. If you haven't subscribed already, hit the subscribe button and notification icon to watch more videos like this on the channel. So I do have the brand new Galaxy S21 and the iPhone 12 and I figured this was a good price point because this is of course the entry level within both of the series. Yes, I know there's an iPhone 12 mini but as we've seen Apple has cut production and is moving over to the 12 and 12 Pro so most people are looking at the iPhone 12 if you're an iOS user and of course if you're a Galaxy user then the Galaxy S21 is the device for you. So looking at both devices, they've got of course different cameras. We have the triple camera setup on the Galaxy S21 and we've got of course dual camera setup. This is not a camera video so I'm not showing you showcasing that but go ahead and check out Super Saiyan's video on that. He does a good job on it as well as my buddy Danny Wingett. But what we care about is internals for gaming but before we get to that what about audio? It's really important in your gaming experience. Both of them have stereo speakers with the Galaxy S21 using Dolby Atmos so without wasting any more time let's take a listen to audio from both speakers and then we'll find out. So they both sound good with the iPhone 12 having more of a bassy sound with the speakers while the Galaxy S21 sounds a little much louder and more spacious. Now I think the S21 sounds a bit tinny especially if you turn off Dolby Atmos you can hear it more so you definitely keep it on. But I want you guys to let me know which of these two speakers you like. I'm kind of in between both. I prefer the S21 Ultra honestly but I'll say these two on two different spectrums here. But anyway let's get into gaming. Now we do have the Snapdragon 888 on the Galaxy S21 or the Exynos version but my version here is the Snapdragon version and we do have the Apple A14 chipset on the iPhone 12. So with the Galaxy S21 it is a 6.2 inch display 6.1 on the iPhone 12. Now in terms of refresh rates you've got an adaptive refresh rate of 120 Hertz and of course this is adaptive if nothing's going on the screen it drops down. This is using the show refresh rate feature and developer options on Android which you can use while here we're using test ufo showing us it's just 60 for the iPhone. So as gamers we want faster refresh rates and the Galaxy takes the edge right there. Now what about benchmarks? We started with benchmarks because a lot of people like that as opposed to just jumping into gameplay which I got some gameplay sessions as well. So looking at our geek benchmark five benchmarks for both devices we can see that the Galaxy S21 comes in a single core at 1076 while the iPhone 12 comes in at 1588 so roughly almost 500 points higher than the Snapdragon 888 while the multicore on the Galaxy S21 is at 3,269. The multicore on the iPhone 12 is at 4,096. Man that is huge that is really massive in terms of the gap here but to me all of that means nothing until we look at how it performs with games. Now as you guys know I love playing mobile games and the games we're checking out for this video is really simple. We're going to be checking out of course Call of Duty Mobile which is like a baseline for both PUBG mobile and of course Genshin Impact. Now you've probably seen me use different accessories to game on my of course Android devices and the Galaxy. I'd like to use the Razer Kishi which is my go-to but I do have others from Gamesar and you know Flywheel and I'll have the links for you down below. And for the iPhone you saw that backbone controller and you're going like what is that? It's a really cool controller and I think probably the best controller for the iPhone. But let's take a look at our very first two games and look at what we have in terms of benchmarks. Start off with PUBG Mobile not Call of Duty Mobile but PUBG Mobile. With settings here at Ultra HD Ultra for the S21 we got 40 frames per second with 100% FPS stability while for the iPhone 12 we got 43 frames per second with 99% stability. It's 2 FPS more doesn't really matter but looking at the CPU usage the iPhone is at 53% GPUs are 32. Now granted GPU is not registered on the Galaxy. The CPU usage is rated at 10.94. Now memory usage is much higher on the Galaxy at 840 in terms of the average memory while it's 675 megabits per second on the iPhone. So again very similar FPS is higher on the iPhone but is more consistent on the Galaxy. Granted it's only by three FPS points. So when we go over to check of course smooth extreme which is the next setting you can use I like to use with PUBG Mobile. Looking at the Galaxy S21 60 frames per second 100% FPS stability which is great while the iPhone is at 59% with 100% FPS stability. Again this is marginal the line of error so I think that's fine. CPU usage here for the iPhone is at 56.5% or 50% while the Galaxy it's at 13.50. Again it's registering low maybe that would change when we get an update to supporting the GPU software but again just give me that. But in terms of memory we're looking at 863 for the Galaxy while it's 671 megabits per second for the iPhone. So again memory usage there is lower. Now when we move over to color duty mobile now of course this one we expected to run well because the game always runs well. It's called mobile it's not intensive but it's a good baseline just to check out 60 FPS 99% stability for the Galaxy S21 with 1132 megabytes of memory usage. Again CPU is at 10.81 so I'll kind of discard that because it's very similar there. Now with the iPhone looking at 59 frames per second with 100% FPS stability and the memory usage is 941 so a bit higher here with color duty mobile as opposed to what we had on pubg. Now of course finally we're going to move over to you know Genshin Impact which of course is a game that is graphically intensive. I of course set the game to 60 frames per second which is the highest you can do and on the Galaxy S21 we're looking at 60 frames per second, 99% FPS stability, CPU usage just show up higher at 27% and its memory usage is at 1417 for its average memory usage so much higher there and when we go over to the iPhone 12 we're looking at 58 frames per second so this is two frames lower and stability is also dropped down to 97%. CPU usage here on the iPhone is really high 93.59% now again I don't fully trust my readings from CPU usage on the Galaxy but again it's just really much higher here and the average memory usage is 1130. So what does that all mean? I threw numbers out there for you and you're going okay but Dundee we saw it ran well and if you look at both gameplays they run really well on any of those games I mentioned. What it means is simply this both systems can run games really well. Run the games you want to and it looks like the Galaxy has caught up. We know that with the Snapdragon 865 or 865 plus last year we couldn't run Genshin Impact at 60 frames per second with a high enough FPS stability and that has improved this year so that is great to see with that and it doesn't really matter with benchmark scores because yes the iPhone had higher benchmark scores but it ran well and it also doesn't really matter with memory as well because the Galaxy has 8 gigs of RAM and the iPhone 12 is really around three or four and that runs well as well so it all depends on how things are optimized on the system. Now you're going to ask me about temperatures. This is where Samsung has cut up with Apple now usually we know there's a lot of thermal cooling on Samsung devices they haven't mentioned much this year the iPhone was running at about a hundred and three hundred and four degrees the Galaxy was also running at a hundred and three hundred and four degrees so special cooling or not it doesn't really do anything I don't know if it has this year but temperatures they're running about the same. Now when it comes to battery life here is a little bit different we know the Galaxy S21 has a 4000 mAh battery and the iPhone has a 2850 mAh battery so there is a big difference between batteries and it shows while gaming I can definitely attest to you that the iPhone battery drains much faster on the iPhone 12 than it does on the Galaxy S21 so if you want a game for longer periods of time the S21 is the device for you also if you're using 5G whether it be gaming or anything else the iPhone 12 just does not cut it it drains really fast and I think this is just because the 5G SOC chipset is not on the same die as of course the chip as opposed to the S21 where everything is all on the same die so it's a bit more efficient. I think overall though if you're looking at both of them as devices for gaming day-to-day use you'll find that they do both work well.  So there it is guys let me know your pick is it the Galaxy S21 or the iPhone 12. If you have any questions or any comments leave them down below otherwise don't forget to like share subscribe and always enjoy your entertainment.


Hello! This is Doug Timble coming to you from the City of the Oaks, Raleigh, North Carolina, where rising ocean levels are estimated to transform this landlocked city into a thriving seaport as early as the year 2048. And speaking of 2048, in this video we'll use Eclipse Che to take a look at a C++ implementation of the popular game. The 2048 source code requires some special tooling, so we'll need to create a custom stack before we can build it in Che. By the time we're done here, you'll know how to build a stack that has all the tools you need for your projects. And best of all, you'll be able to waste hours of precious time while pretending to work. You're welcome. We'll start by going to the Che homepage, eclipse.org slash che. Scroll down slightly and click on the Create Free Account button under the SAZ heading. Now scroll down to Create Workspace from a template. The code we're going to build is written in C++, so choose the C++ stack. At this point, you need an OpenShift.io account. If you don't have one, it's free, you can sign up at OpenShift.io. If you have an account and you're not logged in, you'll see the OpenShift.io login screen. Once you're logged in, you'll see this entertaining crane animation as the workspace loads. The system does some initialization, downloads a container image, creates and starts a container based on that image, then loads the necessary code to display the IDE. The first time you run this in your account, Che has to download the container image for the stack that contains the operating system and other tools. When it's done, you'll see this screen. It includes a sample Hello World project that has been cloned from a GitHub repo and Che has run that code. You can see Hello World in the Run tab at the bottom of the screen. But we're here to build a productivity destroying game. To do that, we'll create a new project from the 2048 repo. Go to the Workspace menu and click Import Project. Enter the URL of the repo as shown on the screen here. I named the project 2048, but you can call it anything you like. We'll leave the other options blank. Now click Import to clone the code. Once the code is imported, tell Che that this is a C++ project. That enables syntax highlighting and other nice features. Click Save and we're done. Expand the project and look in the source folder. 2048.CPP has the main method, but game.CPP has most of the logic. Feel free to explore the code all you want. But looking in the project, there's no make file. It's not clear how to build this code, so out of desperation, let's actually read the instructions. The readme file in the repo says we need to create a build directory in the project, then run CMake. So to the terminal we go. Change to the project directory, then make a build directory and change to it. Notice that as you create the directory, the tree view of your project automatically updates itself. Now run CMake. And there is no CMake, which brings us to the subject of custom stacks. What we need to do is take the stack underneath this workspace and add CMake to it. Then we'll create a workspace on top of the new stack and everything should work just fine. But what is the stack underneath this workspace? To find out, go to the Workspaces tab on the far left side of the window. Click the gear icon next to your workspace and you'll see its config file. What we're looking for in the JSON is the recipe field, which you can see here. The workspace is built on top of a container image named Eclipse slash CPP underscore GCC. That's what we'll use in the Dockerfile that builds the new stack. I'm taking a shortcut here and showing you the final Dockerfile. As you can see, all it does is start with the base image and go through a few commands to download and install CMake. If you clone the GitHub repo on your screen, you'll get a file named dockerfile.cmake. That's what I use to build the new stack. Feel free to build it yourself, or as we'll see in just a second, you can simply refer to the image in my quay.io account without building anything. Now that we have our container image, let's go back to Che and create a new stack. Stop the workspace and go to the Stacks tab on the far left. As you would expect, you want to click the Add Stack button. For the recipe, we're going to use the container image built with the Dockerfile we just looked at, so click Dockerfile and enter the URL on your screen. Click OK to create the stack. We'll configure it by giving the stack a name and a description, then we'll edit the machine that runs inside the container. Click the pencil icon to change the name of the machine, then click the arrow next to the machine name to add a few agents to it. You'll need exec, terminal, and workspace API at a minimum. With those changes made, go ahead and click the Save button. If you want, you can test the stack directly, but we'll go ahead and create a workspace based on it. All we did was add CMake to the existing stack so things should work. Go back to the Workspaces tab on the far left and click the Add Workspace button. Give the workspace a name, then select the 2048 stack we just defined. Now click the Add or Import Project button. Click the Get tab and enter the URL of the repo. By the way, if you click GitHub, Che wants to connect to your GitHub account. Since we don't own the repo we're working with, we'll just use the Get tab. Click the Add button to add the repo to your workspace, then click Create. On the panel that pops up, click Open to see the workspace in your browser. After a few seconds, we see that Che is pulling the new image. So now we'll just cut to the chase and show you the running workspace. As you can see, the 2048 repo is cloned into the environment. We know what to do from here. Go to the Terminal tab and follow the instructions from before. Make the build directory. Switch to it. Run CMake and Run Make. CMake creates the Make file and Make creates the object files and links them into an executable. Everything worked, so double-click the Terminal tab to maximize it and type . slash 2048. We'll play a new game with a 4x4 board and use the arrow keys to make the magic happen. It's not as visually flashy as other versions you might have seen, but it's every bit as difficult and addictive. So that's a look at how to build a custom stack. Most of the time you'll be able to use one of the default stacks to do everything you need to do, but if not, building a custom stack is the way to go. In the Docker file, we used a few commands to install the missing tooling. Then we created a workspace based on that stack and finally built the code inside the workspace using the tools we added. If you want to take things a step further, you can use a factory to create a URL from that workspace. You can then share the URL with anyone. When they open the factory URL, their browser will open a new workspace with the exact same environment. In other words, it will work on their machine. We cover factories in another video, but they're just another part of what makes Chase so powerful. For the Red Hat Developer Program, this is Doug Tidwell saying may all your bugs be shallow. Cheers.


This study examined the relationship between chemical structure and adverse drug reactions, ADRs. It found that certain chemical structures were associated with higher risk of certain types of ADRs. For example, typorosine and methylene groups were associated with higher rates of central nervous system, CNS, ADRs, while amides, secondary alcohols, and DI-substituted phenol groups were associated with lower rates of gastrointestinal, GI, or CNS-ADRs, or both. These findings suggest that chemical structure can be used to help inform decisions about drug selection and dosing. Further research is needed to better understand the relationships between chemical structure and ADRs. This article was authored by Daniel Austin, Kumori Bisfoss, Kaley Pollock, and others.