Hello, in this presentation, we will be recording business transactions related to accounts payable or the purchases cycle recording these transactions with debits and credits. At the end of this, we will be able to list transactions involving accounts payable, record transactions involving accounts payable using debits and credits, and explain the effect of transactions on assets, liabilities, equity, revenue, expenses, and net income. We're going to be recording these transactions up here in the left hand side in accordance with our thought process. We will then be posting these not to the general ledger, but to a worksheet format so that we can see a quick calculation as to what is the impact or effect on the individual accounts as well as the effect on the account groups as a whole. Remember that all the groups for the accounts will always be listed in order when you are looking at a trial balance, which is why I recommend looking at a trial balance whenever working through problems such as these. For example, we have the assets in green here. We have the liabilities in orange. We have the equity in light blue and then the dark blue revenue and expense accounts, those being the income statement accounts. These will be our beginning balances. Note that over here, when we record the journal entries, we are going to have debits and credits in separate columns and represent the credits with the brackets. Over here on the trial balance, however, we're going to combine the debits and credits into one column and represent the credits with brackets. And note that the debits are the same as credits by a subtraction problem of debits minus credits being zero. The reason for that is that it's really going to simplify the process. It's really useful to know when working with Excel, it will help simplify the process and help to simplify formulas. And therefore it's worth it's worth using. And so that's why we will use it. So we can see that we have cash here at 50,000. We've got the that's the debit, then we got the owner capital at 40,000. And we're starting out with revenue at 10,000. We are then going to record this first transaction saying purchased supplies on account for 450. First question is cash affected. And we're going to say no, because the purchase happened on account. Therefore cash is not happening. We know that on account is going to mean typically either accounts receivable or accounts payable. In the context of purchasing, we mean accounts payable. So we might think that we start with accounts payable, but I'm going to say that we should start with what we receive first. Reason being is because it can be more easier to know whether to increase or decrease what we have received because we received it, therefore it will be increasing and what the debit and credit will be related to it. So although we know we're probably know at this point, and we do know at this point, we're going to be dealing with accounts payable. Let's think about what we got. In this case, we got supplies. Supplies if we look at our trial balance is right here. It's in the asset section, therefore it is an asset. And we know that we got more of it. So it needs to go up. How do we make something go up? We do the same thing to it as its normal balance. Like all the assets here, the normal balance will be a debit. And therefore to increase it, the same thing would be another debit. So we can increase the supplies. And if we do that, then we know that the other account must be credited. And we know that other account is not decreased to cash. We didn't pay cash. If we had, the credit would go to cash and decrease the asset. But instead, we bought it on account. Here's supplies going up, by the way. Supplies increasing from zero by 450 to 450. And then the other accounts being accounts payable. So we're increasing the liability. We're increasing the bad thing. Now we already knew we were going to credit the liability, the credit accounts payable. Because we debited supplies, that's why we worked it in this format. But we wanted to just analyze that and double check that for ourselves. We know that the accounts payable is a credit balance account, it being a liability account. The bad thing is going up in that we owe more money. We bought something on account, kind of like a credit card bill, in that we owe money for the purchase that we have. And that credit card tab then increases with a credit. Liabilities having a credit balance, the same thing to it will increase it. That then being another credit. The liability is going up from zero by 450 in the credit direction to a credit balance of 450. Effect on the accounting equation would be assets are increasing because supplies are going up, liabilities also increasing because the accounts payable is going up, and equity no impact, nothing in either the capital account is happening here or the income statement accounts of revenue and expenses. Therefore the net income as well is staying the same in that we had revenue before of 10,000 minus expenses of zero, giving us a net income calculated as revenue minus expenses of 10,000. Remember that this 10,000 here is a net income, revenue of credits beating the debits of expenses. This is not a loss or a negative number represents credits for us when we are considering the trial balance and of course no activity happened and we are remaining at the 10,000 net income revenue minus expenses. Next transaction, paid cash for supplies purchased on account 450. Next question is cash affected. We're going to say yes cash is affected here, key term paid and that of course means cash is going down. So we're going to decrease cash. Cash has a debit balance. We're going to make it go down by doing the opposite thing to it as its normal balance, which in this case would be a credit. We're going to put the credit on the bottom because credits typically go on the bottom. Let's clean up a couple of terms that may be confusing when considering a book problem such as this. Note that we have paid here and we also have another key term on account. That may confuse us when we are first working with these types of transactions because in the prior transaction we said on account means that accounts payable or accounts receivable will be impacted in this case accounts payable and therefore we might think well then cash shouldn't be affected because we're dealing with an on account transaction, something dealing with accounts payable. Note however that when we are purchasing something that would be correct. If we purchased something on account we didn't pay cash but paid on account paid with something like a credit card paid on a tab, however the second transaction will be us paying off the tab and therefore we're going to have to pay off the tab with cash. That means that we're going to have both an on account and paid in the wording. In real life of course we would have an idea of what we are doing. We'd be writing a check to possibly the credit card company or some vendor and it would be very clear that we are decreasing cash with a check and writing that to a vendor to reduce the amount that we owe to those individuals, the IOU being the accounts payable account. In a book problem it's going to be very generic and we're just going to have to know what those terminology terms mean. Obviously paid means we paid with cash. Note that if it said paid for supplies and it eliminated the cash altogether, paid means paid with cash. In real life clearly we'd be paying with a check but that means cash for a book problem on account might, it might also say on credit. Many books will not include the term on credits because they're trying to separate the concept of credit from what is meant when we are debuting and crediting in terms of journal entries from other contexts such as a tab increasing and decreasing which could imply slightly different things but note if you see on credit you're going to have to distinguish that from something like running a tab up or paying a tab off as opposed to debuting and crediting in terms of a normal journal entry type process. Also note when we thought about cash first we're going to credit cash because we're decreasing cash and therefore we are putting it on the bottom. We have to put the credits on the bottom remember we are not going to start by forcing ourselves to do the debit first just because the debit goes on top and then format the journal entry from left to right. We are going to think about the journal entry in a format that makes the most sense in a format that is easiest for us to construct and it is easiest for us to construct cash first so we will put that on the bottom. Remember that it's just really a convention to put the debits on top and the credits on the bottom. However, it's a convention we want to follow as much as possible. Book problems will of course mark you off if you do not and in real life there are situations when we would deviate from that convention for example if we're auditing and we're performing longer more complicated journal entries we may and we do want to make the journal entry not in a format that applies to just a convention like this or to some kind of computer programming type convention but in a format that someone human can go back and read and try to interpret as best they can. So whatever the best way to format a journal entry in that context that's what we would use. Follow this convention and we're going to put the credits on the bottom but still think about cash first. Then we just need to know that what we're going to debit here and of course we are going to debit by the way cash is going down from the 50,000 minus the 450 debit minus the credit to 49,550 the debit being as we stated the other account of accounts payable we know that we are going to debit accounts payable because we credited cash that's why we're going to credit cash first however we do want to double check ourselves remember that the accounts payable represents money that is owed from the company to a vendor and their and it liabilities have credit balances we paid off the vendor and therefore this liability needs to go down so we're going to do the opposite thing to it as it's normal balance which in this case is a debit so that'll kind of double check ourselves here's the credit there's the debit it's going to bring the balance back down to zero remember that in in many book problems they're not going to give us this journal entry in sequence after the prior journal entry this one obviously follows the prior journal entry meaning we bought supplies on account and now we're paying off on account that will not be the case typically in a book problem they're just going to give you this journal entry and they're going to say hey you're gonna have to know that if you paid supplies on account that implies that in the past there must have been at some point in time a purchase of supplies on account and therefore there must be something owed in accounts payable they may not even give you the trial balance or tell you that there's something in accounts payable and just give you this phrasing and we'd have to say hmm well if that's the case we must have bought something on account in the past and therefore have a balance in accounts payable showing that we owe something and need to decrease that amount after we then pay off the amount we owe if we look at the accounting equation the assets are going down with the cash decreasing the liabilities too are going down with the accounts payable decreasing and the equity remains the same equity remaining the same would imply that net income 2 remains the same meaning we had net income of 10,000 calculated as revenue minus expenses before the transaction nothing happened in this blue area neither of these two accounts being an expense or income account and therefore we end with net income at that same 10,000 next transaction purchased auto service on account $320 so we're gonna purchase auto service first question is cash affected and the answer no because we purchased it on account on account typically means either accounts receivable or accounts payable when considering something purchased it means accounts payable so we know accounts payable will be one account but once again it would be different little more difficult to know whether accounts payable is increasing or decreasing and whether to debit or credit it and it might be easier for us to consider what we'd received in this case that being auto service now we're not talking auto the asset in this case we're talking auto the expense because it's a service so it's gonna be auto expense down here expenses might be a little bit more strange for us to memorize which way they're going but expenses are the most common type of accounts remember that all the expenses we will be working with meaning there'll be more expenses than pretty much any other type of account they all have debit balances and they all only go up so whenever you see an expense typically you're just gonna debit it because it's a debit balance account they only go up and therefore they will increase in the debit direction so it's really good to get an idea that get a feel for that get used to that being the case after working with the cash transactions we may not we may not we may have kind of skipped what the expenses are actually doing when we record them because we know that we have to debit them because we credited cash but get used to knowing what the expenses are doing there's more expense accounts than any other type of account they all basically do the same thing they all go up and only up in the debit direction therefore the auto expense will go up in the debit direction if we increase the auto expense we need to credit something that's something not to be in cash in this case because we bought it on account and therefore did not pay cash and we know that we bought on account and that means accounts payable auto expense going up 320 to 320 and then we've got the accounts payable at the credit of 320 now we knew that the credit was going to go to accounts payable because we debited the auto expense now let's think through it does it make sense that we are crediting accounts payable remember that accounts payable is a liability account it is going up the bad thing is increasing the bill we owe to the accounts payable is increasing kind of like our credit card bill going up us having purchasing something on account and therefore we will do the same thing to it as its normal balance which is a credit here's the increase from zero up in the credit direction by 320 to 320 credit impact on the accounting equation assets remaining the same the liabilities increasing the equity decreasing why because net income is going down net income calculated as revenue minus expenses expenses increasing bringing that equation that net income down net income then will decrease total equity as we just stated net income is decreasing and we see here we have the 10,000 credit before that calculated as revenue minus expenses 10,000 credit revenue minus zero debit expenses we then have a debit of 320 bringing that calculation to 9,680 10,000 revenue minus 320 expenses 9,680 credit balance winning these brackets remember representing credit not representing a negative number in this case next transaction purchase meals and entertainment on account first question is cash affected in this case no we purchase something but we purchased it on account and not with cash on account means either accounts receivable or accounts payable in this case because we are dealing with purchases we mean accounts payable accounts payable is the account we will be using but it might be difficult to know whether it goes up or down or to debit or credit might be easier to first consider what we have received that being meals and entertainment and expense and like all expenses expenses have debit balances and they only go up how do we make something go up we do the same thing to it as its normal balance which in this case would be a debit so we're going to debit the meals and entertainment as always and meaning as always the expenses always basically are debited and once we know that we're going to do that we know that we are going to credit the other account that other account not being cash not decreasing the cash because we didn't pay cash we are increasing the liability instead that liability being accounts payable we already know that we credit accounts payable because we debit the meals and entertainment expense but we do want to double check that and so let's do that now accounts payable has a credit balance it needs to go up the bad thing needs to go up our bills going up our credit card balance is going up or our accounts payable is going up how do we make something go up we do the same thing to it as its normal balance which in this case is a credit so if we post this out then we have meals and entertainment increasing by 1500 to 1500 in the debit direction we have accounts payable increasing from 320 by 1500 in the credit direction to 1820 accounting equation assets remain the same liabilities increasing due to accounts payable going up and the equity decreasing due to expenses going up meals and entertainment the specific expense and that brings down net income calculated as revenue minus expenses and net income going down means total equity is decreasing next transaction we're going to say that paid cash for auto service done on account in the past 320 first question is cash affected we're going to say yes keyword paid meaning cash is going down therefore cash has a debit balance how do we make it go down opposite thing to it which in this case is a credit so we would credit the cash remember that we have paid here and we also know have this on account so don't let the on account throw you off thinking that the pay doesn't still mean cash it does still mean cash cash is going down then we need to know what the debit will be after knowing we're going to credit cash also remember cash will go on the bottom because we are crediting it at this point and we will think of cash first because it's the easy account to think of rather than trying to think of the debit first just because it's on top then we need to think what the debit will be and in this case we purchased something paid for something we had purchased auto expense that's something that we had purchased on in the past on account so remember on account means accounts receivable or accounts payable in this case we're talking about purchasing so we're talking about accounts payable so the debit's going to go to accounts payable and so we already know that we're going to debit the accounts payable because we credited cash that's why we start with cash but let's think it through accounts payable has a credit to balance we paid it off we paid off the amount that we owe and therefore that credit balance needs to decrease how do we make something go down we do the opposite thing to it as it's normal balance this being a normal credit balance the opposite then a debit of 320 if we post this out then we're going to say that the cash is decreasing from 49 550 minus the credit of 320 to 49 230 we know that the accounts payable then starting at a credit of 1820 decreasing by 320 bringing that balance to 1500 affect on accounting equation is assets decreasing because cash went down liabilities decreasing because accounts payable went down and the equity remaining the same the effect on the net income none note that there's no imp neither of these accounts are revenue or expense accounts even though cash is going down no effect on net income and we have the net income calculation still at the 10,000 credit minus 1500 meals entertainment debit minus the auto expense debit for the credits winning revenue beating expenses credits beating debits on the income statement of 8,180 that being the same in the beginning and ending of this transaction we are now able to list transactions involving accounts payable record transactions involving accounts payable using debits and credits explain the effect of transactions on assets liabilities equity revenue expenses and net income


Hello students. Myself, Siddhaswara B. Turzapure, Associate Professor, Department of Mechanical Engineering, Balchen Institute of Technology, Sulapur. So today, we are going to deal with the topic maximum fluctuation of energy in a flywheel. The learning outcome. At the end of this session, students will be able to derive a formula to determine maximum fluctuation of energy in a flywheel. Now, during the earlier sessions, we observed the turning movement diagram and the flywheel. So now in case of the maximum fluctuation of energy, again we are referring to the turning movement diagram. Let us say that this one it is representing crank angle and the y axis it is representing torque or turning movement. Then we are going to have the mean torque line is T mean. Then we are going to have the fluctuation of the energy like this. Now suppose we are having this area as A1. Let us say this area is A2, this one is A3, this one is A4 and this one is suppose A5. Now let us name the different points. So this one let it be A, this one it is B, this one it is C, this one it is D and say it is E and then it is F. Now we will calculate the energies at these different points. Let energy at A is equal to EA. Then we will have the notations as E for energy and then suffix it is going to indicate the energy at that particular point. So it is energy at B is equal to. Now here we can observe that in case of the turning movement diagram we are having T mean and the areas corresponding to the torque at different positions of the crank angle we are having the areas either on the upper side or on the lower side. So if the areas on the upper side we have to add the energy which is going to be say the excess energy than the required and when we are going to have the areas below the mean torque line we are going to deduct it from the available energy in the earlier stage. Now energy at point B is equal to, so it is energy at A then from A to B we are having the area on the upper side so it is going to be EA plus it is A1. Then energy at point C is equal to we are having this one as energy at B then from B to C we are moving. So the area is on the lower side it is energy at B minus it is A2. So this can be further written as energy at B we are knowing already this is energy at A plus A1 minus it is A2. Then energy at D we can calculate so energy at D is equal to from C to D we are moving so energy at C and from C to D the area is on the upper side of the mean torque line so it is plus it is A3 but energy at C we are knowing so it is energy at C is nothing but it is this one it is energy at A plus A1 minus A2 then it will be plus A3. So like this the energy is at different points we can calculate. Now in case of ours now suppose from the point A to the point F so A2F on the x axis now if it is representing one cycle now think of the energy at F so without calculating at D, E etc. So what will be the energy at F now see we have said that A to F now it is one cycle means after this again it is going to be the repetition of this pattern with reference to this torque and that crank angle that is F is going to be nothing but it is point A only that is so it is point A for the next cycle so it is energy at F will be equal to energy at A it is so this one you should remember so when you are going to calculate in case of the numerical etc so at the end what you should get is energy at the last point of the cycle should be equal to the energy at the first point of the cycle. Now in case of this one again let us introduce two parameters it is one it is omega mean so we are having the angular velocity of the crankshaft or the flywheel which is mounted on that one it is maximum and minimum. So it is we are going to have the ratio of these two it is omega max and omega mean so divided by 2 that is this one it is nothing but the average angular velocity of the flywheel or crankshaft. Then we are going to have say it is coefficient of fluctuation of speed this one is equal to say it is fluctuation referring to that one it is omega max and it is omega minimum and divided by it is omega mean so this one and this one is represented by coefficient of fluctuation of it is speed C suffix it is yes. Now we are interested in delta E that is the maximum fluctuation of energy so delta E it is max. So energy is continuously fluctuating we should focus for the maximum value of the energy and minimum value of the energy so this is going to be E max minus E minimum. Now we can have the formula it is but energy E can be represented as say it is I into half into it is omega square where I is this mass moment of inertia of flywheel and omega is angular velocity of flywheel omega it is omega mean so in case of the normal one now suppose we are going to have this one as say it is delta E max wheel height is equal to corresponding to maximum this one will be half I omega max square minus half I omega mean square.  So it is nothing but it is the mean or the average angular velocity so this one will be now I into omega it is mean now and then omega max minus omega minimum is there it is omega max minus omega minimum then we can think of again what we will have is we will have the rearrangement of terms. If you concentrate on the coefficient of fluctuation of speed it is C s is given by omega max minus omega minimum divided by omega mean so here we are having already omega max minus omega minimum then we can have the denominator side omega mean and one more omega mean we can have on the numerator side then see here it is I it is omega mean so it is 1 omega mean multiplied by second omega mean so it is I omega mean square and this one is nothing but it is coefficient of fluctuation of speed so it is delta E comes out to be I that is the mass moment of inertia of the flywheel and then omega mean square into it is C s then the same can be written as here it is I is equal to mass of the flywheel into the radius of gyration of the flywheel and in case of the flywheel we are going to have the radius of gyration can be written as K is equal to it is R it is mean radius of now this one will be I is equal to it is M R square and then delta E is equal to M R square and it is omega mean square C s this can be written as delta E is equal to R omega is nothing but it is linear velocity it is mean so it is mean square then it is C s this is another form of this fluctuation of energy which is going to be the maximum so these are the references which are used for the preparation of this session thank you


Talk Talk, I'm Crystal. So today we're going to talk about some women stuff, but men don't go away because this involves you. You know the beauty of women? The beauty is that we transform. You know, we transcend, we morph, we go from blooming, budding, blooming to perhaps withering or perhaps going into becoming some full-bodied wine. It's just so interesting and intricate as women, especially if you're in tune with your body. So today we're going to talk about this whole transformation process in our lives and how we can use yoga to get in touch with that and know that these little milestones are really important and that men in our lives can help support and understand and it's just a mutual thing and we grow together. So on that note we're going to introduce our wonderful guest today to talk about the transformations. Kathy, Kathy, Luis Broda, who is the owner of Purple Yoga, welcome. Thank you. Thank you for inviting me to be here today. Well it's wonderful to have somebody so rich in tune with your body and wanting to share that with people and you're just saying that you know in your yoga studio you use all of your personal experience into your practice and let's talk a little bit about that and why you started Purple Yoga. Well, I first started yoga when I was 24 years old and I didn't That's pretty late, yeah? Kind of. Kind of, yeah. I didn't have any intention of being a yoga teacher. I was just interested in yoga. I wanted to be healthy. It was kind of, it was instead of going to the gym I started going to yoga classes and from there I just started doing more and more and ended up doing a small teacher training and then started my own classes. I've been teaching now since 24 and I'm 51 now and I feel like in my early days I understood that I just wanted to get healthy. I wanted to be fit. I didn't really know about meditation. I didn't understand any of that but it was just I was living in New York City so it was just kind of slowing my life down a little bit. That's ironic.  You go yoga class. And I think as I started to teach it was kind of just teaching what I was what I knew and what I was experiencing. Then from New York I moved to London and I was teaching in London again another big city. I did a pregnancy yoga training with a good friend of mine and she always encouraged me because I was so far away from having kids at that point. I didn't even know if I wanted to have kids and she said well one day maybe you'll start a yoga class for pregnancy and so when we moved to Hawaii we moved in 2002 and my husband and I we met in London and we wanted to move to Hawaii or New Zealand. He's from New Zealand. And he was a yogi before you met him? Yeah we were both practicing together and we wanted to just start our own yoga studio and kind of have our own programs. But why Astanga? I started Astanga. My first class that I walked into was an Astanga class. If people don't understand the differences in yoga can you just give a brief description of what Astanga means? Astanga it's a it's a sequence of there's different sequences that we practice. A lot of people might know primary series there's also second series and then there's third series and fourth there's many different series. Each series progressively gets more difficult so it's not that it's not like your our goal is to get to second series or third series it's really just to practice and start to learn about our bodies and through the practice it's a sequence each time we practice we're practicing the same sequence each time. So I've been practicing my sequences since I was 24 and I can say that each stage of my life that I go through being young being pregnant recovering from pregnancy and now heading into menopause. Each stage the yoga practice has helped me to stay healthy in tuned. Sometimes it's been really difficult especially after having babies. Right I think that's the hardest one. But before we get into the pregnant yoga let's start even before that because I don't think people don't think as a young teen you can practice yoga and you should encourage kids to maybe do that. What is it with you know the teen especially the girls you know they're going through so much self-consciousness and so much you know hormonal change and with the hormones one of the things that happens in puberty is that kids generally are very loose and limber. Yeah when they start to hit puberty for girls when they start to have estrogen being produced in their bodies the body starts to get really stiff and tight. So the assumption is that they're going to be remain limber and then you kind of switch on estrogen and all of a sudden the body the hips the spine everything starts to get tight and then they're also growing so everything is getting long they often go through these major growth spurts and and it's like the the muscles can't keep up with how quickly the body is growing. Exactly. So if a girl going going into womanhood can do some stretching or yoga I always I don't like to say let's do yoga because for girls going into teenage years they're like oh that's like for an old lady or that's old stuff or I don't want to do that yeah only old people go Facebook so so I'm like well you can do some very easy stretching and and then if they're doing things like any kind of dance or gymnastics or swimming there's always some yoga type stretching that they're doing for me it's really about giving girls when they're going through these different phases kind of empowering their bodies and letting them see that even though their body is changing a lot and they're watching it change really quickly that they should be comfortable in their bodies and and really happy and celebrate what they're doing and and how their body is changing. Do you think yoga helps to give them that confidence to celebrate their bodies? I think it does it just it you you start to understand where your toes are where your head is okay and then in between you start to see the transformation from being a pre- pubescent into going into puberty that a girl's body shifts within one or two years there's a huge change my daughter's 13 same as yours right and she woke up and she put all this stuff on her face and she feels like she's breaking out and I think you know it's stress related I'm like it's just part of it's just part of it yes and I always say it's not that it gets any easier it's just different and I'm always I'm telling my my daughters I'm telling my students I'm like it's not good or bad it's just interesting I always say it's just interesting because it's not like you get through puberty and then everything's great because you're constantly shifting you know in your 20s yeah and things are shifting and then in your 30s things shift so there's always there's always some discomfort so there's always little mini transformations within the big transformation yes and then if you can look back yeah and think okay where was I five years ago yeah my my one of my twins was saying the other night she goes I don't want to go through puberty I don't want to change right you can't it's just yeah yeah it's just at the same time they want to grow up yeah I want to be an adult I want to be able to wear heels and go out and party yeah yeah and all of that but I'm always like well yeah and you have to slowly it's like slowly getting comfortable with everything yeah but it's difficult I think puberty is probably the most awkward time for girls more than boys yes yeah yeah and especially now with social media there's so much attention on how we perceive ourselves yeah so yoga is something definitely to do are there any other areas in puberty before we move on because I want to get through I know it sounds crazy but we want to touch on yeah the life of a woman yeah I think that one of the things is the early sharing and I think it's I'm I'm I keep reading and hearing things about how it's how important it is that we share our stories with our daughters and if you don't have children then share it with I was listening to a podcast the other day and the talk speaker was saying talk to you might end up being a mentor for a friend's child yeah I can't I'm not comfortable talking with my daughter right you could talk to her right and so I'm always just encouraging mothers it's like an even from when you're a baby yeah like talk to your babies talk to your children yeah communicate and it's a lost art because nowadays everyone so consumed with again social media yes they're getting you know facts or non facts from their friends yes and they don't have the maturity to see beyond certain situations one of the things we do at home is we have dinner every night together yeah I'm like put the devices away turn everything on and every night we download what's happened you know what happened at school how are you going through all the aches and pains whatever it is and through that communication then we can have the personal conversations with my daughters where I talk about what's gonna happen when they have a menstrual cycle what happens when they're you know the body starts develop yeah I didn't even get to do that talk with my daughter because her period came when she was with a sleepover with her friends and her friends told her everything I was like oh that's okay I gotta do this and it was like bam I was gone yeah I've been doing it with my daughters I started kind of when they were 10 my oldest daughter just 13 now I started when she was about 10 years old because I was developing this women's workshop okay and she had questions yeah so I said well let's look at the charts let's look at the pictures right look at it I I go from a very little pictures or charts or graphs because it's different no I actually get out the anatomy books okay and I'm like let's look at let's look at the anatomy of a woman and all the parts right and name the parts properly why not because otherwise it's this whole kind of like thing that we don't talk about yeah and for me my mom did the best that she could but I didn't get any information it's interesting only skim over things that you're supposed to know yes and and there again through this podcast yeah listening to this woman was saying she goes we're basically only giving our girls the dangers like be careful about this yes the bad things I'm like there's this whole good side about our body absolutely that we should be comfortable with right and I was watching your interview last week we need to empower we need to feel empowered by these changes as opposed to ashamed by ashamed right and I think through the yoga practice and through my yoga teaching that's the thing that I want to give to women through all these different stages of all these transitions and transformations that it's like it's amazing what we do and you're opening up I mean there's the literature opening up because yoga opens up your body yes but it opens up your heart and then you know no kidding it sounds kind of like cliche but it does it opens up your mind your concept of life yes yes and then also the acceptance yeah that yoga is about change and then about accepting the change not fighting it sometimes we fight it and when you fight it it's even harder give a good example in terms of yoga you know like if there's a position that you're stuck and you feel stuck but you have to allow yourself to any kind of twist right some people will get into a twist and then they're fighting it so instead of actually relaxing and find your finding their core strength and breathing yeah if we twist yeah right if you think about twisting yeah we can my hips are gonna stay in one place yeah my torso is gonna move that way right so if I fight it and my abs are too strong and my shoulders are really tight and I'm not breathing it's just gonna be I am just like push myself to do it but that's not really if I just say okay I'm gonna relax and then I'm gonna move into my center in my core I'm gonna move from where my uterus is where our power is that's right then I will be able to twist more deeply which then I feel the twist up to my heart center my spine my shoulder my neck and then there is some relief so sometimes in yoga we're fighting and if you just relax it's not get floppy no there's a difference there's a difference between relaxing and the relaxing is often with the breath and then just with telling ourselves it's okay to be here and it's okay sometimes it's scary to go deeper so that we're just on the edge I don't know if I want to go deeper because it's a scary like in life right you don't know that yes and you don't want to go there or you look at it or you go over the edge and you're like oh yeah I'm not gonna do it yeah so it's and then through the yoga practice we're just we constantly are changing the edge yes so the edge just goes a little and that happens with what happens with children we have that circle of safety yeah but each stage of the way they're pushing pushing that boundary we have to keep opening the fence so it's flexible yes this fence so we have to keep opening it it's not like Trump's stupid concrete fence no we're talking a flexible malleable beautiful organic yes and then through that if I'm saying these are the boundaries yeah or this is the asana yeah and then it's like oh you get good at that okay let's open up the door a little bit and include something else then it gets bigger now with girls and I think with children in general and then as we become adults if we know where the boundary is we'll push up against it and then it's like okay let's change the boundary again let's change it's not good or bad and you're not doing a bad job right we're just gonna make it a little bit more so then that becomes comfortable and it becomes empowering because you know you're pushing yourself a little further yes and so then if we go from girls into young women and then into pregnancy the change again is if the transformation is huge yeah and accepting yeah this is my belly's out here now and then all of a sudden and then the baby made a tire afterward that you got to deal with and confronting your new body yes and how you change that right so many things to talk about so okay we just hit like the tip of the iceberg here yeah so we're gonna take a quick break but we're gonna come back and we're gonna start talking about that pregnancy transformation and how that takes us through life and how it matures us and enriches us and goes further into menopause which is another phase so don't go away lots of stuff to talk about aloha this is kaley akina with the weekly a hana kako let's work together program on the think tech hawaii broadcast network mondays at two o'clock p.m. movers and shakers and great ideas join us we'll see you then aloha aloha my name is john why hey and i used to be a part of all the things that you might be angry at i served in government here and may have made decisions that affects you so i want to invite you in i want to invite you in to talk story with me and some very special guests every other monday here at talk story with john why hey come on in join us express your opinion learn more about your state and then do something about it aloha hello continuing on quack talk talking about the beautiful transformations between puberty through pregnancy to menopause now we touched on a lot of puberty issues and so we're going to go right into this pregnancy concept and how that wow that that's like the biggest transformation for a woman ever yeah kathy would you say i would say it okay yes and how do we embrace that through yoga and it's so unexpected sometimes the change is unexpected uh and i think sometimes we fight it but then there's a point where you just have to go oh my gosh i'm really pregnant and i'm going to have a baby and uh the shift usually happens about six seven months where all of a sudden the reality hits of in a few months or in a month and a half there's going to be a baby outside of me and what's going to happen and i don't know what's going to happen and it's a big huge question in my pregnancy yoga classes what we're mainly gearing women or teaching women is how to labor well that's one of the things this is the mom and baby class that i teach after pregnancy that's great that's fine you have the babies with you you have the baby yet and we try and do special we try and do some yoga mom yoga and then we get the babies involved we do a lot of yoga so you use the babies to lift them up we lift them up we swing them around like that so cute that this picture is one of the hardest things to do because your baby just gets heavier and heavier and heavier that's great but it's real yeah so i'm always telling women you don't need to go to the gym oh no you didn't get your baby up yeah yeah so you do a specific class on pregnancy yoga which i find is interesting yes very tailored yes um and how does that work um we i think that from my experience of of having a singleton which i had a single baby and then i had twins right i had twins i had twins you should have a pregnancy class just for twins i mean there's just so that there's not that many all right but they do come in right um and the yoga practice helped me in my labor understanding how to breathe yeah understanding the transitions of a contraction of how a contraction rises and how a contraction falls it's no different than an asana we do a posture for a minute or two minutes and then we relax and it falls down so our whole teaching is really about understanding that rise and fall which then i always tell the women if you understand that rise and fall in a yoga practice you're going to understand it when you go into labor that a contraction rises it falls when it starts to fall or when it starts to release you breathe you relax your eyes your nose your jaw you breathe into your back so we're teaching women this mantra breathe relax your eyes nose and jaw breathe into your back take a deep inhale right so that's we're just teaching women that and that's the overwriting thing that women say after they have their babies is that they were able to breathe they had that mantra in my head i was thinking about that i was thinking about what the teachers say um it continues on after you have your baby well what about the psychological effects i mean a lot of times you think of the physical transformations but more deeply is yes the the change is you're going from a single person into becoming a mother and that is it's often a difficult transition because we're we either have a career um yeah we're happy right we're doing for ourselves we're doing things on ourselves and all of a sudden you have to take somebody else into consideration it is a it is a big change i think it's like all the when i had my daughter koko the moment she left my body i understood why i was here that i kind of pushed her out and i remember just thinking i know why i'm here i understand i don't know what it is i can't say what it is but it was just that kind of meaning of life for that it was like an initiation for me of like okay now i am in this next phase of my life right and i get to do mothering yeah um i know a lot of women who don't have children they're still going through that transition and that change in this middle section of our life yeah it's one of the things i talk about in the women's workshop that even if you don't have kids in this middle section between our 20 our 30s and 40s we are we become householders a householder is a person who has a house starts to have comfortable things right you buy your car right you have your job everything becomes more settled more stable um so whether you become a mom or not it's that we have this transition into this middle section of our life where again we're having to relearn our body and then there's that part of being able to look back and go oh yeah that 20 something body's gone exactly i was just going to say you know the transformation is so subtle for a long period of time that you don't think about it and then one day you would go oh my god what are these what did that come you know and and it's scary yes and you're walking over night i walk around i'm like i still feel 24 inside right i feel fabulous and then i look in the mirror and like shoot oh gosh i'm not it's so depressing but inside i'm like no i feel it inside and the yoga practice and doing yoga for all these years makes me upright i'm lifted i've got my core strength yeah feel great can we talk about the bundas a little bit because i feel like after pregnancy that's like one of the biggest things internally that changes and i know in yoga you estanga especially is you need to how do you explain that to people how do our bundas are our internal body locks and we have mula bunda which is the root lock and uh i always kind of joke that you don't have to have a baby to understand mula bunda but if you get pregnant and you have a vaginal delivery yeah you're going to understand mula all right because you're there are kegels right right right so the kegel muscles are the muscles that we use to hold the the pelvic floor muscles from the pubic bone to your tailbone right right so from there then we go to udiana udiana is the abdominal so it's a little higher up higher up yeah and um udiana and mula bunda the two kind of come together now interestingly for women that that connection happens at our inner uterus and in yoga we talk about uh harnessing the fire or getting agni yeah yeah agni is at that spot so for women when you have a menstrual cycle you get really hot oh okay when you have a baby they talk about a bun in the oven right that it's hot right right when you go through menopause or you have perimenopause you've got the heat right so we have as naturally as women we have a lot of heat in that core strength okay so in estanga we're always talking about finding the root lock and the abdominal lock in order to find our core strength now it's kind of a it's an energetic place in the beginning it's muscular where you are literally lifting your muscles right but then after that it becomes the energy of what you're lifting and into you know but the problem with pregnancies or not pregnancies maybe just age is that it loosens over time yes no matter what you do to try in fact i remember in Hong Kong i interviewed somebody about sex toys and she gave me this as a gift which i've never used an egg they're like these weights yeah and you stick it in and you walk around it's almost like create strength yes yes and that we don't we don't do that what's a natural way to do it then it's just squeezing so of squeezing the vaginal muscles okay that is literally from the outside moving through the vagina but for me it's a muscle i look at it as a muscle yeah and we're going from the outside to inside yeah now if you do those i call it the middle i'd like isn't the kiggles the same as exactly he's just holding in for from my experience when i'm lifting i feel now i'm lifting all the way up inside and i kind of hit the cervix i go into the uterus i can feel that wow and then it connects to my navel dang you're connected i'm so really connected right now i always try sometimes i drive and go okay i'm gonna hold it in i'm gonna try to tighten it one of the things i talk in my pregnancy class is i say uh and this is something one of my students said long time ago she said every time i go to a stop light i lift my kiggles that's great yeah yeah so they say you're waiting at the bus stop anywhere lift your kiggles hold it in breathe yeah do you how many times should you count to like hold it before you know you say you just try and hold it until you stop okay until you can't remember that you're holding it okay and i think because i do yoga yeah i kind of i'm holding it all the time i have to think about letting it go oh wow so i think that's just a you're a tight woman should i ask her okay because you know that pregnancies do it loosens you and this is a sad fact especially when you get older and you want to still feel young like you said but there are things in your body that are just loosening up yeah so let's talk about menopause and our short time left yeah what do we do to prepare for that big transformation so menopause it's i think for for me it was tracking my periods okay that was really important for me of watching what my monthly cycle was i started to see things going a little bit amiss around the age of 40 right after i had my twins my periods started to be just a little bit irregular at 45 it definitely started to change and i just noticed things like my skin was drying out yeah there were days in my yoga practice where i was really stiff and i couldn't you know one day i'd be great the next day i couldn't touch my toes that is again hormones in our body fluctuating greatly yeah sometimes my menstrual cycle is really heavy and sometimes again i was missing cycles but you know all this information you're giving now is fairly relevant for our partners who live with us because they need to know our transformations and understand why sometimes we do feel uptight or warm or overheated or i was talking to a student recently and saying because she we were talking about the the hot flashes we're feeling all of a sudden this warmth and it comes on all of a sudden there's no warning all of a sudden one day you're hot i remember exactly the first hot flash i had i was sitting i was like why are my shins sweating why you know my shins my shins were i was like i'm glistening right now why right um and i i told her i said you need to talk to your husband you need to talk to your partner so i'm always telling women talk to your partners about this because it's random yeah and one day i'm really happy one day i'm not i also talked to my daughters about it yeah because my daughters are going into uh into their fertile years right i'm exiting isn't that interesting i told my older daughter i said we're kind of doing the same thing yes you're just at the beginning i'm at the end now it doesn't mean at the end when i stop my menstrual cycles that's the end but it's like but the process is actually very similar it's funny you see that because i took my daughter to her pediatrician to get her woman's checkup and she's saying that your peer is going to be very irregular for the first year or so and i was joking hey that's funny me too yes it's like yeah on the similar ground but on the other way yes and i tell them also um and i tell my husband that i can feel when something's not right i can start to feel when i'm just getting agitated or i get angry really fast that it's like that fire inside comes up and i always say just like hang in there with me yeah um be nice to me i tell my daughter so like just be nice to me just be nice today because i can feel it and then sometimes also like when i go through a menstrual cycle i haven't had one for a while now but once i go through that cycle it's like that feeling of like okay i'm clear everything's everything's lifted i feel good and i'm always though communicating with my kids um and with my husband because that's it's so important that it's like everybody has to hang in with us right you're on the same boat you need to understand each other's and then i have some astanga students who now have said that once you're through it in their 60s and 70s everything is wonderful yeah kathy you know we have less than one minute to go i really want you to be able to promote this upcoming workshop yes what is that about so the um yoga for women's workshop that i'll be teaching in a couple weekends i basically take everybody through how we enter um womanhood and then how we exit and i talk about our creativity um we do some yoga the last session is really nice i had a friend of mine uh emma mitchell mitchell who will be in doing a crystal bowl meditation which is really lovely yeah um and it's it's a it's a chance for women to get together sometimes we share sometimes we don't i have a lot to say so it's like come yeah come and and it's like really learning about ourselves and then being able to then share that with other women exactly there you go that's it please enjoy um this you know kathy i've just enriched myself so much from just engaging conversation with you and i hope you did too enjoy your bodies enjoy your partners enjoy your life so thank you for tuning in today and we'll see you next time bye


What is the oldest stadium in the NFL? It's either Chicago or Green Bay. Lambo! How many NFL teams are in Florida? Tampa Bay, Jacksonville, and Miami. Who has the most receiving yards of all time? Um, is it Jerry Rice? It's Jerry Rice. Oh! Name five starting NFL kickers. Nelson Tucker, McPherson. I don't know his first name, dude. Jason Myers. Jason Myers. Harrison Bucker? Oh, God. Adam Bennett. No, no, no, no, no, no, no, no, no, no, no. He is not starting anymore.


India is the only place where our gods must dance. If we cannot dance, he cannot be a god. Shiva is Natharaja, he's the king of dancers and everybody else is a dancer. Why this is, is because the phenomena of creation. The closest analogy you can give to that is it's like a dance. Today modern physicists are using those words that things seem to be in a dance. Dance means there seems to be no logical coherence to it, but if you observe it closely enough, there is a very deep system to the whole process. This dance of creation, which self created itself from the eternal stillness, in trying to represent the exuberance of creation, we call this dimension as Nathesha or Natharaja, which is one of the most significant forms of Shiva. Because creation is a dance, we said the divine is a dancer. So when we say Shiva is Natharaja, we are not talking about an individual dancing, that is why the circle around him. The circle is always the symbol of cosmos because the most natural form that happens in the existence when anything moves is a circle. Anything that happens by itself is a circle. The planet is a circle, the moon is a circle, the sun is a circle, everything else is a circle because circle is a shape of least resistance. So that is why the circle around Natharaja is symbolizing the cosmos. He is a cosmic dancer, that's how he's always described. You can experience the dance or you can become the dance. You can experience the aesthetic of the dance by simply watching it closely or you can dance. But you want to understand the dance, there is no such thing. These are only two choices you have. If you experience the beauty of the dance, by observation, by looking, we will say you are a seeker.  If you pay attention to it, you become a seeker.  That's a choice you have.


Can a student in Malta take a course in Trinidad and Tobago? What about in the Seychelles? Or how about the Solomon Islands? For the Transnational Qualifications Framework we needed to get full support from ministers of education and then from the senior officials who are responsible for national qualification authorities. Of the 32 small states, quite a number of the countries already had developed qualification frameworks and qualification authorities and some of them had not. So it's been a balancing exercise to pass information from one country to another and to do this across the whole group. So we have a large base of information from many of the countries, more than 20 of the countries of examination systems, of qualification authority systems, of frameworks. So we knew before we went into the process where each country was. The countries that already have qualification authorities probably wouldn't see much of a need for a qualification framework. Those that had nothing yet would find this a good help. So we needed to go through quite a process at that level to make sure that we could create a framework of help both to the countries that had frameworks already and those that didn't have. The idea was actually not to create competition between the different universities and as well creating another institution that would compete with the other small states. The idea was to actually use what is already there and to build on it. So thereby working with institutions and other countries as well that can help and support the development of. If it's to be given the accreditation of the transnational qualification framework it must first be offered by a national institution, recognised by government. It must be recognised by the national qualification authority and by a regional qualification authority if that is in operation. The TQF has been very important to contain what was going to be achieved. It's very easy to launch into a project and to try to do far too much. And with the qualification framework it's quite easy to try to conceptualise a global qualification authority which on paper might be very easy to do but try to do that diplomatically and it would be another story. So it was more practical for us to focus on developing a qualification framework and all the rules and regulations about how to interchange courses between countries and that's where we are now.


St. Lucia Electoral Department, Electoral Notice. Are you registered to vote? The St. Lucia Electoral Department would like to inform all voters that the department's website, sluelectoral.com, has now updated the voter's list and polling station locations. Some of the locations have been changed. Grozile A, Sports Academy, formerly Grozile Secondary School. There will be two tents, open grounds opposite Harbour Club, replacing Johnson Centre, Rodney Bay. Babono B, a tent on the plain field at the back of the Mothers and Fathers Hall, Garra. Replacing Garra Mothers and Fathers Hall. Union Orchard Garden, New. Castries North Sea. St. Mary's College Auditorium, VG, New. Wild Life Conservation Centre, Union Minizou, Almondale, New. Carolee Human Resource Centre, New. Castries East D, a tent on the open grounds of the police barracks site, Upper Bridge Street Castries, replacing the old police barracks. Castries Central E, a tent on the open grounds between Block V and W.


So this may sound like an odd subject to make a world-building video on. It barely ever comes up in anything fantasy or sci-fi related. Video games, movies, books, tabletop RPGs, whatever the medium, martial arts are hardly ever even mentioned. Well, that's exactly why I'm making this, because it's a subject no one ever thinks about. We all spend millions of collective hours creating and tweaking fictional religions, languages, and histories, yet none of us ever take time to think about something that's just as much a part of our world as all that. It doesn't matter how much fighting there is in the setting, writers just sort of hand wave away that warriors exist. Maybe there will be some information on weapons and armor. There's no mention whatsoever of how they fight, though. It's almost mandatory for fantasy novels to have a sequence where the protagonist learns to be an amazing swordsman, because that's just what happens, I guess. Yet this sequence is always, well, surface level seems a little generous. More like it skims along the surface of the setting's martial arts without actually touching on them. Some fantasy series take this time to examine an aspect of the setting's culture. In Wheel of Time, there's plenty of talk about sword forms and how they work. The Stormlight Archive invents magical weapons called Shardblades, and there's a constructed style about how people would fight with them. There are even some sketches showing how stances might work. The only problem is that this Shardbearer is clearly breaking his wrist in the illustration, did a single fencer look at this thing before they public. Both of those only focus on the use of a single weapon, and there's little to no regional variation. These series go on about sword forms without ever mentioning that there are multiple styles, or talking about other weapons, or even mentioning how unarmed combat works. Their martial arts are as deep as a puddle, yet still put everything else in fantasy to shame. One of the only franchises to do this subject any justice is Star Wars. If you're a fan, you might be aware that there are seven different lightsaber forms, each with its own distinct method of combat. But you have to be a super fan to know just how many different fighting styles exist in this universe. Oh my god, there are so many. Different races have their own styles developed for their own anatomy, different cultures have their own, different weapons have their own distinct ways of using them. Man, there is so much here. It's a fascinating rabbit hole, and having even a little bit of this makes the entire universe feel so much deeper than just throwing in yet another planet with yet another interchangeable alien race. But in most con worlds, there's not much detail given beyond, they swing the sharp thing at the other guy, and that's a real shame. Make a list of all the real world martial arts you can think of. Pause the video for a minute if you want. Alright, now how many could you come up with? You could probably think of a few well-known ones like Karate and Taekwondo. Maybe if you're more knowledgeable than the average person, you know about stuff like Muay Thai and Brazilian Jiu Jitsu. Did your list include Pankration, or Kalari Payatu, or Okichita, or Sambho, or Moiboron, or Savat, or Eskrima, or Mauu Rakao, or Hopkido? Probably not, but those are all real. Orientalism in the media has created a weird environment where people hear the term martial arts and exclusively think of East Asian ones. You probably imagine people wearing gi's and or doing a variety of complex dance-like movements that are obviously far superior to simply punching someone in the face like those Baka Gaijin do. And those ARE martial arts, they just aren't the only type of martial arts. Every human culture in history has had some form of martial arts because every culture in history has fought at least a little bit. On top of East Asian ones, there's also South Asian martial arts, European martial arts, Polynesian martial arts, Native American martial arts, and so on. But that's a long enough introduction. Let's go over how some of this works and how it can fit into any world you build. Part 1. The Basics Let's get some basic information out of the way first, just so we're all on the same page. Martial arts broadly fall into two categories. Hard arts and soft arts. Hard arts focus on striking, e.g. punching, kicking, headbutts, and so on. In the real world, this includes stuff like boxing, most schools of karate, and Muay Thai. Soft arts focus on throwing and grappling to subdue your opponent. This includes things like Judo, Brazilian Jiu-Jitsu, and Western wrestling. And of course, there's the use of weapons, which can be for cutting, stabbing, bludgeoning, or restricting your opponent's movements. Or all of the above. Use of weapons falls under the martial arts umbrella, even though a lot of people think that it only includes unarmed styles. But remember that if the world you've made includes magic or psychic powers or anything along those lines, you can expand this further and have that magic system tie into the various martial arts of the setting, e.g. the various types of bending in Avatar. I made it this long in a video about fictional martial arts before referencing The Last Airbender. Clap for me. Clap for me! Training can take many forms depending on technology, what's affordable, what level of risks people find acceptable, and how much everyone involved knows. Generally speaking, though, you won't get very good if you only train by yourself. A character training by themselves in a cave or other secluded location for a while and coming out a grandmaster is a very common trope and it annoys me. You need someone to practice with in order to know how to act and react.  That's why just about every martial art ever created has choreographed movements for practitioners to learn. These have many names. Forms, kata, flourishes, it doesn't matter, they're the same basic thing. A set of movements you practice to get used to doing them. Just doing forms won't make you better, but they help. Okay, that's the basic info out of the way. Let's move on. Part 2, What They're For In recent years, there's been a trend towards low fantasy, with things like dragons, elves, demons, and orcs becoming rarer. The sort of kitchen sink fantasy with a bunch of different races all interacting and using tons of magical weapons is less popular than it used to be. And even in modern high fantasy, humans primarily fight other humans using things like swords, bows, and spears. The end result of this is that in modern fantasy, martial arts are pretty much exactly as they are in real life, and that's a real shame. Real martial arts were created for one of three purposes. Sport, self-defense in a civilian context, and warfare. There's overlap between these categories, but they were all created to deal with a specific set of circumstances. A regular person may not have access to the same weapons as a soldier, or they may not be convenient to carry around. You probably won't take a halberd with you on your walk to grandma's house in the next town, but you might carry a knife, so you would practice with that. In feudal Japan, samurai and other soldiers never used shields. Have you ever noticed that? The reasons for that are complicated. The short version is that they weren't very useful. The type of iron in Japan wasn't great, so they couldn't use it for plate armor the way they did in Europe. And their armor eventually became good enough to resist most of the weapons they came up against. So Japanese martial arts, even those used in warfare, didn't involve shields. Instead, they focused on the use of two-handed weaponry. Meanwhile, European martial arts have shields everywhere, from the Greek Aspis to the small round buckler. They had to learn not just how to use them, but how to counter them. In a fantasy or sci-fi setting, the circumstances people live under vary substantially, more so than in real life. For starters, magic and fictional creatures can create whole new environments for them that real people never dealt with. Then there's fictional resources they can use to create different weapons and armor. If people live in coastal cities that are raided by merfolk regularly, they would need to fight in a way that counters the way merfolk fight. If there's magical steel that's as cheap and common as wood, then suits of armor would probably be pretty common. The real thing that always gets me, though, is that even in kitchen sink style settings, everyone seems to fight in the exact same manner and that just doesn't add up. A style designed for humans to fight other humans may not work on something like, say, a race of seven foot tall orcs. They would have an advantage in both reach and strength. Fighting something that big with a regular sword probably wouldn't work well. What if you had to fight a race that wasn't bigger, but they had four arms? Grappling them would be difficult and far different than with a human. What if they had ultra flexible joints that couldn't be broken easily? What if their only vital organ was their heart and damaged anything else would heal? These would all change how people approach combat. They would use different weapons, different tactics, and they would aim for different weak spots. Fighting humans who use different styles or weapons requires different tactics. Fighting things that aren't human at all would also require different tactics. In World War Z by Max Brooks, there's a brief passage about a martial art called Umcungalalem, which translates as the eel and the sword, a fighting style for defending against zombies. There's not much detail given. All we know is that there's an emphasis on wiggling out of grapples to avoid being bitten by zombies.  Similarly, since pain and injuries won't bother them, there's no point in striking them in most cases. Todd MacArthur over on Deviantark made a few sketches for how it might look. So thanks for that, Todd. You can see here that these techniques make use of the predictable nature of zombies to get them off balance, then follow up with a killing strike to the head, since that's the only thing that will take them down. These probably wouldn't work as well on humans, since they would be focused on avoiding the machete. The Vampire Combat Manual is not a good book, but the author did spend a lot of time thinking about how a person would fight a creature that's almost human, yet far stronger and looking to bite you on areas with major veins and arteries. Since vampires are stronger than humans, he emphasizes using weapons in all encounters, and if that's not an option, to utilize soft arts like aikido, judo, and samba to mitigate their strength advantage. My own current work in progress also has vampires, so I spent time developing a fighting style that humans would use against them. The short version is that it's focused on protecting your neck, since that's where vampires will try to attack, and largely targets the enemy's soft spots like the abdomen. It's meant to be practical and flexible, so it doesn't have a lot of rigid forms or specific techniques to use, it just gives its practitioners some tools to work with that they can modify to suit their own needs. That's vague, because that's the thing here. Worldbuilding martial arts is just like worldbuilding languages. You can go to the trouble of creating an entire fighting style, but you only need to cover a few details and the audience will fill in the blanks on their own. And that isn't even counting what sort of fighting styles these other races would develop to utilize their own anatomy. Imagine a race of forearmed humanoids and what they could do. They could wield four swords at once, or two swords and two shields, or a spear and a great sword. The possibilities are almost endless. Dwarves and gnomes would have far less reach than other races, so they would probably use pole arms like spears and pikes, or just focus on ranged weaponry. Hear that, Gimli?  Throw it out. So basically, before developing any sort of fighting styles for your setting, think about what the people who use them are using them for. Think about the threats they face and the tools they have at their disposal to combat those threats. Part 3, weapons. If you're an American, like me, it's probably easy to get a hold of most weapons, provided you can afford them. If you live somewhere that's not America, there are typically more restrictions on them. And even if you ARE American, there are still some restrictions. I can own a shotgun, I just can't take it to the park and do target practice with small children balancing apples on their heads. At least, not yet. Sign my petition in the pinned comment below if you want to change that. This is all great, but only possible due to technology. If I lived in a different time period, I wouldn't be able to use gunpowder to remind those kids who's in charge, I'd have to use a war pick, or something else barbaric. See, weapons are made with the resources available and for the circumstances they're used in. If you're fighting heavily armored knights on horseback, you want something with reach that can pierce their armor. If you're fighting someone who is naked and screaming, you don't necessarily need that. Without steel, you're limited in what you can make, especially in regards to armor. Bronze Age swords were much shorter than later ones because bronze is less durable than iron or steel, and it worked because their armor was also weaker. Without metal at all, you have to get even more creative. People made all sorts of deadly implements out of rock, bone, wood, and whatever else they could. Polynesians even took wooden paddles and sewed shark's teeth onto the edges of them, making them into lacerating weapons of doom. Just about every culture decided that one of the best ways to fight is by whacking your opponent with a stick. Short sticks, long sticks, really long sticks, it doesn't matter, just get a stick and start whacking. The exact manner of the whacking varies, yet it's always there, because almost every culture has access to wood. So, when looking at the sorts of fighting styles that cultures in your world use, first look at what resources they have access to, what can they find, harvest, or trade for, and how expensive would it be? The great part of creating a whole new world, though, is that you can create all types of new weapons which don't work in real life. Shard blades, lightsabers, hammers that always return to their wielder's hand, sentient swords that fight on their own, all kinds of stuff. Thing is, though, these weapons, magical or otherwise, would likely be used differently than real ones. Stormlight Archive has gone into some detail about this. Shard blades are used differently than regular swords, since they're so big and so light. They usually get swung in broad sweeping arcs, since they'll just slice through anything in their path, and they have enough reach that wielders can afford to leave themselves open for a little bit longer than they could with shorter swords. This is a Klingon Batleth.  It's used like this, completely different than, say, a sword, since it's a completely different weapon. It might work okay as a weapon for one-on-one duels, but that's about it. It wouldn't work well for hunting, or in a large battle, or if you were fighting something bigger than you, like, say, a troll, or other monster. So if Batleth works for the honor and battle-obsessed Klingons, it wouldn't work well for Geralt of Rivia. Therefore, he probably wouldn't bother to learn to use it. Weapons are a part of martial arts, and like martial arts, they're designed for a specific set of circumstances. Weapons are, however, much more limited by resources and technology than unarmed fighting. So think about what sort of situations the people who made them made them for. Then think about how well they would work, and how easy they would be to make. Are they expensive, or cheap enough that anyone can afford them? And what are the laws surrounding their use and ownership? Can anyone own a sword? Or will women be put to death if they so much as touch something meant for fighting? Are there any ethnic or religious minorities that are deliberately kept unarmed? If so, how do they deal with that? Consider all of these questions before simply throwing things into your setting that people use to kill each other. Also, consider using something other than swords because, holy shit, there are so many of those things in fiction. Please use your imagination. I'm begging you. Use a stick. Those are good for whacking. Someone please give your protagonist a stick. Part four, they're part of the culture. Culture is a nebulous term, to say the least. It includes a lot of things. One of the most prominent of those is art, things like music, painting, sculptures, etc., are all part of the cultures that produce them. And so are martial arts. It's in the name, people. Martial arts tie very closely into things like religion, philosophy, and spirituality. Various cultures tie all of those into their fighting styles to give practitioners confidence in battle or help them focus. Chi is a concept from China, and in this context, it's life energy, and people can send that energy throughout their bodies to make themselves stronger. Sort of. I'm greatly oversimplifying. Chinese martial artists send their chi from their chest into their limbs as they strike to hit harder. But really, it's just a technique to make sure they're breathing properly as they strike, because you're supposed to exhale as you hit to get more power. Whether you believe there's magic involved or not, it does work. A great detail from the Star Wars expanded universe is that lightsaber duels don't involve much thinking. Jedi or Sith are meant to practice lightsaber forms, both alone and inspiring, until it becomes muscle memory. Then simply let the force flow through them and let it guide their movements. In a weird way, they aren't even fighting, they're just letting the force manifest itself. This is kind of similar to how real fights work. You don't have time to stop and think, everything has to work on instinct. That's why training and practice are so vital. Things like Chi are used as a way for practitioners to visualize their movements and do them properly. In traditional Oceanian societies, mana was viewed as a supernatural force. Having a lot of mana meant someone had a lot of power and authority. One of the ways to gain mana was to defeat enemies in battle. Every time a warrior killed one, he would increase his own mana. This varied depending on culture, but that's the general idea. So by being good in battle and taking mana from enemies, warriors would gain authority among their own tribe. In this way, mana served as a basis for organizing and governing society, and it tied into martial arts. And just like other parts of culture, such as language, martial arts influence and are influenced by those they come into contact with. You've probably never heard of Kalari Payatu, a martial art from southern India, but its influence is huge. It first moved into China when Buddhist monks came to spread their beliefs. They learned martial arts to defend themselves in their travels and taught it to others. Then the people of China used it as the basis for many schools of kung fu. Then these styles of kung fu made their way across the rest of Asia where they became things like karate in Okinawa, jujitsu in Japan, and taekyeon in Korea. So most East Asian martial arts are descended from Kalari Payatu. At least that's how the legend goes. In reality, native Chinese fighting styles already existed long before Indian monks made their way north. What's indisputable is that Kalari Payatu influenced Chinese martial arts, and then those influenced martial arts throughout the rest of Asia. And on top of that, these legends are part of culture too. Every group of people tells a story about themselves, and legends like the one around Kalari Payatu are a part of it. Think of Americans going on about the Boston Tea Party, or Chinese stories about the Yellow Emperor. These are tales about where they came from, a way for them to all feel like they're a part of something bigger. Some of these stories are real, some are fabrications, and some are exaggerations of real events. But they exist for everyone, and I only occasionally see them in fiction.  So for centuries humanity was the punching bag of the world. They were always getting enslaved and pushed off the best land until they only occupy a tiny area on the outskirts of civilization, waiting to go extinct. Until one day, a man named Richard meets an angel who descended from heaven, and that angel teaches him how to create magical swords that slice through steel like butter, as well as how to use them properly. Then Richard shares this knowledge with the rest of humanity. Many generations later humans have turned the tables, and now they dominate the world, using this legend all the time as an explanation. Is this legend true in setting? Maybe, maybe not. It's not important, it's part of the story that humanity tells about itself here. They'd probably guard the secrets of their world-conquering fighting style and swordsmithing jealously. To them it would be something that's unique to being human, not to be shared with outsiders. Back in the 1960s Bruce Lee got a bunch of Chinese nationalists upset with him for teaching kung fu to non-Chinese people.  But the point is that they saw it being something that belonged to them and their culture. They didn't want others learning about it. What I've spent this section getting at is that culture is complicated and has a lot of interlocking parts. Martial arts are a single one of those parts which are often forgotten, and you shouldn't forget them. They should exist alongside things like language and religion. Part five, how much detail do you need? The short version, not very much. Not only is it difficult to go into extreme detail about specific movements and techniques, it gets boring fast. If you feel after all of this that you need to spend a year doing research and workshopping, don't. Unless you just find that fun in which case go for it. For everyone else, just come up with a basic idea for how things should work in your mind and let that guide your work. Then the audience will figure out the rest. If you don't want to create a whole new style, just use real ones. Take Shaolin Kung Fu and add fire magic to it. Boom, now you have firebending. Add water magic to Tai Chi and boom, now you have waterbending. It's better for something to exist and be derived from the real world than for it to not exist at all. Study the movements of whatever real style you want to use, find a way to describe it, and then do that. Maybe give it a different name too. And that's where I'll leave you. While we could go on about this for literal hours and barely scratch the surface, that would defeat the purpose of this video. I'm not here to tell you what exact steps to take to make the perfect, most bestest fictional martial art of all time.  Because just as every single setting you can make will be a little bit different, every process people use to make them is different. But whatever process you use, don't forget that people like to fight each other. And as long as we've been doing it, we've been finding ways to do it better. Thanks for watching. Hello, everyone. You're still watching? Well, that's pretty cool. You see all these names here? These are my patrons. They're the people that send me money once a month over on Patreon. My $10 and up patrons are Appo Savolennin, Olivia Rayan, Brother Santotis, Buffy Valentine, Carolina Clay, Chib Zahoy, Dan Anceliovic, Dark King, Dio, Echo, Flax, James M, Carcat Kitsune, Lexi DeLorm, Liza Rudecova, Lord Tiebreaker, Microphone, Mistboy, Mitsimona, Peep the Toad, Robi Reviews, Sad Martigan, Psyche XS, Selene, Silyr the Vixen, Stone Stairs, Tesla Shark, Vaivictus, Vimeck Zoll, and Wesley. Who could ever forget Wesley? And you know what? Thanks all of you. If you can't afford to, you know, get access, early access to videos and stuff, then that's fine. Just like the video, comment on it, share it around, annoy all your friends with it. You know, that's cool too. 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Alright, so I got a question about kind of changing culture in the workplace, so we're seeing a lot of kind of rising woke-ism type stuff within our workplace and the culture of the company as a whole is starting to change. And I'm wondering if you have any advice on like when to speak up, when not to, when is it time to leave, you know, like how do you frame those decisions and that kind of thing? I mean it's a really, I think it's a really difficult situation to be in and the answer to all those questions is in a sense it depends, right? It depends on how senior you are within the company, it depends on how confident you are in your position in the company, it depends on, you know, how much conflict you're willing to engage in and then, you know, if this leads to you having to leave the company out, how confident are you in being able to find something new? I think the more senior you are in a company, the more it is important to speak up, the more you are part of shaping the company culture, whereas if you're junior, if you're right, if you're just at an entry level position or something like that, the culture is just there, you're just participating in it or not and you can decide to leave or not, but it's going to be very difficult for you to help shape it. But if you're senior, you've been there a long time or you're in a position where you've got a lot of people reporting to you and if you're part of your job is to help shape a corporate culture, senior management should want to know your opinion about what's going on. And of course, there's a way to deal with it and I think the appropriate way to deal with it is to go up the chain within the culture and within the company and to let your boss know, hey, you know, I think this is an appropriate, I think this is damaging to the corporate culture in the long run. It's damaging to our ability to do business in the long run. This is too political or this is just wrong. I can't enforce this with my employees because I just don't think it's right. And then depending on how they respond, you decide on how much to push and how much to push it upwards. I think at the end, if it gets so bad as that you expect it to participate in activities or participate in enforcing something that goes against your values, then you have to consider leaving. And then part of the big question is, where do you go in a world in which corporate culture is changing like this? I don't think it's uniform. I certainly think some places are worse than others. I don't think all senior management are bought into this. So I'm sure there are better places out there, but that doesn't mean you can get there, right? You can find a job there. So it definitely is a challenge. But it's part of the battle for fighting for a better culture is to speak up against it. Now, again, if you're very junior, there's very little you're going to be able to do about it. Maybe you can find other people who agree with you and maybe as a group you can appeal this to show that there's a little bit of energy around this. The same, if you're a manager, maybe you can find other managers show that it's not just you subjectively opposed to this, but there's other people who are, numbers do matter in fights over cultural issues in the culture and in a business. But again, I think the higher up you are in organization, the more incumbent it is, the more it's your responsibility to speak up and to object. And yeah, so that would be my suggestion. Is that helpful at all, Phil? Yeah. I mean, for me, I'm not junior, but I'm at a very large company, so I'm not high enough up to truly shape the culture. Yeah, I mean, it might be worth speaking to your boss and just seeing how serious they are about this and are they getting any pushback or just to get a sense of where you are relative to everybody else. And at some point it might make a sense, it might make sense to leave. Sure. Matt? What we need today, what I call the new intellectual would be any man or woman who is willing to think, meaning any man or woman who knows that man's life must be guided by reason, by the intellect, not by feelings, wishes, wins or mystic revelations. Any man or woman who values his life and who does not want to give in to today's cult of despair, cynicism and impotence and does not intend to give up the world to the dark ages and to the role of the collectivist roads. All right, before we go on, reminder, please like the show. We've got 163 live listeners right now, 30 likes. That should be at least 100. I figure at least 100 of you actually like the show. Maybe they're like 60 of the Matthews out there who hate it, but at least the people who are liking it, I want to see a thumbs up. There you go. Start liking it. I want to see that go to 100. All it takes is a click of a thing, whether you're looking at this. And you know the likes matter. It's not an issue of my ego. It's an issue of the algorithm. The more you like something, the more the algorithm likes it. So if you don't like the show, give it a thumbs down. Let's see your actual views being reflected in the likes. But if you like it, don't just sit there, help get the show promoted. Of course, you should also share. And you can support the show at your own bookshow.com slash support on Patreon or subscribe star or locals and show you support for the work, for the value, hopefully you're receiving from this. And of course, don't forget if you're not a subscriber, even if you just come here to troll or even if you're here like Matthew to defend Marx, then you should subscribe because that way you'll know when to show up. You'll know what shows are on when they're on. You're good notified. So yes, like, share, subscribe, support. Like, share, subscribe, support. There you go. Easy. Do one, all of those, please.