The coach hope you're doing well. Appreciate you doing this. So you're taking over as safety's coach after being with the team for some time now. How was, how do you feel about being the presiding face over that group and what's been your experience so far through what's a pretty different off season? Yeah, well, first talking about just the transition here. You know, it's been a pretty smooth transition, obviously, since I've been here since 2018 with Coach Rable and the Titans. So it's been good to be with the safety's, obviously, with Kenny and KB and then two guys that we drafted in 18 and 19, Dan Krupshank and Amani, and then a couple new faces as well. So that transition obviously has been pretty easy. And then as far as this unique off season, having the background with the guys for the past two seasons, I would say it's been as smooth as possible, obviously being on Zoom just like we're on Zoom right now. And also, just being, having a relationship with them, I've known them, it was my first time meeting them. So it went pretty well as can be expected as far as with the Zoom meetings. Tehran? The South Coast Booker. We know you've worked with the safety's a lot over the past couple of years. And with Amani Hooker and so much more sub-packages with Big Nickel, do you feel he's a guy that could see increased snaps in that package? So when you watched Amani's film in college, you know, what I saw was a guy that was able to play multiple positions at a high level at Iowa, well coached, and was fairly diverse. So when he came in here, you know, last year, he was able to get some playing time on defense and some of our sub-packages. And we looked for him to compete, you know, in those packages as well, that diversity that he has, you know, hopefully will be able to be used this year, kind of too early to tell exactly what type of things we would do regarding exact packages. Tehran, you know, Big Nickel, all that type of stuff, but I do know that, you know, Amani does have some versatility and ability to play safety for us in some other positions if needed. And as far as that package is concerned, like especially with the slide position, you see teams putting bigger receivers, you see them flexing tight ends. How does he match up to both of those aspects, you know, from an offense? Yeah, I think he's a guy that, you know, like I said, when you watch this film and do it in college, he was able to do some of those things in the slot as well as in safety.  Like I said, probably a little bit too early to tell, you know, where exactly we're going to plug and play guys. But he's been doing a good job and he also learns quickly. He's a guy that has a real good football IQ and happy to have him back there. Thank you. David Boakler.  In what ways, if any, is your day-to-day job different now this year than it was? Well, obviously, you know, when I got here, I started working and, you know, titles are one thing, but it's about just doing whatever you're asked to do. And so, you know, under Coach Raybwin and Dean Pease, you know, they had me working alongside with the safeties. And so, I guess, you know, on a day-in-and-day-out basis, there may be a little bit things that have changed just with the title, but in all honesty, the overall situation and function of how we do practice and all that type of stuff really hasn't changed that much. And, you know, my work with the safeties has been pretty consistent from year one until now. And, you know, it's just all about being able to continue to improve all those guys, whether it be Kevin Byard and Kenny and then, you know, Amani and Dane and then Ibrahim and Josh to try and improve them on a daily basis. And in terms of what is asked of modern safeties, how, I guess, prototypical are Byard and Vakaro as a tandem? Are they what everybody's looking for in a lot of ways, do you think? Yeah, honestly, I think it's a great time to be a safety because people are looking for guys that can do it all, you know, back, you know, 15, 20 years ago, you were just looking for a guy that could be in the box and then one guy to be in the post, but now you're looking for a guy that can play deep, he can play close to the box, he can blitz, he can do some things in sub-packages that may be a different position. So I think it's a great time to be a safety and when you're talking about the guys that we have, we put a lot on their plate, we have a lot of high expectations for those guys and, you know, we feel like we've continued to see them grasp our defense at a high level and, you know, we continue to wanna see them play at a high level on Sundays. Thank you very much. Paul. Hey, Buck, I appreciate the time. Working on something about Shane and looking to illustrate his sense of humor, I was wondering if he could give me any context there. Oh, sense of humor. That's a good one, Paul. Look, I don't know if I have any specific examples of, you know, him being, I don't know who you want, Chris Rock or whoever up there, Kevin Hart, you know, I don't know if he's a stand-up comedian, but I do think that he is able to do a great job relating with the players and during camp, there are times that, you know, you need some levity, right? You need to break the monotony of camp and he's done a good job of that, whether it be, you know, showing film of maybe a coach that's working with one of the guys or one of the teams and, you know, maybe doesn't have one of his best moments. Maybe he'll show that film to the staff or defensive unit or just, you know, kinda sarcastically getting on a guy, but I think he does a really good job breaking up the monotony of camp and keeping the guys' attention. Appreciate it. Doc, put the follow-up.  I know versatility being something that you guys harp on in particular. Yeah, I think that starts up top with John Robinson and his staff that do a great job of identifying guys and as well as Mike Brable. And then obviously it goes down to us, you know, being able to do what the players can do.  And it's exciting to be around these guys and it's exciting that these guys are, they demand a lot from each other in that versatility-wise, you know, as far as Kenny and Kevin demanding from each other that both of them can do anything on the field that the other person can do so that, you know, our opponents can't get a beat on what we're doing. And then that trip was down to our younger guys as well. Appreciate it, sir. I think we got our last question here, Jim. Scott, I appreciate your time. Hope you're doing well. You probably been asked about a money hooker already, but I was hoping you could kind of give me an idea which you saw from him last season and maybe what's the next step for him heading into year two? Yeah, so, you know, I said it before, but, you know, coming out of Iowa, we saw a guy that played at a high level, was versatile, had good ball skills, and, you know, last season playing on some special teams and then playing in some sub-packages, we saw a little bit of what he could do. And, look, in all honesty, we're looking for him to just keep on improving every day to grasp our defense and to be able to put himself and our defense in the best position to be successful. You know, and the one thing about Imani is that he is extremely smart and very knowledgeable of not just his own position at safety, but other positions too and how it affects the defense. So that's a positive for him. And then obviously him just continuing to, you know, get comfortable with the NFL game because the NFL game is different than the college game. And so getting comfortable with everything that the NFL has to do. And, you know, you can see that little bit going from the first game there to the last game there. Hopefully that'll continue this season. And Chris Jackson, I mean, I know he's a versatile guy who can do a number of different things. Does he spend, I guess, most of his time with you? And what have your impressions been to him right out of the gate? You know, Chris has come in and, you know, he has a lot of guys to look up to, obviously, with the veteran presence that we have in the defensive back room as a whole, not just talking safety-wise, but also corner-wise. So I think he's come in and shown the fact that he's able to retain knowledge. And then, you know, obviously it's a little early to tell anything about on the field. We haven't done anything on the field. So hard to say about on the field, but at least his retention of knowledge has been a good sign so far. And anything for you as far as your coaching assignment changed this year, from last year to this year, you just allowed maybe more time to do what you have been doing with the safe? Yeah, I think that's honestly what it is.  I think I've been fortunate enough to be with the safeties for the past two seasons. And I guess I got a title change this year, but I got told the other person that asked the question, you know, day-to-day really hasn't changed too whole heck of a lot for me. And I got one last one just about the relationship between Kenny and Kevin. I mean, I guess anytime you got too safe, does it play for each other a couple of years, they know each other better. I imagine that shows up on the field and in the building. How comforting is it to you to have two vets back there that can show other guys the way? Yeah, yeah, it doesn't really matter how comforting it is for me, it's gotta be comforting for the team. And so, you know, what I like is that both of them are unselfish and they literally, literally all they want to do is have the Titans win as many games as possible. And so, you know, whether it be Kevin being on the punt unit for his past five seasons with the Titans, whether it's Kenny being on kickoff, whether it's Kenny playing multiple positions for us, anything we ask those guys to do, they do. And that's the example that younger players see. And then they also see the dedication that these guys have, you know, throughout this Zoom meetings, the questions that they're asking and just how they wanted to get more detailed into our defense going into the third year. So, and then just besides football, you know, there's definitely a good example that they give of, you know, how to be fathers and husbands, both those guys are those. And so, it's just really, really great to see and something that may not happen often that you have these guys at this time in the career being able to spend multiple seasons together and being able to play well on the field.


Dîm y bydd, bydd yma, rydyn ni'n meddwl gael eich gyfaintoedd, rydyn ni'n meddwl chi'n meddwl, rydyn ni'n meddwl. Ond eich ddigmar wedi fyddion fyddion i y cyntafolio Felly, mae'n gwneud eich gallu'n gwybod gwirionedd yn cael bydd, ac mae'n ystod y gwirionedd y gallu gwybod gwybod gwyrdd gwybod nifer yn y cael bydd, ac wnaeth i'n dweud wnaeth chi'n gwybod, rydyn ni wedi'r gwirionedd y gwybod gwyrdd yn rhan, ac mae'n gwybod, rydyn ni wedi gweld eich gwirionedd yn y gwybod gwyrdd. Ych erbyn beth sy'n cael bydd? Rwy'n gwybod y gwybod y gwybod yn y rhaid, mae'n ei fod yn barod, mae'n ei fod yn gwybod, Ca i ddim yn rhoi, mae gynethu gwybwys iawn, yn ymweld y gallu golffwys iawn yn mynd. Rwy'n rhan i ddim yn rhanio gwybwys iawn, yw wneud hynny. Rwy'n rhanio gwybwys iawn y Amazon, ac mae'n oed o ran i ddydd i'r ffordd o ddim yn rhoi'r bod ni wedi'i gweld yn fawr. Ond y gallwn ymweld, wrth fynd i'n gweithio'r draffa, yw'r gwybwys iawn wedi'u gwybwys iawn? Roedd i'n bwysig o'r cyffin ar y cyfnod y gallwn i'n gweithio'r cyflogion. Roedd yn fawr hynny fyddwch yn gweithio'r cyflogion ar hynny, fel y gallwn yn ddych chi. A yna'n gwneud i'r cwmau, rydyn ni'n gweithio ar fy mod. Mae'r ram ffx, rydyn ni'n rhan, yn gyffinol. Mae'r ram wedi ddweud 24.99 ond Amerson, ac rydyn ni'n gweithio'r cyffinol. Mae'n gweithio'r cyffinol ychydig. Rwy'n gwneud o ddydd yn ddweud gyda chi, a yr angen chi tro иrwyr yn gwneud. Rwy'n gweithio i chi'r codi arno arnyngwch. Mae gennym, ac mae gennu. Mae'n gwneud i'w clygu'r cyflafol o'r hyn a'r dda i ddweud o'r codi inmates fel ei wahanfa ar y baf ar hyn o'r bach. A rwy'n gwybod i chi ffwrnau y gwahog. Mae'r holl hyn o'r codi merge o'r gyflod i gweithio o'r iechyd, o'r boblraedd hwrs FFX yn ychydig. o'r gwasgwch nifer o'r teimlo'n holl. Right, well I think we should get straight into this because I've no idea what you're supposed to do with these clubs. I've never tried one in my life like I said. And you're going to see my very first shot with one or two shots. So just off the fringe, we'll talk about what this club can and possibly might do for some average golfers. But let me just give it a bit of a go. I'm going to play it as I would a sort of put, and I'm assuming that's the idea. That's not too bad. That even seems to spin. Right, I'd be more than happy with that very first go. So same putting style stance, and that could be even closer. It's almost identical. Do you know what? That's not a bad start. I'd be more than happy with them with a chipper, but what can I do with a wedge? We're going to find out, mix it up a bit, talk about the chipper and who it might suit. And are we ignoring, of our own golf snobbery again, a possible tool that might help a lot of average golfers? Right, so the next position we're going to go from is hopefully you can certainly just about make me out back there. It's from the roof, and we've got sort of maybe 10-15 yard carry. Again, I'm going to adopt this kind of put in stance and see how it, oh, hello. That could go in. That could go in. That could go in. Jesus. Right, okay, so pretty good out the roof, and so all I'm doing, and I'll never do that again. No, I didn't. I fluffed it. And that's because I was about to say what I've been doing is keep my wrists nice and stiff and just adopting that putting stroke, and I didn't on that last one. I broke them. So again, concentrate on that. And I would certainly take two out of three of those. Right, we've just got a bit of a break. I've got a few games coming through. It's a gorgeous afternoon here at Conway, and obviously the course is very busy, so I've just had to pull off a green. And it gives us time to have a look at the technology that is packed into the Ram FX Chipper. I don't know a great deal about it. It's a regular flex shaft. I don't even know what length the shaft is, and I've no idea what loft we have on this. So there's a technical information for you right there. The point is this. It's not about the tech that's packed into this, is it? It's about the simplicity of it. It's a complete opposite of that. It's the fact that it's a club that is effectively a putter with a lot of loft on it. I would suggest it's something maybe in the region, sort of 45 degrees, something like that. Relative to a pitching wedge, 45, 46 degrees. And the issue that I'm going to have with it, I've tried it in a few different positions so far. They've been out of a bit of rough, which is fine. They've been from just off the fringe again, which is fine. They've all had nothing in front of them. They're very much a flat running. And I would imagine that'll get a lot more difficult when we perhaps have to pop this over a bunker and we'll find that out. But in terms of what it is, it's a very straightforward, simplistic piece of kit. But how many of you would, in fact, game this? In fact, how many of you have actually tried one of these? So comments down below. What are your thoughts on the idea of having a chipper in your golf bag?  It's a very busy day down here, as you can imagine, with these conditions. But anyway, I tried to get back to a similar position, but my yellow balls have been moved. So that's not a bad effort. It's kind of where I would want to land it. That's a decent chip. My chipping's not great, so from this position, that would be something that I'd be really pleased with in terms of a shot. Again, that's not too bad either. Released out, in fact, it's very good. Last one, and at the moment, fairly happy with those. Can I make it three? Yeah, that's good as well. So, in that instance, none of them made it as close as quite that yellow one did, and I wound off with the chipper, but essentially, there are three decent chips for me and where I'd expect them to be. But was there a huge difference between... Was I surprised, I think, is the issue between how easy the chipper came out of the rough and the answer to that is, yes, I thought it was. I wanted the flag. I was going a little bit by to be fair. See if we can finish off with one more. Oh, it's pushed it out. It's gone out. It's come off that bank. And you know what? They're not too bad at all. And I'd be more than happy with those, like I said, in terms of my chipping capabilities. The question is, what would happen to the chipper? And we are 51 yards out, I've been told. And I wonder now, so the question is, a lot of versatility which played a 50-degree wedge and could have done a number of different things with it in terms of ball flight. I have no idea what I can do in terms of with a chipper. So we're still sticking to that straightforward put-in style strobe. But the question is, is 51 yards too far for a chipper? And could we still use this? And not like that, because that was a little bit fat. So, do you know what? I picked that up quite cleanly. It's running along there. That's not done a bad job at all. The interesting thing is with a chipper, what amazes me is that on virtually every occasion, I'm going to speak too soon, is that you would at least get the ball on the line that you intend. Again, I've just got that one a little bit fat, but it's still rolling out there. It's made from the green, it's not ideal. The one thing that's difficult from this distance is not to grab a bit of the green, a bit of the turf rather. So again, just that little bit more. Can I adapt to it at all? Not really, just made front edge again. The thing is, the added bonus that the chipper gives you, like I said, is the fact that each of those balls very much was easy enough to set off on target. And again, did a job, because the one thing that you're not doing, and I think it's who it appeals to, joking aside, is that how many of you are in that position, with a thin bladed style wedge in your hand, I've got the likely to duff one straight into the ground and maybe shift it two foot in front of you. It eliminates a lot of the risk that's attached to a chip and a low, like I said, not as good for me in terms of performance as the 50 degree wedge. It's certainly not got me in any trouble and I'd be more than happy with those three results in many respects. Now again, not the three greatest chips in the world, but the final one again. And I'd be more than happy, but this is the biggest issue that you're going to have in the fact that, when I say the biggest issue, you're going to have to carry a wedge is my guess we'll find out very quickly, but can every time I've hit this ball so far with a chipper, I can't get any ball flight off it, I can't get a chipper run, but I can't get anything that's going to clear this bunker. Or can I? We're going to find out. So 56 wedge out of interest is what I just played. Let's get the three yellow balls out. I had decent enough lies there to be fair, so let's give something half decent to the chipper. They look okay. Right, so I'm going to... I'm going to choke down on a chipper. Yeah. I actually said that. So I'm going to play this one a bit different, and I'm going to play it a bit more like not a putting stroke. I'm going to play more of a chip. Almost, almost. It got there, but it's certainly got more height adopting that different type of action. And I got it again. I can't get it massively high, but you know what, that's not too bad. Let's see if we can do one more. And that's not bad, is it?  And there lies the difficulty. It's a club that will definitely help you on the flat, but in these kind of situations, you're going to have to... Or maybe you're just going to have to learn ways in which to play with it. I don't know because I can't quite master that bit yet in terms of getting much, in terms of elevation on the ball. And in this instance, I'd have been a little bit stuck without a different type of wedge in the back. I just actually found that. I had a few chips around the green. And I've actually found that by removing that sort of putting style way of playing it, it becomes a lot more, well, a lot easier to clip the ball off the top. Like I said, a danger with that big... You tried it with long putch yourself is where you just engage with a bit of the ground. And that's what's happened with the putting style over longer distances. Certainly is okay in terms of across the flat. But just that chip there, just trying a few in and around this green. It's a lot easier. Just getting a little bit wristy with it. And yeah. I think the more I work with this, it could be a tool that would go in the bag. But it won't. Right, we're losing light here at Conway Golf Club. And I think I've done more than enough with a chipper. And I think it's the best review of a chip you'll see on YouTube. In fact, it's probably the only review you'll see on YouTube. Do you know what, I bought this as a bit of a gimmick. And I want to do the video because I've been trying to look at things like I said, make life easier for average golfers. And that was the idea behind it. And I think, do you know what, to a large degree, as joking apart, I think it would play a great role in many golfers bags. I honestly do. I've played with more than enough golfers which struggle with chipping. Like I said, it ain't my best part of my game. And I think that if you played a few rounds with that, and I think if you got used to it in terms of how it comes off the face, what you can do in terms of loft is flight it. I think it's a real versatile club to have in the bag. And it boils down to the fact that we, there's so much stigma attached that people will really struggle to put it in the bag. And I know the deluge of comments will be about improving your chipping. But I also know that it can be a real killer for a lot of people. And if you've developed the yipse or anything with your chipping, then maybe again, this might help some golfers out. But all I would say is, do not dismiss it. Do not ignore the possibilities of what a chipper can do for you. But I ain't putting in the bag. Never.


My name is Matilda McQuade. I'm deputy director of curatorial and head of textiles. And I'm here with National Design Award winner Thomas Pfeiffer for architecture and design, and Christina Grahalus, the mysterious woman on the panel of Christina Grahalus Gallery. And we're going to be focusing on the topic of collaborating with clients. So we'll explain Christina's presence here. But first, being a gallery owner and an architect, both of your works relies on clients. So how do you go about finding your clients? How do you, and what do you look for? Or do you take anyone? Wow, that's a pretty good question.  Actually, I wish I understood this a little bit better but I'd be more successful.  That's one way. But the second way is when we apply for projects and we audition. You go for an interview. You're involved in a competition. You have to present yourself. And then they pick us. So in a sense, it's a little bit the same. We rarely go out and pick clients. But I have to say over the years as I get more seasoned and become a more mature architect, I do find myself selecting clients more than I used to. When people come to me, and I'm not completely sure of their intention, there's a little bell that goes off that means that we very quietly turn down the commission. Have you turned down a lot of commissions? No, no, not really. Because I'm really up for unique projects, projects with unique people. And so I really have taken, I don't know, 95% of the people that have come to me. Very, very rarely. And Christina, you have a gallery. So you look for designers and artists to represent in your gallery. Or do they come to you a little bit of both? How do you find your perfect person? I think I'm in a similar position to Thomas. I think that I'm in a position now where I don't look for designers. They come to me. Every week I get about one or two portfolios from all over the world. So it's a wonderful feeling that people want to work with us. And regarding designers, I mean, once you see their work, you realize if this is something that fits in your collection. And that's how clients come to us, too, through similar to Thomas, through our exhibitions, participating in fairs all over the world, and the reputation that the gallery has at the moment. You know, though, we don't work like an artist would work. We don't sit in our studio and make work in a room like that without any contact with the outside world.  All of that forms great architecture. And so over the years, I have looked and worked with amazing clients who are partners in what we do. And in the end, that work that sits there is as much a part of them as it is a part of me. And I say that really sincerely. Certainly the project that Christine and I did together was a complete collaboration. How we worked together determined what that little house in Salt Point, New York became. And particularly with the Glenstone Museum that we just finished, Michelin and Emily Rails were also one of the greatest clients I've ever worked with. And in some ways, changed my whole outlook on life and on the work. They were so involved nurturing, supporting, critiquing, criticizing, walking every step of the way to make this building together. So in the end, it's really hard to separate a work of architecture from the architect and a great client. So this brings up talking about your relationship with both of your relationship. And first of all, how did you find each other? Because, well, I'm not going to explain it. Christina, you said you have a great story. So talk about how you found Tom and vice versa. Well, my wife and I are very honored that Thomas wanted to work with us. But the way it happened was very funny. Thomas had a dear friend, his name was Jeffrey Osborn, very much involved in the design business. And when we bought our land, we have a friend in common and Jeffrey sent me a message and said to me, you need to hire Thomas Pfeiffer. I was like, oh, OK. The same week that I received the message, I got elder core. And on the cover of elder core was the Tagani house. So when I saw the house, I got scared. And I thought, we are too little. Thomas, you know, he's really famous. He's never going to want to work with us. Oh, we can't afford him. So that's what happened. But then as destiny has it, a dear friend invited me to a benefit, the public art fund benefit. Remember? No, public color. Public color benefit. Ruth Schumann. Yes, with Ruth. And as I enter, who was at the door with Jeffrey Osborn, so he said to me, Christina, did you hire Thomas? And I said, no. He said, why? I said, because we cannot afford him. So who's standing next to Jeffrey? It's Thomas. So Jeffrey said, Christina, Thomas Pfeiffer, Thomas Pfeiffer, Christina. And then Thomas was very sweet. And he said, how come you didn't call me? I said, you're too famous. I cannot afford you. And Thomas was like, I've been thinking about your house. It's a jewel box. I was in shock. I was so scared. And then Thomas, you were very kind. You invited us to your office the next day. So Isabel and I went to his office. And his office is beautiful. It's really big. It's very quiet.  And we brought our dog Billy with us. And Billy was going in between the legs of all the architects. And Isabel and I said, that's it. We're never going to get our house. Thomas is going to get scared from us. But as I was telling Gina, and I hope I can say this in front of you, I was telling Matilda, is it OK to say that after so many years, our house was done in 2007? I still write love letters to your husband about our house. She does. Our house is truly the most beautiful house I have seen in a very long time. And you know, Thomas, it truly is a 21st century cabin, which is what we wanted to do. Which is what you said you wanted to do. Well, I think part of the kind of magic of the brief in our working together was that you wanted it to be very petite. You wanted the experience to be intimate. And you also didn't have a lot of money, which I loved. And so everything had to be down to its bare essence. Everything had to be whittled down to, this is the way to make a stare. And then it has to be really simple. But can I ask something, Thomas, that you said to me and I never forgot? So Isabel and I said to him, Thomas, why would you take our project? We are so little next to your very big clients. And you said to me, Christina, when you have a big budget, it's wonderful. But there's no boundaries. Your house is an intellectual exercise. And you put your heart and soul behind the house. And I think that that's why our house truly is extraordinary. It's an architectural jewel. Yeah, but you know, all of those meetings we had together, all those site meetings we had together, and we took a long time to work on it together. It wasn't like we finished the design in a couple months. It was a season that went by where we continued to work on it. And the longer, certainly, I'm very slow. And so the more we got to work on it together, and the more we listened and saw the site, I think that extra time was really important for us to get to know each other and for us to understand that site. And I was just telling you before we started here, this site is amazing. It has this one open field that's there, this one open field that's around. It has a little pond, has a little wetland, and it has a kind of little green. And the house is pushed to one edge so that as you approach the house, you see it across the green. And I think that was something you and I did together, was to locate this in exactly the right place. So if it's just important to listen. Well, how did you? No, I'll let you, just one quick question. How did you begin the conversation? I mean, did you have, in your mind, Christina, kind of a wish list of things that you had in mind for the house? Did you have cut out magazine pages? Was there anything that tangible? Or was it more, you described it as kind of an intellectual exercise. It was more kind of intellectual than that, kind of feelings about it. I mean, how did you begin to talk with one another? What was the language? Well, I think the size was a beginning of the dialogue, the budget was also a beginning. And then Thomas had a huge challenge. How do you develop a, I really wanted for the house not to be derivative. As much as I love the fifties house in the Hamptons that are gorgeous, we wanted for this house to feel really original and new and fresh. So I think Thomas that by having the size and the budget and the fact that you, I mean, Thomas, we just had to let Thomas do dream as to what were we gonna get? You can tell a little bit though. I mean, with everyone, and I think particularly with Christine and Isabel, we had to discover a way of communicating together and a way of talking together and a way of being curious. And you can just see by what she just said that this process of being inquisitive about each other and what this can become was hugely important to me because that openness and that the way they were accessible and just completely straightforward was really important about trying to understand what this thing might be. Well, I think trust also, Thomas. Yes, there's a lot of trust. So Thomas, so the house is a little plywood box, but then Thomas wanted to cover the house in this metal screen. And Isabel and I would go every weekend, we were renting a little house right across, very close by, we would go every weekend and sit in front of the box and just look at it and spend the whole day just looking at this box. And when the box was done, I decided that I was in love. So I called Thomas and I said, Thomas, I'm in love with the box. Do we really need the metal screen? And that's when Thomas said, Christina, there's a reason why I think we need to do, the metal screen is gorgeous. I think that you need to trust me. And when you say that, Thomas, I said to myself, yes, I do need to trust you. There's a reason why you want to cover our house with this incredibly beautiful metal screen and that's what made it the jewel box. Otherwise it would have been just a simple plywood box and it was beautiful, but this extra element really made it into the jewel. And that kind of moray effect almost makes it disappear into the landscape too. It just kind of has this. In the winter, I was afraid that the metal was going to be very present. In the winter, when we have a lot of snow, you have to look twice. The house disappears. It's really unbelievable. I'm curious in terms, because Thomas, you have clients like Corning Museum and other big, big name clients. How is that different from, you know, working with Christina and Isabella? I mean, is it, one is a house that has a very personal kind of, you might have a personal approach to it, but is it that much different? Or all clients? You know, I just absolutely love working with people. I don't like to work on projects where you never meet and have design meetings, where you pin things up on the wall, they come in critiquing and walk out. I look for those projects and we had that on the Corning Museum of Glass, where there were four people up in Corning, New York, a long way away, who were there that we closely collaborated with. And that's why I love to work on houses, because you've got a family, you've got a couple, you've got a person who's single, and you can really sit down and work on this together and to make this work of architecture together and personalize that experience. And even when you're working on larger institutions to understand their views of the world and how they believe this, what those values and priorities wanna be, that their voice somehow wants to prioritize a lot of the decisions that I make, so that in the end, this house and those projects are mirrors of those families or of those institutions. And that's really, that's kind of the foundation of the way I love to work. And Christina, in terms of how you work with your designers, I mean, Thomas is a designer, how is that different, how is it different working with him versus designers that you bring into your gallery? I don't think it's very different. I think that it's a very close relationship and again, it's based a lot on trust and it's in respect and creativity. So a lot of these elements have to be there in order for the relationship to be successful. In my experience, when the designers start going in a different direction, that's when you know that maybe it's not gonna work and that's when you have to be honest with yourself and realize, maybe like a relationship, relationship sometimes, people grow apart. So you just have to let it go. It's very intimate and emotional. It certainly is. So what's your next project together? Well, Thomas just. If you could have a project together, I mean, what would it be? What would you like to do together next? Well, Thomas just got some ecchisous for his house. That's very good. Ecchisous is a textile. But this is a funny story, Thomas, I have to say it. So when the house was done, I wanted, I worked with these wonderful Colombian weavers and I wanted a red rug at the entry. And I got this beautiful sample and I gave it to Thomas. He's like, no, red, black and white. I said, Thomas, I'm Colombian. I don't do black and white. We're going red. He said, okay. So we did the red rug and it looks gorgeous, Thomas. Who ordered a red rug this year? Mr. Piper. Right? He just gave me great satisfaction, Thomas. It gave me great satisfaction too. And Matilda. He never gave me the sample back. He kept it all these years. I think you have a job in his office. So thank you very much, Thomas and Christina for talking with me and thank you all for joining us this afternoon and see you at the next event. Bye bye.


All right, believe it or not my health was not always great. In fact for many years I was obese suffered from migraines every day and had such bad arthritis I had to wear braces on my knees to run and what's interesting at the same time. I was running 30 miles a week I went to the gym one hour every day and ate what I was taught was a healthy diet Very low fat high carbohydrate. I was doing everything right or so I thought it was until I began my research on the human microbiome that I realized I was doing it all wrong. So today I'm going to share some of the foods I used to eat and why they were contributing to my terrible health back in the day. All right number one low fat foods. The low fat diet was the biggest diet trend of the 80s and 90s. In fact the low fat food was dead wrong.  Now I too fell for this at one point. Why did this happen? Back in the 1950s President Dwight Eisenhower suffered a heart attack and so why did this happen? So they appointed the greatest nutritionist of the United States, a professor at the University of Minnesota, Ansel Keyes. Why did they choose him? Dr. Keyes was the inventor of the K ration which is what kept our troops alive during World War II. So who better than to figure out what befell President Eisenhower than Ansel Keyes K ration for Keyes. Ansel Keyes studied about 20 different people around the world countries around the world and he wanted to show that the more saturated fat that people ate then the more heart disease they developed and conversely the less saturated fat they ate the less heart disease they had. Now unfortunately out of those 20 countries he could only find seven that actually proved his point and he published a study called the seven countries study that really showed an impressive correlation between the amount of saturated fat the people ate and heart disease heart attacks. Now what's really interesting and I wrote about this in unlocking the keto code and the energy paradox is that there were a number of countries in Europe that met his criteria for instance post-war Italy but right next door France was not on the list as a really good country for avoiding heart disease and they had an incredibly high fat diet but because it didn't meet his criteria that didn't make it on to the list of countries he studied. So he was appointed as the advisor to what's called the McGovern Commission, George McGovern of presidential campaign fame to establish the national guidelines for Americans to eat. Now the Department of Agriculture was given the oversight of making the food pyramid. Now that's kind of like the fox guarding the henhouse. The Department of Agriculture's job is to get you and me to eat agricultural products and to foster the growing of agricultural products. So surprise surprise the food pyramid became heavily weighted towards grain products and other farm commodities and when the low fat part hit people rapidly found out in food producing companies that fat gave flavor to food and when you took the fat away the food lost all its flavor so you had to put in sugar to counteract that effect.  Now I should add that during the time when Ansel Keys was going after fat the contrarian Dr. Judkin from England was saying no no no no no Dr. Keys has got this all wrong has nothing to do with fat it has to do with sugar and sugar is the culprit. Now in academic circles the two duped it out and Dr. Keys was let's just say a much better public speaker and a much better debater and he had the ear of the US government and Dr. Judkin did not and so the sugar as evil fell by the wayside helped by the American Sugar Council which gave generous grants to the Department of Nutrition at Harvard to show beyond a reasonable doubt that sugar had nothing to do with heart disease diabetes and when all this was uncovered by the New York Times a number of years ago we now know why Dr. Keys won and Dr. Judkin lost but that was the start of the end.  Among other things palmitate is directly converted into ceramide and if you've read the book there's a famous paper called death by ceramide and ceramide completely gums up the functioning of mitochondria it's death to mitochondria. So where does pulmitic acid come from? Well originally pulmitic acid was named for one of the fats in palm oil but surprise surprise the vast majority of pulmitic acid in humans is manufactured from our ingestion of sugar and fructose. In other words we make this very evil fat by eating the very thing that was supposed to make us healthy fructose and fructose and avoiding all the evil fats.  Now the other thing I did is I drank several bottles of carrot juice a day. The first thing I did when I went to the Loma Linda cafeteria was grab a big thing of fresh pressed carrot juice and drink it and I have another one at lunch time. Why carrot juice? Well it didn't have any fat in it and it was a great source of vitamin A and everybody knows how good vitamin A is for you. It had beta carotene. In fact I drank so much carrot juice that I had a kind of healthy orange glow to my skin and I didn't spray it on I drank it.  Juicy means you're really just drinking the sugary part of a fruit or vegetable even if you're drinking green juice. Now remember natural sugars are still sugar and sugar is where not only calories hide but drinking pure sugar particularly fructose is mainlining the components that make palmitic acid and ceramides. Like I say give fruit the boot. You should reverse juice instead. What you're looking for in fruit and vegetables for that matter are the polyphenols and the fiber. The very things you're throwing away when you juice.  Put it into your smoothie. Freeze some and drop them in. You'll go a long way to improving your health and that's exactly what I do. Number three I was eating oatmeal, whole grain breads etc. Little did I know that number one these were lectin bombs but even if you don't believe me that they're lectin bombs these are glyphosate bombs. These are roundup bombs. Unfortunately all of our grains are sprayed with roundup. Even on GMO crops, conventional grains, oats, wheat, rye, barley, corn, a lot of our rice is sprayed with roundup. Roundup we could go on and on. Roundup is an antibiotic against the earth. Ninety percent of our agricultural crops, 90% of our corn and soy is sprayed with glyphosate and corn and soy are in a lot of our food products. Now we've been told by the FDA that roundup is safe because roundup targets the chikamate pathway that animals do not use to stay alive. Unfortunately plants do but unfortunately so do bacteria.  It's also a direct gut wall disruptor and one paper shows that glyphosate interferes with mitochondrial function. Meaning what? You gain weight, you feel low energy, you're more susceptible to disease and illness and the list goes on and on. And I can tell you as a heart surgeon when I was feeling low energy what did I do? I ate more because clearly I was low on food and I needed more energy and I see this over and over again in my patients. We also know that glyphosate kills off the bacteria that handle the tryptophan pathway that produces 5-HTP, that produces serotonin, that produces feel-good hormones and doesn't make you seek out food.  So glyphosate, tainted corn and soybeans and wheat is fed to our animals and glyphosate ends up in their tissues. So you're getting a double dose of glyphosate literally every time you eat. So what do I do instead? Well I certainly don't eat anything that might have been in touch with glyphosate. I limit animal protein. I only eat pastured poultry.  You'll see in the new book Gut Check that I'm going to warn you away from even grass-fed and grass-finished beef, lamb and pork and you'll be startled why I am warning you about those foods as well. Please buy organic especially if you're buying mushrooms, berries, cruciferous vegetables, leafy greens, by lectin free flowers and grains like sorghum or millet. But buy organic. Unfortunately Roundup has leached into many of our regular fruits and vegetables. Number four bad mistake I made diet soda. Many people including me when I was overweight turned artificial sweeteners to quell their cravings without packing on the pounds or so I thought. Back then I would have happily performed heart surgery with a diet coke in my hand if I could have only found a way to sterilize it. Ironically all these products which are supposed to help with weight loss do exactly the opposite. That's because these products are filled with sucralose, saccharin, aspartame and other new or non-nutritive sweeteners which unfortunately kill your gut buddies change your gut buddies and allow bad bugs to flourish. These bad bugs are obesogenic in their nature. They actually make you seek out sugars and saturated fats but more importantly they're really good at extracting extra calories from the food you eat and passing them on to you. Exactly what you don't want to happen. Now sad but true you have no sugar receptors on your tongue. You have sweet receptors.  It's the only thing possible and it assumes you just ate fruit or honey. It sends a message to your pancreas to make insulin because sugar is on the way. When sugar doesn't arrive your blood sugar goes down.  Now sadly even the real thing like fructose in fruit has been shown to be a mitochondrial poison and a poison to kidneys and unfortunately fructose is converted into uric acid. Uric acid is what causes gout. Uric acid causes insulin resistance. Uric acid causes kidney damage and uric acid causes high blood pressure. None of these do we want and all of these I had by eating a healthy low-fat diet. You can turn things around quickly and that's why I tell you what to beware and why I never eat what I used to eat. More amazing episodes just like this one watch now. The Mediterranean which has some of the longest living people in the world multiple areas in the Mediterranean use a liter of olive oil per week.


This paper examines the prevalence and trends of orthopedic surgeries in Romania between 2001 and 2022. Overall, there has been a significant increase in the number of orthopedic surgeries with hip replacements increasing by 8.19%, knee replacements increasing by 19.55%, revision hip arthroplasty increasing by 9.43%, and revision knee arthroplasty increasing by 28.57%. Additionally, there has been a decrease in the number of operated bone tumor surgeries, minus 4.52%. Gender differences exist in terms of the proportion of women undergoing hip replacements, 58.82%, and knee replacements, 76.42%. Furthermore, regional differences exist in terms of the number of hip replacements and knee replacements performed in each county. Finally, the authors estimate that the number of hip replacements will double by 2034 and the number of knee replacements will double by 2027. This article was authored by Flaviu Moldovan, Liviu Moldovan, and Tiberiu Beraga. We are article.tv, links in the description below.