Hey it's Robert Wolfe again here at Lenaro Connect in Budapest. I'm at the Aero booth with Dieter from Aero And we're kind of taking a look at a lot of the stuff he has on here You want to tell us about your booth right now? What you're doing here at Connect? Yeah, hello, this is Dieter Kierma from Aero in central Europe So what we have what we have here is our first Enterprise Edition board based on the layers cake design This is showcased also There we go. Yeah, should do the light here. Yeah, this will be also showcased next week at Embedded World in Nürnberg So it's our first arm. We ate the sign with it. Yeah from the Enterprise Edition. Yeah, yeah Enterprise Edition specification on the 96 boards very cool looking oxalis. It's called oxalis is this yeah name and We tried to do a different approach with this board We we spread the carrier board and the some So maybe the next version will also have a different system or module Where we can reuse the baseboard for for future layers cake chips So, what is it for what what can you do? So it's Let me say perfectly targeted for all these small etch notes routers gateways. It's a Let me say army eight design with very nice networking capabilities We have two gigabit ports on on the carrier board. We have two USB 3.0 ports on it and PCI express on the on the backside of the carrier board and Sata for high-speed hard disk connection so This this enterprise spec. This is what's the main idea behind it? Yeah, so I mean 96 boards has three specifications the the consumer edition enterprise edition and IOT edition within the enterprise edition is the TV platform the TV edition and This is hopefully the first step towards generating servers using arm arm Socs right and Yeah, hopefully this ends up being something that we can keep building on and like Dieter said this looks like a Possible move towards using this system on module type approach and and keeping the baseboard There's a NXP layer scape LS 1012 a that's a 64 bit This is what can you say more about this? Yeah, this is the smallest member of the layerscape family from NXP As said targeted exact especially for at routing platforms, so it's 600 to 800 megahertz With one gigabyte of rams or nothing real big iron machine But yeah, good alternative for for exactly is that the IMX 8 note. No, it's not an IMX this is so IMX is more for CE maybe for the center for the Consumer edition boards where the focus is on multimedia and on the layerscape families the focus is more on the networking side and data throughput There you go. So how soon is this? Available so we are right now in bring up stage So I would expect the first samples are available within the next four to six weeks for for You know highly interested customers and general availability will be somewhere in let me say may June timeframe Yeah, and you know you can keep your eyes on On the arrow website as well as 96 boards. We'll hopefully make some announcements throughout throughout the months Is there anything else we can look at here on the table? I'm seeing some cool little mezzanine cards using the dragon board 410C But what's this one right here? This is a new mezzanine card We did together this T3 Where you see a camera on it so it's a mezzanine card focused on camera applications right now We are in early prototype stage, but also here we expect the first Samples available in four to six weeks roughly. So where does the camera connect the camera is connected via CSI so we directly utilizes the CSI part of the of The snap tracking process yeah if you back up actually you can see it's it's it's displaying on the screen And then if we keep going down here, there's also some other cool stuff So this is a Laura board that also attaches on to the dragon board 410C There's no standoffs right now. So it's kind of loosely pinned into the low-speed expansion header Do you have anything else to talk about this board here? The new let me say dragon board 820 which we are using here as a kind of Yeah, sensor node gateway where a lot of Bluetooth devices are connected to the dragon board 820 And the 820 is connected via our arrow connect platform to the to the cloud By arrow connect you abstract. Let me say the different protocols from all these different clouds services and Can easily bring it On to whatever cloud solution you want to have it so you don't have to deal with the foreign protocols and all these stuff It's already done by our Arrow connect up is what's displaying here from the dragon board 820 years Is this is displaying the sensor data here from this note so we can we can play a little bit So you should immediately see some changes here on the screen so this is just to produce some some air flow on the sensor and Now you see it stabilizes And it's transmitted via Bluetooth to the dragon board 820 and the dragon board 820 transfers And the data to the cloud nice little blue Bluetooth light on You talk about this this board 820 Yeah, so I mean the 820 board I'd probably actually rather leave it to Dieter to talk a little bit more about that Yeah, so the 820 is the the latest the latest platform we we do have from Qualcomm available now for will become available for the embedded market and The drinking board 820 is our upcoming reference design for that So right now also here we are in a very early stage and Hopefully we will get the commitment also the the life long-term commitment also for the 820 very soon Then we can also here push for For more embedded designs very quickly and it'll have lots of cool stuff. The dragon board 820 is going to be Powerful in in comparison when you compare it. So for instance, we have the dragon board 410c here With the 410e processor If we put these together you can kind of see that they're both Consumer edition specification boards. However, the 820 is an extended version. So we've essentially broke out broke out a lot more of the IO or availability chip availability on the board So you have you know the 3.5 millimeter Jack PCIe and another high-speed expansion header and the also Desired ethernet that everyone's asking for right and so you know, there's there's definitely a lot more available Also with the 820 chip you can see well, you can't really see here, but these are 3.0 USB ports. So is it a higher HDMI? 1.4 or higher 2.4 but up to 4k resolution 4k. Yeah, this is a 2.0 a or something Newer HDMI. Yeah, so that's gonna be more around that Yeah, and also and so it's gonna look this is gonna be this size. Yes, it's not gonna be a small one like this No, no, that's why so these are this is the same specification and you can find this on the 96 boards that are website the specification but There are two different form factors, which is the extended version or the standard version Another thing also is I mean the the Wi-Fi capabilities of the 820 go 2.4 gigahertz and 5 gigahertz, right? Multi it's it's Marty Mimo capital. So you have dual band and and Marty Mimo capabilities Still also built-in GPS and built-in Bluetooth Wi-Fi all that Yeah, and so how does it how does it work with arrow for arrow to work with for example Qualcomm or to develop these? Reference boards kind of right or how do you call it the prototype of future mass production boards? Yeah, it's a kind of a reference design for us And it helps us to to immediately go to market much quicker than we would be able to do it without that kind of boards And it's it's also from the or let's say from the hardware side. That's a proof of concept I'll prove that the design is proof to work and from the software side We have linear or in our back, which is a great support resource and which gives the customer the confidence that this is a Well-working platform. This is why you're here in our connect exactly exactly So what do you think what can you say about all these mirror guys? Yeah, the first time I'm here and it's really great to see all these guys And yeah, we've actually been communicating a lot online and then finally meeting face-to-face. That's kind of like the whole idea about connect Right, so yeah open our open hours. Okay. Yeah, so we can talk a little bit about that open hours every Thursday at 8 a.m Pacific Standard Time 4 p.m. UTC We do a lot of talks just about kind of the things we're doing now, right? So you've been in the open hours Not yet different, but I will try to make it here. Yes, so we are gonna have one here live at Budapest Thursday at 3 p.m. Time at Budapest, right? So that's UTC plus one We'll have a whole panel of engineers people from Lenaro 96 boards. Hopefully aero qual com canonical We'll be interviewing them panel live community audience everything. It'll be a lot of fun So for arrow All these things that you that you're doing here with the 96 boards Accelerating innovation Yeah, so for us 96 boards is a great platform because it gives us the ability to create Let me say one common and and well-known platform for different Soc manufacturers or vendors as we can see here now we extend this also to nxp Some some very nice platforms will follow shortly and we will also enhance the Messon in boards in a very short time frame There is a very busy time ahead yes, and we'll be watching them very closely to make sure we push out the very best Cool, so and there's a better world next week. Yeah, you're gonna have a big presence there. Yeah next week So embedded world is our most important exhibition in central Europe Definitely targeting the embedded space and we do have a very big 96 sports area on our booth Where we show all our aero solutions. We have based on Intel or former Altera SoCs based on nxp based on Qualcomm for sure and Yeah, so it's worth to come and stop by and you also help Developers who want to do mass production. We get them into a different stage Like is it called so some companies that help them make mass production device? Yeah? So when we select a let me say a partner for doing a 96 board we usually have a very very close I That he is also able to bring the customers who are interested in that platform in a very short time frame up to speed Yeah, the whole idea behind 96 boards right is the rapid path to production so essentially these are development boards and Aero is here the the SOC vendors are behind them and the idea is to build a product and then get it to Through the development phase and on to the product phase right so everyone is here to help make that happen


Buenos días amigos. Buenos días. ¿Cómo están? Estamos aquí para presentarles Cuentos y Cantos, una hora de cuentos bilingües.  Guess what? Okay we're gonna start with our good morning song for the day. This one we're gonna sing first in English and then we'll switch over to Spanish. So if you're ready, here we go. Good morning. Good morning. How's everyone? How is everyone? It's so good to see you. It's so good to see you. We're gonna have a lot of fun. We're gonna have a lot of fun. Ahora en español listos a la una, a la dos y a la tres. Buenos días, buenos días. ¿Cómo están? ¿Cómo están? Mucho gusto verlos, mucho gusto verlos. Sin fontan, sin fontan, bravo. Good thoughts. Bien hecho. Ahora vamos a cantar con nuestras manitas.  Now first should we do this in English? Okay yeah, let's do it. All right. One, two, three.  Here we go. One, two, three little fingers, four, five, six little fingers, seven, eight, nine little fingers, and one more makes ten. Good job, very nice. Ahora vamos a hacer la misma canción en español listos a la una, a la dos, a las tres. Dos manitas, diez deditos, dos manitas y diez deditos, dos manitas, diez deditos, cuéntalos conmigo. Here we go. Uno, dos, y tres deditos, cuatro, cinco, y seis deditos, siete, ocho, nueve deditos y uno más son diez. So now we're gonna do a finger play that probably all know. It's the itsy-bitsy spider. We're gonna do it in English and in Spanish. Did you bring your itsy-bitsy spider? Do you have your itsy-bitsy spider? How are we gonna do it? You lost your itsy-bitsy spider. Very nice, very nice. Okay, so we all have our itsy-bitsy spider. Here we go. One, two, three. The itsy-bitsy spider went up the water spout. Down came the rain and washed the spider out. Out came the sun and it dried up all the rain. And the itsy-bitsy spider went up the spout again. We got some pros at home. Never gives up. Pretty sure. Sure. Okay. So it's up. Okay. I think it's time for a book. All right. Yeah. Okay. I think it's all in Spanish and it's called If I Were a Lion. Can you all roar like a lion? I would meow when I was thirsty. Can you all meow like a cat? Very good. So if I was a goat, I would when I was in a bad mood. Can you all go? I would tweet with happiness when spring was here. Can you all tweet like a bird? Yay. Ready? Can you all croak like a toad or a frog? Si yo fuera un perro, ladraría. Cuando te volviera a ver. So if I was a dog, I would bark when I'd see you because I'd be so happy. Can you all bark like a dog? Si yo fuera un cerdo, gruniría cuando encontraste algo de comer. So if I was a pig, I would I would snort when I find when you find something to eat. Can you all snort like a pig? Good. If I was an elephant, I would trump it to impress everybody. So can you all show me your best elephant trumpet? And... Vamos a cantar una canción ahora que se llaman los pollitos dicen. We're going to sing this one with a little bit of finger puppets. Um... ¿Y los pollitos qué dicen? What do the chicks say? Ok, entonces esta canción vamos a cantarla así. Se trata de unos pollitos y su mamá gallina. Ok, aquí vamos. ¿Quién es frío? La gallina busca el maíz y el trigo les da la comida y les presta brigo. Bajo sus dos alas acurrucaditos duermen los pollitos hasta el otro día. Muy bien. Que canción más bonita. We had some little chicks. They were cold and they were hungry. Mom came and she found them some food and she fed them and then she cuddled them all up so they could stay warm and dry. Very nice. Ok, vamos a leer otro libro. We're going to read another book. Este se llama ¿Quién es? Cuidado. Who is it? Be careful. What do you think that is? ¿Quién será? A dog. It looks a little furry. Parece que tiene mucho pelo, medio peludo. Puede ser un perro. Pero tenemos una cola muy larga. Maybe a cat. A little long tail. Let's see. Oh, it's a little mouse. ¿Es un ratón? Y dice ratoncito, ratoncito. Corre, se te hace tarde.  Run, you're going to be late. Go to your grandmother's house. Don't let anything delay. Con tu cesta llena de cosas ricas, brinca, salta y corretea, pasa junto al pinchoso erizo.   Y junto al topo de puntillas, tiptoe by the sleeping mole, el conejo de saluda desde su madriguera, the rabbit waves to you from his den. Ratoncito, ratoncito, fíjate. ¿Quién puede ser? Look, little mouse, who could that be? Un enorme monstruo te quiere comer.  I'm terrified. ¿Tengo mucho miedo a ver a ver quién es? ¿Quién es? ¿Quién es? Oh, okay. Pero con la linterna, but with your flashlight, todo se puede ver. You can see everything. Solo es un oso, it's only a bear, con una pera with a pear. There's nothing to fear. Nada que temer. That was scary first I thought. Atraviezas el bosque, you cross the forest. Salta que te salta, jumping around. Pero de pronto, but suddenly, algo de sobresalta, something trips you. Sigilosamente, very quietly. Y de puntillas, tiptoe, avanza a urtavillas. Careful, little mouse. Progress, keep walking with caution. Oh no, can you see that? What could it be? It looks like something with lots of sharp teeth, con muchos dientes afilados. Ratoncito, ratoncito, veo una trampa. I see a trap. Es un cocodrilo, a crocodile. Ojo, que se desampa. Be careful because he could snap you up. ¿A ver quién es, quién es, quién es? Es un cocodrilo, is it a crocodile? Let's see. Oh, no son dientes de cocodrilo. Those aren't crocodile teeth. La luz from his flashlight, the light from his flashlight, dichos malos, little ants. Son unas cuantas hormigas, con dos nudosos palos.  Oh, y nada que temen, nothing to be scared of. Date prisa, corre, mira, una casita. Hurry, run. Oh look, a little house. Casi ha llegado, you're almost there. Ahí vive tu abuela. Your grandma lives there. Oh no, detente, ratoncito, little mouse, stop. No es tu imaginación, that's not your imagination. ¿Qué es eso de la ventana? What's in the window? Peligro, atención, danger, be careful. It looks like a, like a, it's furry, tiene mucho pelo y tiene bien desafilados. Tiene una analisita, has a little nose, what could it be? ¿Podría ser un lobo? Maybe a wolf? ¿Podría ser? Oh no, no sé a ver. ¿Qué será? ¿Qué será? ¿Qué será? Mira, no es un lobo que te quiere comer, sino tu abuelita querida que te ha asustado sin querer.   Buenas noches, dulces, sueños. Good night and sweet dreams and they're going to be sweet. ¿Por qué? Mira, parece que tiene panquecitos y que luego mata el cerro y caquets. ¿Y ya? Estoy a cabo. Una viaje aterrador por el bosque, terrifying journey to the forest. Okay. Seguimos con nuestras canciones. La próxima se llama esto es grandote. Our next song is called This Is Big. We're going to do it with our hands though. Okay, vamos a hacerlo con las manos. Empezamos en inglés. We're going to start in English and just follow along. We're going to do big. We're going to do small. We're going to do short. We're going to do tall. We're going to do fast. We're going to do slow. We're going to do yes. We're going to do no. Okay, here we go in English. So we're going to go this is big, big, big, and this is small, small, small. This is short, short, short, and this is tall, tall, tall. This is fast, fast, fast, and this is slow, slow, slow. This is yes, yes, yes, and this is no, no, no. Good work. Very nice. Okay. Espacito, ito, ito, esto es si, si, si, y esto es no, no, no. Good job. Okay. Okay. I think for that one I'm going to get my maraca. My claves. Okay. Espanol. Okay. Okay. So this song, in español, vamos a cantar uno, dos, tres a tune of wheels on the bus. So wheels on the bus go around and round. Okay. Now in English, are you ready? One, two, three, four, five, six, seven, eight, nine, ten, eight, nine, ten. One, two, three, four, five, six, seven, eight, nine, ten. Good work. Very nice. Okay. Well, well, I think it's time to say goodbye. Yeah, I'm sorry to say. Yeah, and it's almost that it's fete. Yeah, tuvimos mucho, mucho alegría de poder compartir esta hora de ingüe con ustedes. It was lovely to be able to virtually spend some time with you during bilingual story time and yeah, see what more we can do. Yeah. Okay. So our goodbye plan we're going to start off in English and then we'll switch over to Spanish. Okay. And we're going to sing. Goodbye friends. Goodbye friends. It's time to go. It's time to go. It was nice to be with you. It was nice to be with you. Goodbye. Goodbye. Nice job. Muy bien. Seguimos en español. We're going to sing our goodbye song in Spanish and here we go. A la una, a la dos, a la tres. Thank you so much for joining us for story time y nos vemos.


in the year-end issue, MIT Tech Review had their best stories of 2021. One of them is titled, our brains exist in a state of controlled hallucination. Was written by a neuroscientist and a philosopher out of Sussex, University of Sussex. And he says, the entirety of perceptual experience is a neuronal fantasy that remains yoked to the world through a continuous making and remaking of perceptual best guesses of controlled hallucinations. You could even say that we're all hallucinating all the time. It's just that when we agree about our hallucinations, that's what we call reality. In quote, what do you say to a guy like this other than you're hallucinating, dude? I mean, that's the only response possible because there's nothing rational can be said because what does rationale even mean? There is no reality. I mean, this is the ultimate in the privacy of consciousness. People always think, oh, Ayn Rand's exaggerating. Nobody talks like that in Atlas Shrugged or whatever, or when she accuses the intellectuals or a slippy slope. If you believe this, this is what you'll end up believing. And everything she said is absolutely true. I mean, this brain-in-a-vat idea, which is old, it's not new, it's been going on for a while. Now it has the veneer of legitimacy from neuroscience. Neuroscience proves that, no, it doesn't prove anything. The whole idea of a brain-in-a-vat is absurd and nutty. But that's the primacy of consciousness. And unfortunately, you're seeing more and more and more of it. I remember in high school, it was kind of the cool philosophical thing that you, the gotcha, that prove that you're not imagining this. And I remember in like, I don't know, 10th grade or something, thinking about that, maybe that's right.  And then going on and never thinking about it again. And I did the same thing with solophism. The whole idea of primacy of consciousness, just, I tried out all the different variations of it. And each time decided, nah, didn't make any sense. And I wasn't philosophical, it was just, it just didn't make any sense. It wasn't much deeper than that.   But obviously he expects that I can read what he wrote, right? Which, if it's all just hallucinations, who knows what I would read. You have a shared hallucination. That's what reality is. Reality is the shared hallucination. And that's the whole thing. He claims to be trying to teach us about the brain, but all he's trying to do is justify his thought that reality is socially determined. That's right. That's right. And that's, that's, yeah, it's, and that it's all, you know, it's, they're just religionists of a different form, right? Religionist reality is determined by God's consciousness. These guys are determined by some collective consciousness that we might have that, you know, but that's just as mystical. It's just as nonsensical. Thank you. Thank you for listening or watching The Iran Book Show. If you'd like to support the show, we make it as easy as possible for you to trade with me. You get value from listening. You get value from watching. Show your appreciation. You can do that by going to youronbrookshow.com slash support by going to Patreon, subscribe star locals, and just making a appropriate contribution on any one of those, any one of those channels. Also, if you'd like to see The Iran Book Show grow, please consider sharing our content and of course subscribe. Press that little bell button right down there on YouTube so that you get an announcement when we go live. And for you, those of you who are already subscribers and those of you who are already supporters of the show, thank you. I very much appreciate it.


Hey what's up you guys welcome back to my channel if you're new here hi hello I'm Lydia and if you are new here make sure you hit the subscribe button during the growing family don't notification us until you never miss an upload and comment below a video you'd like to see today's video we're doing a pros and cons of living in supported living I made a few notes on my phone while I was in there. If anyone doesn't know hi I'm Lydia I live in supported living also known as a care home for mental health patients and I have done for the last two years it's a good step down from hospital it's like you're not thrown back into society and just left to it and then to yourself you have three gums which I'll get on to in a bit you are in a less restrictive environment and you're allowed like things like charges cameras in my case you're just allowed them stuff technically yes I did I had two camera three cameras while I was in the priori but that's because I did YouTube and they wanted me to do something other than lying bed I never took my cameras out the room so I was allowed to keep them on me but your freedom to film just important for me and all in all you just you have your life back while still being supported calm you're not living with people your own age the only person living here that was my age a year older than me not my difference got kicked out so now I live with a bunch of old people literal old people and I don't relate to them at all and they don't relate to me at all I'm very isolated living here pro it gives you independence while also support where you need it so I get support in my room once a week and that's to help me clean that because I do have a lot of stuff I like having stuff around me it makes me feel me when I first moved in here I still I was still very over medicated so step here would help me have a shower because I couldn't stand up to do it so I had to sit on my knees I can't go my knees anymore because I went left my right knee is kind of fucked to put it lightly but they used to support me in the shower I don't need to support anyone now I just have a bath because it's the only way I can clean not the best I know but what you're gonna do rather con you have to stick to their medication routine so I even I was in hospital I used to take my nightmares at 10 o'clock here I take my eight o'clock which knocks me out by nine and I don't and I wake up nine the next day I literally sleep for 12 hours but it is a bit annoying because all the medication times I had in hospital they're all different here which isn't the best bro medication is managed by staff now the reason it's in the pro is because it does reduce the risk of an overdose given I smuggled medication into my room and overdose on the whole medication is managed by staff con the food they caught is not liked by all the residents now this is a big issue for me because everyone here eats meat and I don't do any meat I eat actually it's chicken nuggets battered fish and and and sausages I don't eat like pork chops or lamb so when they cook that with their favorite thing rice which I also hate and it costs me an absolute fortune because I have to go out and get food that I'll eat that doesn't need nothing because yes I do have another in my room but it's not connected so I can't use it I have thoughts about buying a microwave but then the question is where well I put it because my kitchen ain't that big and my table's full of record players scrapbooks card against humanity crystal walls i'm a so it definitely is a big issue so I'm curious if you live in supported living what are some of the pros and cons where you live and if you have any questions about me in support living or just what's the point in living in his life let me know in the comments down below also if you have any questions video requests absolutely anything at all the comment section is there for you don't forget to leave a like and like I said beginning subscribe if you're new enjoy the growing family thank you for watching and I'll see you in my next video peace


Today, there are over 75 million born-again Christians in North America, many of whom are convinced that in order for Jesus to return, the Jewish people must first be converted to Christianity. These Protestant Christian denominations contribute more than $300 million annually to aggressively convert Jews worldwide. Several Christians have established special messianic synagogues to attract Jews. Such synagogues have grown in number from 20 to over 700 in just the last 40 years. Missionaries convince their recruits that they are not complete as Jews unless they accept Jesus as the Jewish Messiah and that a Jew retains his Jewish identity even after converting to Christianity. In the last four decades, more than 400,000 Jews worldwide have been converted specifically by missionaries who use deceptive tactics that masquerade Christian beliefs in the guise of Judaism. The Gospel is preached by messianic rabbis wearing yarmulkes and prayer shawls at Shabbat and holiday services. These Hebrew Christians promote their Christian faith by using the new name Messianic Judaism. These missionary groups, over 1,000 in North America alone, are active worldwide and can be found in every Jewish population center. Several groups have found in Messianic Jewish day schools for children and Yeshivas, where they produce ordained Messianic rabbis. There are now over 100 Messianic congregations in Israel and over 175 in the former Soviet Union. These groups pray almost exclusively upon uneducated, unaffiliated and alienated Jews. These missionary groups have also influenced many evangelical churches to adapt the same deceptive techniques to proselytize Jews. For the first time in history, Jews are welcomed into the church and told that they can retain their Jewish identity while worshiping Jesus. Church members then introduce the Jew to someone Jewish who has accepted the Lord. This method of proselytizing increases the number of contact people who serve as conduits to the Messianic Jewish missionaries and include Christian associates at work, at school and in social settings. Many churches now run programs to teach Christians how to effectively evangelize their Jewish acquaintances. Contrary to popular belief, it is not only emotionally unstable Jews who fall prey to missionaries' efforts. In fact, all Jews are susceptible. Missionaries often target college campuses, hospitals, drug rehabilitation programs, seniors residents, shopping malls in Jewish neighborhoods, as well as the Israeli community, Soviet immigrants and intermarried couples. They deliberately misquote, mistranslate and misinterpret Jewish scripture and rabbinical texts in an attempt to prove that Jesus was both the Jewish Messiah and God. Their delegitimization of Judaism in concert with their misleading exploitation of Jewish symbols, religious artifacts and even traditional music serves to confuse the potential convert making him or her a lot more vulnerable. And while it was once very common to see such Jews for Jesus' missionaries on street corners handing out pamphlets to entice Jews, their battleground has now moved to the internet where they are able to seduce many more Jews in the Christianity from the comfort of their home, office and, of course, portable devices. I'd like to take a moment to focus on the obsession to convert Jews specifically and the tactics that are used to convert Jews. Missionary groups use three sets of tactics to attract Jews. Firstly, they imply that a Jew can retain his Judaism even after converting. Secondly, they frequently misquote, mistranslate and misrepresent Jewish scripture and rabbinical texts in order to substantiate their claims. And thirdly, they attempt to delegitimize Judaism by claiming that Christianity is the only spiritual path to God and to salvation. Now, in addition, many missionary groups employ scare tactics and intimidation to discourage individuals from talking with rabbis, thereby preventing them from having an opportunity to hear an opposing viewpoint. Such deceptive tactics are morally objectionable not just to Jews, but to non-Jews as well. Numerous Christian groups have publicly condemned the Hebrew Christian movements. It's a large problem. Despite such widespread condemnation, the efforts of the Hebrew Christians have met with alarming success. It's been said that more Jews have accepted Jesus as their Messiah in the past 20 years than in the past 20 centuries. Now, this statement does not include forced conversions carried out under the rest such as those of the Morales during the Spanish Inquisition. Most authorities say that there are now over 400,000 Jewish converts to Hebrew Christianity worldwide.  This passage underscores the importance of helping each individual. Even if only one Jewish person were being misled, our concern would be great. When you multiply this by hundreds of thousands, the anguish and concerns far more pronounced. Most people have heard of the missionary group Jews for Jesus. Yet, oddly enough, there's no Buddhists for Jesus or Hindus for Jesus. Apparently, Christian evangelicals are more obsessed with converting Jews than converting any other group. Now, there are both theological and psychological reasons to explain this historical obsession. I'd first like to talk about the theological obsession. The Christian gospel is described as being, quote, to the Jew first and also to the Greek, referring to Gentiles. Fundamentally, vegetalist Christians interpret this to mean that they have a mandate to convert every person, but especially Jews. Many fundamentalist Christians believe that the Jews are the key to bringing about the second coming of Jesus and salvation to all mankind. Not to prove their point, they quote the passages, Salvation is from the Jews and also, you will not see me until you, that is the Jews, say, blessed is he that comes in the name of the Lord. Some believe that Jesus' return is dependent upon the conversion of exactly 144,000 Jews and that the rest of the Jews will be wiped out during the great tribulation that will accompany the return of Jesus. Now to the psychological obsession. Since the concept of a Messiah was originally and exclusively a Jewish concept, the rejection of Jesus as the Messiah by Jews has always posed a serious paradox and a dilemma for the Christian church. Therefore, in the eyes of many evangelical fundamentalists, each conversion of a Jew to Christianity becomes a collaboration of their faith. For centuries, the response to the Jewish rejection of Jesus has been persecution of Jews rationalized as God's divine punishment for having rejected Jesus. The fire of prejudice was fueled by New Testament passages such as, you, Jews, are of your father, the devil. And the Jews who killed both Jesus and the prophets and drove us out, they are not pleasing to God. All the people answered and said, his blood be upon us and our children, referring to the Jews. Most fundamentalists will argue that the perpetrators of the history of atrocities against the Jews were not true Christians. However, according to many historians, it's precisely such New Testament rhetoric that is responsible for creating the atmosphere in which such events can happen. Today, after almost 2000 years of Jewish rejection of Jesus, the dilemma still exists. It's out of this tremendous theological and psychological need that the fundamentalist Christians have committed millions of dollars to develop new and sophisticated and often deceptive techniques to convert Jews.


Hi, my name is Ricky Chen, and I'm with the Commaweiser Learning. An important trend in mobile technologies is the popularity of cheap Android devices, such as smartphones, tablets, and mini PCs. Here are some examples. This is a 7-inch Android tablet with a single-core CPU, 512-mega background, and 4G storage. Last year, we purchased at a price of $68 USD. This is an Android mini PC with dual-core CPU, one-gay run, and 8-gay storage. The market price of this device is around $40 to $45 USD. This is another Wi-Fi hotspot with power bank built-in. This can be ordered from alibis-trash.com for $38 USD. In this course, we will show you how to build a complete offline, off-grade digital classroom with these devices step-by-step. See you in class. Thank you.


when I first wanted to really get into personal development and I was so obsessed with trying to figure out what the world's best performers and the world's best achievers do I was always looking for the secret I was always looking for the magical trait they all possessed that one skill they all learned or the one book or resource they all swore by but what I later learned was that there's actually only one trait more than anything that they do and that they embody and it was a trait that I did not have that I had to learn so in this video I want to share what that number one trait is that I realized what's up guys Alex Hine author of the book master the day now you know what all successful people guaranteed do they have some kind of goal or some kind of vision that they're constantly projecting towards that they're trying to build a reason to get up in the morning now in the first link in the description I've included the free worksheet on how I actually set my own goals if you click that link you're gonna have it delivered to your email you'll also get an email every few days on my goal setting kind of philosophy alright so what are those three words that you very rarely hear successful people do and in fact even in small businesses where there is people that paid the lowest salary and people that kept paid the highest salary what's the difference one of the differences the three words that are I don't know now look I know that is very unsexy all right I know that that is not sexy but here's the thing you know look at anyone that's done anything incredible in human history look at Elon Musk look at Mozart look at anyone who's who's been an innovator or who's done something new there was no roadmap literally no one had ever done what some of these people had done before in history Nikola Tesla Einstein so there was no way they could figure out like by reading someone else's book or by googling like this there was no way the path had never been gone down before so they had to figure out what had never been done before so I'll give you some examples in my own life you know I could have said I don't know how to build a business okay but the magic is when you replace I don't know or I can't afford that or it's not gonna work with how could I how could it so when I started building my business I knew that I wanted financial freedom in the sense that I wanted to spend nine hours a day doing work I cared about I didn't care at the start if I was broke or not I just wanted to like my nine hours a day rather than be at a job and so I said instead of I don't know how to build a business I hate business I'm not in a business how could I how could I okay I'm gonna first study what successful online businesses are doing that was my first step okay I'm gonna learn that how they create content how they sell products how does it work being a youtuber where does the money come from how do I feed myself so rather than shutting down you find a way you know I could have said the same thing I don't know how to gain weight I was super super skinny I'm still pretty skinny I don't know how there's no way replace that that belief that where you just shut down any possibility when you say I don't know you just shut down the dream right there instead you say okay well how could I how could I possibly gain weight alright maybe I could have one extra small meal per day maybe I could have a bigger meal at lunch maybe I could have a protein shake a day right we say the same thing when it's money money is such a common one I don't have enough money to do that right I'm doing a two-year herbal fellowship right now it's $6,000 I don't have the money to do that that is a low-performer statement what a high-performer does instead is they say how could I how could I right if that's a two-year herbal fellowship that's a lot of time where I could earn six thousand extra dollars I could grow my business I could get a second job I could offer coaching again I could go work at a coffee shop if I really have to so when you say I don't know you shut down the possibility of your dream ever happening but when you say how could I it's again the very most simple manifestation of the law of attraction when you focus on what you want which is the new possibilities that I will have to figure out you will find them but when you just stop it with I don't know how to do that I can't do that you're immediately putting the roadblocks up and so you find that in the people that are really successful they've acquired this trait and most of them did not have that by birth you build and acquire this muscle that is I don't know how to do this but I will figure it out and in the era of the internet there is no goddamn excuse for not knowing how to do something above all now now it's a matter of you have what you need to do in front of you the roadmap is there now are you gonna do it so I hope that helps you guys I always get a lot of questions from people asking how to do something and the reality is yes I could send you back a long five minute audio voice message on Instagram or you could Google it you could study the people that are doing it you could emulate them model the other people that it's working for it's all there it's just a matter of will you choose the mindset of how can I do this cool so again the best way to start getting on your path to having more success improving your life figuring out really what you want from the future is by setting goals and I've included the free goal-setting worksheet it's the first link in the description when you punch in your email you'll get it delivered to you you're also gonna get an email every few days on my goal setting philosophy approach that I think will help you quite a lot so you can check that out in the description and otherwise my most recent video is right there


Welcom, everybody. My talk this evening is to concentrate on the recent conservation of both painting and framing of this portrait gifted to the society in 2017. In October 2018 I gave a long 50 minute lecture, a lunchtime lecture here on the portrait, such as we knew about it at that point. ac mae'r ddau'r cyfnodd yn y website. If you want more information about the iconography, the historical detail, history of costume and issues about this picture, but I will resume in the first five to ten minutes some of the major things that I raised at that time. Here's the painting in a way before and after conservation and I'm showing you on the right there, I will be showing you tonight my fairest pictures of it. This is not, as it happens, the best time of day to see the picture on the stairs in this dark and artificial light. Do come during the day when the daylight comes through that toppling though and it will really seem to you much more emphatically, but you can immediately see here one aspect of restoration that had to be attended to, this tear up here, which is now being repaired. This is the first old master picture to enter the society's collection for more than a quarter of a century since Martin focus here just to the right of the screen. And therefore it's a moment of some significance for our collecting history. Charles Marsh was born in 1735, he was the son of a London bookseller, he went to Westminster School and became clerk in the War Office after graduating from Trinity Cambridge. He retired on a pension of £1,000 a year, large sum of the time he gave up his job, but somehow he had a huge fortune and was not absolutely clear where all this money came from. There's no will or inventory for him, there is a declaration signed by his sister after his death in the National Archives and there she attests to his estate worth £48,000, that excludes his properties. Marsh is buried in Westminster Abbey with his nephew, the Reverend Thomas Biles, a family name, a Biles family, which will recur in this talk when I come to consider the frame. We know from Thomas Biles's will that having provided for his wife, Louisa and his three young sons who were only to get £250 a year to see them through their education, he asked very specifically to be buried with his uncle in the Abbey's East Cloister. Also to do with this connection, attached to the stretcher at the bottom of the work, now detached in the conservation and part of the archive on this painting here at the Society, is an inscription testifying that this is Charles Marsh, that the painter is LF Abbott, and crucially at the end, an admirable likeness much prized by his nephew, the Reverend Thomas Biles. Charles Marsh bought the huge Radnor House at Twickenham in 1799, a house which survived into the 20th century but was gutted during the Second World War by bombing, but we do have some photographs from country life taken in the 1930s, which show its mid-18th century decoration, and those articles show that it seems very unlikely that Marsh at the end of the 18th century did substantial work in the house, but here he probably kept his collection, including probably the portrait, which now hangs on the staircase, and that his library, at his death, we do know, was valued at £2,500, and that documentary record from the declaration fills in the background to the local historians of the 19th century, historians of Richmond and Twickenham, who say all the time that he was a very bookish man and he had a great book collection. But also that Charles Marsh also lived in an apartment here on Piccadilly, so it seems extra special that in a way, and he may well have died somewhere along this street, we don't know, so it seems very special that he's in a sense coming home with the acquisition of this portrait, and both Westminster, both Piccadilly and his house at Radnor are cited as his residence in the 1812-13 declaration. If you go to Radnor House today, you'll find on site just to 18th century Gothic and Chinese summer houses. The house, as I said, was completely bombed and Twickenham Borough Council who owned it at that time just flattened what remained. And of course looking at this and looking back to that print of the house in the 18th century, its Gothic appearance inevitably raises the spectre of Horace Walpole's Strawberry Hill because Strawberry Hill is just a few hundred yards away. Now, Marsh bought Radnor in 1799 after Walpole's death, and there's not a lot of evidence that they knew each other at all well. There's just one reference to Marsh and a rather disparaging one in Walpole's extensive correspondence like so many people disparaging references by the Great Man. But there is one connection in the bottom right there that's quite interesting, historically in the 1750s when the Swiss artist J. H. Mones was working for both Horace Walpole and John Shooter for the Vine in imagining their estates and buildings that could be put alongside them. He draws quite specifically the river frontage of Radnor House with those temples obviously attached in those days to other buildings shown in that image. Now, why is he here? Well, why Charles Marsh is here? Why is it so appropriate he should come here? He was made a fellow of the society in 1784 and he gave a paper to the society on the Barbarini Portman vahs now of course in the British Museum. Just a couple of months after it was shown to the society and very interestingly at the time that it was in transit between the William Hamilton and the Duchess of Portland. So at a very interesting moment and Charles Marsh published that piece in Latin but with a preface in English in Archeologia in 1787. In this he contests as he's shown in the portrait with the French writer Bernard Monfocoll in his Lartitite X Vique. That's an image taken from our copy of the book. Because he's leaning, as you can see down the book and I just turned it upside down to show it's this particular volume that he's contesting in terms of the iconography of the work. Interestingly of course the vahs is shown in the portrait in reverse. That's to say it follows the Prince tradition of showing this picture. It's showing us this work, the Portman vahs through things going back as far as Bartley's image originally published in 1697. We have here the 1704 edition in the library. But that reversal and it's very interesting that you must imagine a studio situation in the painter Elef Abbot studio. The artists or assistants used the print version when the owner had actually seen the real thing just recently. But of course in that transit time he was passing into the Dutch Portman's collection. If indeed the portrait was painted at that particular moment it may have been subsequently inaccessible. The painter Elef Abbot, famous as the Portman was the portraitist of the standard image of Nelson and other great navy figures. It may therefore be that Marcia's role in the War Office brings him into contact with this particular portrait painter. There's some tenor portraits by Abbot in the National Portrait Gallery collections including the portrait there on the right of the sculptor Joseph Nolkins. That has a particular association also with this portrait and this painter because the year after Abbot died in Farindon's diary he says that he goes to the workshop of Nolkins and that Abbot's son is working there as an apprentice in his teenage years. He said he's been rescued by the sculptor because the young Nolkins mother a very forthright and believing Roman Catholic wanted him to go to the priesthood and Farindon heads, but she is a bigot. Just reminding us that even in that run up to the anticipation of the 1820s things were very divided. Nolkins also has this connection with I love Abbot in terms of his son working in his studio. Now to turn in the second half of my time to the conservation of the painting. We were advised when the painting came into the collection in 2017 that it was at that point too fragile to hang. It had been hanging in houses mainly along the river at Twickenham. It did have a time when it was elsewhere but mainly in one family after the other along the river at Twickenham for many years. But that's in private houses. People take their own risks. We could not hang it here in the society without conservation of the frame. In particular it was too fragile and of course the surface of the picture was damaged. It was on its original pine strainer rather than a stretcher and when it was online the initials W on the bottom of that strainer may indicate to us the initials of the strainer maker. What's very interesting is that the picture itself was probably bought, the canvas on which it sits was probably bought ready made as many late 18th century artists would have done. It's painted on a very conventional 18th century white ground. It already had a patch that had been restored here which was very visible when it first came to us. Maybe because of that it was covered with a wax finish on the back and then of course we had the small very visible tear above that. The surface of the picture has a very granular surface. The conservator says it's quite... It happens quite a lot in the late 18th century pictures. It may have shown the residue of some soap in the ground of the picture but it has got a nice granular surface to it which I think gives the sense of the making of the picture. We're also advised that the picture may have been cleaned at some point in the 1950s and 60s of the time when the initial big tear was repaired. Anyway, now it's cleaned, repaired, it's on a new structure and it's lined and what's wonderful about this is that I've talked to various picture conservators that I know. One of the things that they will sometimes say is that when you clean a picture you somehow lose something of the surface appearance but I can assure you when you go up and say I'm putting my fairest and the longest images here up to show the details of the picture that nothing has been lost. It still looks a wonderful old picture. It's just now secure and well cared for. What is the date of this picture? When does he have his portrait painted? Of course, one wants to think, first of all, that surely it's the 1780s when he writes the article. As time has gone by, I rather wonder if we're not moving this portrait in our minds into the 1790s, the last decade of Elef Abbot's life. He dies in 1802 and that's because when I look at this alongside other abbots I've seen particularly images like this, the great portrait, the prime version of this portrait of Adon O Vaicant, in the Yellow Centre for British Art, the primary version because that's the kind of picture that collection has tended to buy. It does bear comparison and particularly when I show you those faces, this blondness, this fairness, the deed, of course, 18th-century men who had abandoned or were abandoned, the process of abandoning except for former occasions there, weeks by this time, so the natural appearance of the hair is very striking and vibrant in this work. That's why also, I wonder if it's not a picture from the 1790s. Just to say a little bit then about the history and treatment of the frame, when Servitor has advised there were three phases to the gilding of this frame and this is where the name of Viles comes back in as some of you may know, Viles' workshop was one of the most famous 18th-century frame makers. They worked for Reynolds, some of these pictures of the Royal Academy next door were made by that workshop but it's therefore tempting but at the time of the 1780s and 90s the whole workshop had been left to Sarah Viles, the niece of Thomas Viles, nephew of Charles Marsh and it's several times the thing that she led the campaign in the workshop to get her uncle's picture framed but it does seem, we are advised, that this isn't a frame that's been made very specifically for this picture. The picture really is elbowing out and always has elbowed out its frame. The frame has been modified in order to bring this picture into line. So an interesting family collection possibly but I would also argue for that in terms of the decoration of the frame it is quite close to some of those frames made for famous paintings by Reynolds that the first campaign was a mode-coloured bowl and traces of this did appear in the conservation and what you can see here is this very delicate colour with very, very fine gilding as time went by gilding got to use crudum or speedily done in restorative programmes so this very delicate gilding and we were talking just the other day about thinking of these pictures being seen in the late 18th century by candlelight, by the late 19th century when other forms of light and gas and later are coming in you want things to have more bling and more splendour so this very delicate candlelit effect on the original gilding and then overlaying this not very long after possibly within a generation or less in the early 19th century the paint there is an oil gilded scheme on a yellow base laid onto a gesso surface and you can see that in the background behind the ornament here and just some highlights of that scheme coming through the later final scheme and it was that final scheme the 19th century scheme probably sometime from the 1860s onwards that really was in very poor condition much fragmentation and cracking this is where water gilding was used on the top and back edge of the profile of an oil gilding elsewhere so the original delicacy of that first phase of gilding when the portrait of March was made is now long compromise we raised a large sum of money in order to have this work done it would have taken much much longer to try and get back to that original scheme so the compromise is that the 19th century scheme of gilding is now expertly with sword and will see this picture through for generations to come picture looking now at the state of the back from its original deteriorated condition where it's been lined placed on the stretcher and finally just to look again at the wonderful details of this picture I feel this picture is not only appropriate here because of the subject but it is a very fine late 18th century portrait in fact Lucy Pelt from the National Portrait Gallery when she first saw it said oh it's too good to be by her that habit but I think she was thinking of some of those in the portrait gallery and not some of his prime works on one at Yale I think we have a very very fine picture here and one which we have various avenues of research we can now pursue through the archaeology and the history of the port of Bath through the history of a man like March and his role in government in the late 18th century and also very much I think interesting for our times and I have a dime committed to a mental asylum and I think our current interest in that history of health and creativity in the arts for people who are battling serious mental and physical health issues means that we can explore too things about that artist's last decade and finally my thanks here listed down to the last one which I really must mention our donors who contributed to the project for conservation without whom we could never have accepted or hung this picture and finally to my friend Sheila Lockhart whom I persuaded to give this picture to the society because it was right and it's very much in memory of her late brother Simon Orford who would have been a fellow of this society and amongst us had he lived thank you very much a resident, fellows, guests and our staff of the society who are the unsung heroes of Burlington House the society has, since its early years taken a strong interest in the Palace of Westminster fellows were famously involved in the controversies over James Wyatt's remodelling of St Stephen's Chapel around 1800 and have subsequently often been the first to hear findings from the likes of Sidney Smirk, William Lathabee and so forth and recently the Antichrist Journal has carried reports on the Palace by Mark Collins and others and by Henry Schoenfeld so the discoveries reported to you today originated with the St Stephen's Chapel project at the University of York emerging directly from a study supported by York and the Houses of Parliament and generously part funded by the Leifahume Trust and this talk about them created especially for the festive season has elements of a detective story it features a light bulb a light bulb moment subversive Victorian graffiti and a lost head of Charles I it also represents much teamwork and I pay particular tribute to those mentioned here two of whom Mark Collins and Paul Hungieball are present this evening Dr John Crook is sadly not able to be here but his archaeological findings and his drawings and photos form a critical part of this tale so here's the location of the doorway and the passageway in question at the south east corner of Westminster Hall so that's the Palace of Westminster guidebook there and that's it on a drawing by John Crook so that's where you come in and that's the gift shop there and this is the south end so the former entrance which is the lost Tudor doorway in question it's marked in the hall by a bronze plaque of 1895 it's just there this informs posterity that an archway here served as the main entrance to the House of Commons from 1547 to 1680 and there's a view at the back view of this writing it does go on at length but it's actually largely unnoticed by the public and as far as I can tell academics and a few insiders have long been aware of the doorway and passageway through the wall of the hall that they believed that the space within the wall was wholly sealed up and inaccessible some have also questioned the precise dates given on the plaque as the passageway appears in 18th century plans it was clearly not locked off in 1680 similarly 1547 was thought to be a bit too early for its creation but the consensus was that a date of around 1600 seemed the most probable moment when it was cut through the wall and thus it features on an important academic reconstruction of the layout of this part of the old palace in about 1640 so the passageway joined Westminster Hall with west range of St Stephen's Tudor cloisters built circa 1515 to 27 and hugely admired by generations of antiquaries if not unfortunately by their actual occupants some of whom in the mid 20th century described them as the Gothic slum after several centuries of misuse these were restored by Charles Barrie after the 1834 fire and most recently they've been used as the MP's cloakroom from 1852 to 1967 whether they are set up as a cloakroom and then as offices from 1967 to 2017 they are currently empty and awaiting restoration and now the detective story begins because it was with great surprise and pleasure that on a research trip to the historic England archives in Swindon I discovered this photo of the ceiling of the interior of the passageway dated 13 June 1949 I wondered how we would ever be able to get into the space and I asked Dr Collins if I could take a pneumatic drill into the cloisters and I was not surprisingly turned down so also found in Swindon was a measured plan of the space so that's that top one made for Sir Charles Gilbert Scott it became clear that his workman had rediscovered the passageway when restoring the wall damaged cloisters the restoration was between 1948 and 1952 now the damage here had resulted from a high explosive bomb in 1940 which had sadly destroyed the eastern and southern ranges now the west cloister also suffered our passageway lies behind here that's the second bay along but like the rest of this range it remained intact it seems a very very bad condition as heavily restored after the war we know that Scott had walled the space up again by 1952 and we noticed in a TNA file that he considered leaving a small gap in the cloister side's wall which would be covered by a hinged panel giving access within his new cloakroom furniture was the panel there? yes it was, there it is in December 2018 a tiny and inconspicuous keyhole was found in Scott's cloakroom fittings in the correct bay the parliamentary locksmith opened it and pulled back the hinged access panel enabling Mark Collins to clamber in into the hidden passageway and here's some photos of the inside now two former parliamentary staff with very long experience and deep knowledge of the building knew nothing of the appearance of the space or of the access panel and we believe that we were the first people to go in there for several decades and quite possibly since about 1952 clearly all knowledge of the panel and passageway had been lost in the intervening years I think that the Labour MPs who'd had their desks just next door during the 1970s and 1980s had been extremely surprised had they known about it well what did we find in that? Well it has to be said that at first sight this is a rather unassuming spot but it is full of interest so some key features its complex masonry many exposed brickwork and plaster from several different eras these have been recorded and investigated by John Crook the doorway, the door case in Soffords of Great Doorway four pintors for the two doors one shown here on the floor are perfect flagstones which are worn at the centre which is rather thrilling there's also some graffiti by masons from the 19th and 20th centuries written in pencil on mid 19th century plaster so the one pictured here reads 1950, Alex Leaper, Mason, Stonehaven he was clearly one of Jarsgood Scots workers he is to be found in the electoral registers for 1950 in 1951 living at 33 Milbank his family came from Perth and Ken Ross that's obviously the same track and finally and very remarkably are still functioning all-stram light bulb of what I believe to be a 1950s early 1950s style with electrical wiring and a switch of the same period which immediately sprang into life although the light bulb has now sadly been retired for health and safety reasons but above were some wooden joists laid flat once covered in lathen plaster supporting the ceiling masonry then in October 2019 so this is not long ago in fact it was after I'd put forward this talk to the society the timbers of the joists were isotope dated by Dr Dan Miles of the Oxford Dendro Chronology Laboratory to spring 1659 now this was an immense surprise to us it caused us to question all our previous assumptions about the dating of the doorway and the passageway which has been based broadly around the dates on the plaque there are also major implications here for the layout of the area around St Stephen's Chapel in the 16th and the first half of the 17th centuries so we revisited all relevant building plans, plans and drawings so a range of relevant evidence supports the proposition that right up to about 1660 the route from the hall to the south end of the palace and then to the House of Commons was not via our doorway instead it seems to have remained via the medieval door on south wall of Westminster Hall that's there I'm mentioned by John Stowe and recorded by Alan Cottingham and Robert and Sidney Smirk that door appears clearly on the left hand side of the drawing of the layout for Elizabeth I's Coronation in 1550 next to the days of the King's High Table a drawing of the law courts from about the 1620s here once attributed to Holler is consistent with this arrangement continuing during the first half of the 17th century and notable so that this important plan of the Cloisters from 1593 from the Cecil papers of Hatfield House shows no sign of the other side of the passageway which should have been there all this explains also why we were really struggling to find any mention of the creation of the doorway in the accounts room before 1660 although admittedly these are very patchy the works accounts actually show that the southern door and route were blocked off in 1660 to 61 when the days at the south end of the hall was remodelled and extended for Charles II's Coronation as written up by Dr Mark Collins and others in their report published in the Antiquaries Journal and the works accounts also demonstrate that our passageway was not through the wall of the hall in 1660 to 61 to replace it this is a transcript by Simon Neil for the St Stephen's Chapel project which is absolutely invaluable and very interesting now this is the absolute clincher because John Crook is confident that the dimensions given in the accounts match exactly those of our doorway and passageway also the stone they record for the sill Kentish Stepple rag looks right as shown in the photograph of the door sill on the hall side exposed during repairs in 2014 so the new doorway and passageway clearly marked a grand processional route for the King used the Coronations as shown in Francis Sandford's plan for his history of the Coronation of James II published in 1687 this was also the main way to the House of Commons and for a while to the south end of the palace as noticed in the accounts ahead of Charles I was above the doorway had first in a cartouche in 1704 it was replaced by a bust of the King as shown here the design of this was later attributed to Bernini but it was on a certain after Hubert of Sur this remained in situ until about 1790 it could perhaps be the bronze version now in the Royal Collection it would be nice to think so but perhaps someone here will know something about lost heads of Charles I I would very much like some information now here is a real triumph this is actually the only picture we found of the doorway in a print in Britannica Lestrata of 1727 where it's described down here as the entrance of the House of Commons the inset is a rectified version made by John Croock so there it is by this time another more central door at the south end of Westminster Hall had replaced it as the main route through to the House of Lords and Old Palace Y Yard was still puzzling about when that was actually knocked through there are a lot of door-related puzzles in the House of Westminster and particularly in Westminster Hall and they will keep us going for a very long time throughout the 18th century the doorway and passageway appeared numerous plans and its surrounding buildings this example from the Office of Works Plans in TNA also shown William Kent's Gothic Revival Law Courts dates from between 1768 and 1794 then in 1794 the Cloisters and Grand House surrounding them passed to the Speaker of the House of Commons in 1802-7 James Wyatt remodeled it at vast expense for Speaker Charles Abbott removing the partitions from the West Cloister and by 1807 locking off Great Doorway on the Hall side however the Cloisters side of the passageway remained open fast forward to the 1834 fire and then to the building of the new palace whilst the two Houses of Parliament remained on site and constantly shifting temporary buildings now is there a lesson there I wonder I think there is from this MP's pocket plan of 1847 because it gives us some idea of the complex circulation arrangements which were needed particularly to bypass Stephen's entrance and hall at that stage under construction and there's the Cloisters and there is the passageway then also committee rooms all the way along there it must have been incredibly difficult for members to find their way round because in 1846 Barry had had to reopen the hall side of our passageway to provide an access route by the Cloisters to the north end of the site but finally in 1851 the passageway was walled in on both sides when Barry was restoring and remodeling the Cloisters graffiti inside the passageway marks this event again a most vivid way I love this, I absolutely love this bit this room was enclosed by Tom Porter who was very fond of old ale the parties who witnessed the articles of the wall was Archongdon Mason, J. Williams, H. Terry, T. Parker, P. Duval these masons were employed refacing these drawings of the Cloister August 11, 1851 real demo cracks so all of these festive worthy Charles Barry's workmen turn up in the 1851 census Tom's Porter was a bricklayers labourer living in Water Street near the Strand Richard Condon, Stone Mason, Domiciled in St Mariborne and the other four also Stone Masons all inhabited Ponson would be place this is a terrace of houses near Tate Britain which are today a highly desirable address Tom Porter was clearly the ringleader also wrote his name in very large letters on the plaster right at the top of the adjoining wall so after all this walling up while the existence of the passageway remain known it could no longer be accessed until its surprising rediscovery by Giles Gilbert Scott in 1949 but now we come to the crux of the matter how on earth did the legend that this was a Tudor doorway which had us all fooled arise by investigating press reports of the unveiling of the plaque in 1895 I discovered that its mastermind was this gentleman Sir Reginald Deuce Paul Graves clerk of the House of Commons from 1886 to 1900 he was the fourth son of Sir Francis Paul Graves the first deputy keeper of public records he was evidently a well-regarded proceduralist who built on the work of his predecessor Sir Thomas Erskine May named Cungjewith but his real passion was perhaps unfortunately history and especially the life and times of Oliver Cromwell on which topic his enthusiasm considerably outstripped his adherence to any evidence for example his attempts to redate the signing of the death warrant of Charles I were scornfully dismissed by the magisterial Samuel R Gardiner as a very improbable explanation without a scrap of evidence in its favour I investigated some of his other published work and here in his colourful lecture to the Rygate South Park Working Men's Club he lived in Rygate by the way which appeared back in 1868 are the origins of the legend of the door I won't read it all out it just goes on and on but as you can see it is based on his self-consciousness showman's suppositions and a lot of these words really appear almost verbatim minus any caveats on the plaque in the hall and so they've unsurprisingly been pretty much believed ever since so to sum up I mean the chronology so 1660 to 1661 the door and the passageway cut through the wall and the hall side was blocked by James Wyatt the hall side partly unblocked in 1846 1851 the hall and the hall the choice to sides were both blocked the passageway was now fully enclosed by Charles Barry and his festive masons and here we are 1895 the plaque marked its location and both the story about it subsequently broadly accepted then in 1949 the passageway was rediscovered by Sir Charles Gilbert Scots Workman they're actually putting in a ventilation system when they found the passageway and it was recorded and sealed up again apart from the access panel the existence of the access panel subsequently we think forgotten and the passageway was little known but finally in 2018 the passageway was rediscovered and accessed once more infinity's the variety of fame and name with which the doorway may be coupled Declared Sir regional ddy-sporcgrave the working men of Rangate now I have to admit this does very considerably overstate the case but i hope I've convinced you all that the powers of Westminster still has some intriguing secrets to give up and also that a light bulb moment can be literal as well as figurative. I'll say that many times. Thank you.


S... ...restrunk. As soon as Disney started seeing lots of commercial and critical success for their NES games like DuckTales and Chippendale Rescue Rangers, they did not hold back when it came to licensing as much stuff as they could for both the Sega Genesis and Super Nintendo. We got games for Pinocchio, 101 Dalmatians, Fantasia, Goof Troop. There's like three different Beauty and the Beast games for some reason. And there's a game based on the Jungle Book movie developed in the summer of 1994 by Virgin Games, who made other Disney games like Lion King and the Genesis version of Aladdin. As you might expect, Jungle Book is one of those games that got ports all over the place, like the Sega Master System, Game Boy, Game Gear, even on the NES super late in its lifespan. And the game is slightly different on each of those platforms, but I'm looking primarily at the Super Nintendo Edition. Jungle Book fits right in with the other Disney games I mentioned. It does a great job keeping the Disney aesthetic consistent with the movie, very similar to the way games like Lion King and Pinocchio also did. The sprite animation and backgrounds here are top notch, and the music and sound design fit really well too. And those are the biggest strengths of the game by far, and ultimately that's really the goal of games like this, to make kind of an interactive version of the movie for kids. So from that standpoint, this game succeeds. Everything just runs together so smoothly, especially the Mowgli sprite. He's got like four different idle animations. He's dancing, he's throwing punches, he's juggling bananas.  As far as the gameplay goes, it's pretty much just jumping, climbing and swinging around vines as Mowgli using B to jump, Y to throw bananas, and A to use special items like coconuts, papayas, or mangoes while using the L and R buttons to switch between them. Geez, you think with all this food, Mowgli should just stop and open up a bodega somewhere.  You get a health meter with six lives to get through 11 levels broken up into a couple stages each. You start with zero continues with the game instead having you earn them by collecting red gems. You also collect green gems to unlock bonus stages where you can collect extra lives and item upgrades. The goal of each stage is to simply make it to the end or to fight a boss, but the maps are plenty big enough to wander around and find lots of hidden stuff. Like for instance, there's idols that you can find that take you to spots on the map that you couldn't otherwise. And there's no time limit so you can just stand here and juggle bananas all day if you want. The controls are on the slippery side. It can be tough to get used to grabbing onto vines, but otherwise it's a pretty fun game that's easy to run straight through in about an hour or so. My only real nitpick is the camera viewpoint. This is yet another game where sometimes it can feel like your eyeballs are being yanked back and forth. This is partly because the game generously lets you look up and down while you're standing still to avoid any blind jumps, which is nice, but when you're avoiding projectiles or trying to get past enemies, the viewpoint feels like it's shifting around all over the place. Here's the thing, though. This game is fine on Super Nintendo, but the Sega Genesis version of Jungle Book is clearly the better playthrough. Oh, are we doing this? Well, no. A couple of guys already did do that. But it's true. The Genesis version is better. The graphics contain a lot of detail and everything just has that smooth, polished look to it. Same as the Genesis version of Aladdin. The game structure is a bit different on Genesis since you have to collect a certain number of gems before you can continue on to the next level, but the controls are much tighter and your banana weapon has more range, allowing you to throw diagonally. The Sega version also features more characters from the movie, which is always a good thing. So yeah, to be totally honest, I've been playing so many awful games lately that playing something like Jungle Book makes me feel like Andy Dufresne after he crawled through 500 yards of sewage. So it's possible that I'm overrating this game a bit. But it is, undeniably, a great-looking game. It represents the movie really well, and it's a slightly barely-above-average-okay-ish playthrough, although like I said, you're better off playing the Genesis version. The Super Nintendo Edition is still fine, though. I'd rank it higher than games like Pinocchio and Beauty and the Beast, but not quite as high as Aladdin or Maui Mallard. It's one of those games that's worth checking out if you've already played all the other good Disney games to death. Alright, that's all for now, and I want to thank you for watching, and I hope you have a great rest of your day.