It is wonderful to see you all again. Thank you for joining us on this journey with the National Institute for Directing and Ensemble Creation in our virtual weekend. We are Roland and we are loving it. My name is Andrea Asaf. I'm the Artistic Director of Art to Action, zooming in from Tampa, Florida on the land of the Seminole people. We invite you to say hello to each other in the chat and also let us know where you are zooming in from and whose land you are on. If you are following along on our HowlRounds or wherever, I would like to invite Suzanne Cross from Pangea World Theater to do land acknowledgements together. Beautiful, thank you so much, Andrea. I'm so excited to be here and on screen with everyone. Pangea World Theater and Art to Action acknowledge that we are on the sacred traditional lands of the first people of Turtle Island. For Pangea, it is an honor to live, work, and create art and community alongside Dakota and Ojibwe and the first people in the Twin Cities and Minnesota. Art to Action in Tampa, Florida is on the land of the Seminole people. We pay respect to Indigenous peoples' past, present, and future. As we grow in our work of decolonization, we build relationships at the speed of trust and endeavor to move from acknowledgement to action. And we invite you to acknowledge the first peoples of the lands where you are currently. Please name them in the chat and to learn more, you can go to nativeland.ca. I think the link is in the chat as well. So it is my great honor and pleasure to welcome today Sharon Bridgeforth for our masterclass. And Sharon's bio is on the screen and will be in the chat. But I just want to say personally that Sharon has been with us on this journey with the National Institute for Directing and Ensemble Creation for a very long time, being a voice of reflection in our first gathering in 2012 and wrote a beautiful article, which I hope you all will check out, reflecting on that first experience and has been a master artist and mentor at the Institute as recently as 2019 and most recently appeared in the Black Directors Roundtable, which how round streamed, if you have not seen that, you should check it out as well. And it is just always an honor and a pleasure to be in the presence of Sharon Bridgeforth, to experience the work and the creative process that she has to offer and the wisdom and joy of her creative process as well. So without further ado, please welcome Sharon Bridgeforth for this special masterclass. Hello, Sharon. How are you doing today? I'm fantastic. I'm so grateful to be here. It is such an honor and a privilege. And I want to start by just really thanking you all for making this happen. Pangea and art to action and the labor, the love in action, all the years of creating and holding space for us and inviting us back and building and world changing that this is that you all have done and continue to do. I just feel extremely humbled and grateful. And I invite everyone to just drop into the chat, your gratitudes. For me, I know this is a place where I know I'm loved. I know I'm seen, I'm welcomed. I, you know, we can have the hard and sometimes messy conversations and things and still rise closer and more fully ourselves and encouraged. And for me, that is really precious. And in this, I feel I'm able to honor my ancestors and the people that have sacrificed and shaped these moments that I'm in most fully and then carry that out. So I invite you to drop into the chat some of your gratitudes as we move forward. What we are going to do during our time together is do a little bit of writing. So I encourage you to get something to write with, whether it's your computer, a paper and pen, whatever. I'll start by giving context. I will offer prompts throughout our time together at some point I'll ask the people that are here live with us in Zoom to go into breakout sessions and make work together. And while that's happening for the folks on HowlRound, there'll be a video playing and then I will pop in there and chat. And then we'll all come back together and the folks that made work together will be invited to share. So that's just a little bit. So I'm on Kislan. I'm in LA, the place that I grew up in and returned to about three years ago. So I'm home, very grateful. And thinking about this institute and all of you here, Diane Rodriguez and Lori Carlos come to mind. So I just wanna lift them up. I'm so grateful I got to spend just earth time and spirit time and work time and play time with them both. And so I just wanna say their names. And so I invite you to take a moment and both in the chat and in your notebooks or whatever you're writing with to just name some of the people now ancestors that you're grateful for in this moment. So write some of those names down. You won't have a lot of time, but write some of those names down. It's beautiful to see the names rolling through the chat. And we know that they're here with us always and that we can continue to commune and be with them and learn from them and make them laugh. Take a moment if you would and just and during our time together and write, the prompts are gonna be written in the chat, but also I invite you to write the prompts down because the truth is we could spend a half year doing this, but we've got two hours. So you won't have as much time as I'd actually like to give you to respond to prompts. So I invite you to take the prompts with you. And if you need to see the prompt, like if it escaped you and I don't repeat it, just look, scroll and you'll see that they will be written there. But use them for journaling, use them for walking meditations, whatever works for you. Take a moment and just breathe into whoever feels most with you right now, thinking of ancestors, knowing that there are no veils, that the living, the dead, the unborn coexist, that the past, the present, the future is now. Who of light and progress is most with you in this moment? And what is one thing that they said to you are saying to you that resonates deeply? So for me, I'm gonna say two people actually as example, Lori Carlos and she used to always say everything's already in the room. And I'll say my dad, who's from New Orleans, Algiers. And we would say, dad, do you wanna move back to New Orleans? And he'd say, in the morning. So anyway, pick one person, you can do more of this on your own time, but pick one person and write down one thing that is really with you that they have told you, that they have shared with you. And then take a moment and write the story of that. What is the story of that? And you're not gonna have a lot of time, but get it started. So take about another minute. All right, bring that to a close and we'll keep building. But I wanna take a moment and give a little context for how I work, how I've been shaped and what I'm offering. The book about the theatrical jazz aesthetic, which is the lineage that I'm a part of artistically is this gorgeous book called Theatrical Jazz, Performance Ache and the Power of the Present Moment and we'll drop a link in for the book. The hard copies are no longer available at the moment, but you can, it is available as an e-book. It is by Omi Oshun, Joni L. Jones, and it is just a gorgeous really ethnographic work where she gives history, context, rooting, her own journey and specific stories and works with artists that work in this aesthetic. The naming theatrical jazz actually was coined by Aisha Rahman in the 70s.  So just like the musicians, it's not meant to be a tight box but what it is meant to do is help us name our family, our lineage and the tools that we're working with, which Omi roots all the way down into your spiritual cosmologies and practices. I'm gonna read just and short bits, and this is for context of an essay that Omi did that was published back in 2005 in the theater journal. So this was before the book came out. And there's also Omi has a website that has some audio and video of her talking about the book and that link will also be in the chat. Anyway, Omi says, this work began to form in the early 70s alongside the black arts movement in the sounds and motion dance studio under the tutelage of Diane McIntyre. Sounds and Motion became the artistic workshop for a host of legendary performance artists including Lori Carlos, Endazaki Shange, Jawele Willa-Joes Olar, Marlise Yorobi, musician Cecil Taylor, Craig Harris, Seku Sundiata, and Olu Dhar with whom McIntyre continues to create work. This simultaneous movement fused music, sound, dance, movement and spoken word was primarily initiated and perpetuated by women. It relied on breath as a spiritual fire of the work and set no limits on blackness. A theatrical jazz aesthetic borrows many elements from the musical world of jazz, improvisation, process over product, ensemble synthesis, solo virtuosity, and it disrupts the traditional conventions of Western theater including a single narrative with a through line and causal relationships that rely on psychological coherence, individual characters performed singly by performers and identifiable places and spaces. A jazz aesthetic uses gestural language as counterpoint to verbal texts. This gestural language is a blend of modern dance, contemporary dance, popular idioms and everyday physical references like washing dishes, getting dressed or chasing a ball. Some of the movement reflects West African aesthetics and galerity movements that pull to the earth unpredictable punctuation, but the modern dance foundation from McIntyre remains apparent. There is a fluidity of time and space in a jazz aesthetic now and then and will be coexist. There and here and never was is. Ancestors and deities and nature and humans float, sing, spin and make worlds together aware or unaware of each other's presence. Okay, Dr. Jones. Y'all know Dr. Jones, my wife, right? Anyway, but we've worked together for many, many years before we got together. And so very proud of her and grateful for her work. What is your aesthetic? Take a moment if you would and just name your, and you know, this is not about boxing, this is about expansion. So expansively just name your aesthetic and make sure you note a little bit about what it is rooted in, what shapes and informs it. Again, you won't have a long time, so make sure you write the question down. For those just entering or just joining, you can scroll through and find the prompts that we are currently writing through and that we have written about. Bring that to a close. As Omi mentioned in her essay and talks a lot about in her book, this form, this aesthetic is basically very much driven by ancestral connection. For myself, it is all my whole hearted desire to live a spiritual life, to heal, to be a healer, and to move the lineage forward is the work. How I tell stories, how I am in collaboration is informed basically not only by the people that mentored me and shaped me like Lori Carlos and Robbie McCullough who are the people that I'm working with and Robbie McCullough and so many others, but it's also shaped by my trying to tell stories as good as my family. So for me, growing up being someone that just was mesmerized by the elders in my family, I was the youngest one for a long time. I remember that they were always dancing. There was food always, folks laughing, singing, crying, like all these things happening at the same time. A lot of good timing and a lot of grief all at the same time. A lot of repetition, same stories being told over and over and over. And what I now know is that was all such a gift. That was how, what I had to lean into, not only as I make work, but as I grow and move forward in the lineage and in my own soul, what are the elements of storytelling that are part of your inheritance? What are some of, you won't have time to tend to all of them, but what are some of the elements of storytelling that are part of your inheritance that you use in your work right now? You'll just have a couple of minutes. And again, if you didn't quite catch the question or if you're just joining up, look in the chat, scroll through and you can catch it there. Bring that to a close and just kind of look through your responses thus far and frame things, circle, box, underline, frame things that jump out at you. So no right or wrong, just following your authentic curiosity and feeling.  So you can return to framing a little later, but I wanna move towards sharing a little video clip, but before we do that, Lori is really present with me for many reasons, she always is, but she was the one that invited me to join her in 2012 at that first director's institute. I didn't know what it was gonna be, I just said yes and showed up like I always did when she invited me or pushed me on to places, sent me places and I'm so grateful I did. And I see a lot of you here that I love so much. And so again, it's so wonderful to be here with you and for those of you that are new, welcome. From the essay that Omi wrote, she named some of the architects of the theatrical jazz aesthetic. I wanna put some more names in there. Daniel Alexander Jones, Grisha Coleman, Helga Davis, Florenda Bryant, Virginia Grace, Sonia Perriman, Robbie McCulley, Jessica Haggadorn. It's a long, long list y'all, but I just wanted to drop some more names in. Zell Miller III, Jola Branner, oh God, it's a long list.  If I've said names of folks that you know and love, reach out to them. I think we all really need to be in as much touch as we can through these interwebs and phone lines these days as possible. Let's check on each other. So yeah, let's, and while I'm thinking of it, I also just wanna acknowledge there are so many people working behind the scenes to hold this space for us. So thank you to everybody that's holding all the spaces that is the space and are the spaces that we are in here together right now. So thank you. But let's play the first video clip in just a second. This was the first time I worked with Lori Carlos. It was a piece I wrote called Blood Pudding. It was information about it, including who the performers are and all of that stuff will be in the chat. But basically it premiered at Frontier at Hyde Park Theater in Austin, Texas. Vicky Boone was at the time the artistic director of Frontier and you'll see Jola Branner, Renita Martin, Stacey Robinson, Zell Miller III, Florenda Bryant performing. And it was the first time I got to work with Lori and I literally just sat at her feet. So she directed this piece up until that point. And this is still my way. Like honestly, I don't actually identify as a performer or a director. I identify as a writer who works in performance. But the truth is, I collaborate to bring work to stage. And I'm using all those tools that are part of the jazz aesthetic, theatrical jazz aesthetic that Omi talks about in her work and all the ways that stories are told and embellished that I grew up with. And just my own curiosities as a writer who has been shaped by the world, by spirit and by people who've loved me. Up until working with Lori, I was just, I didn't really know what I was doing. And there's so many ways that I still don't. If we're lucky, we keep learning and growing. But this was pivotal because I got to sit at the feet of a master artist who looked at me and loved me and took me in.  Lori directed the hail out this thing. And by being with her, I was able to gather more tools and learn more about myself as a writer and also how to imagine more fully my work on the stage and how to work with others. So, okay, anyway, let's play the clip. It's short and that cast. So in blood pudding, I was trying to write my way into understanding more about my birth family on my father's side, which I didn't start living with until I was a teenager, but felt always haunted by them, literally. And for real, when I first went to New Orleans, but that's another story. But anyway, so I did a lot of research, a lot of digging up of blood memories, a lot of just kind of writing my way through, but really looking at the history of people of African descent in New Orleans. And so that was the bones of the piece. And I had written, I don't do stage directions. Even then I didn't do stage directions, but what I had written, I had written a song and it said in parentheses above it, song ring shout. And then there was text that followed. And what Lori did was she took the ring shout and she turned it out and created the movement with those gestures and the breath. And I always felt like Lori, her signature as a director, one of them at least, is that she would tell the story that the text was telling with a lot of little photographs that moved. And so anyway, just one of the things that was so impactful, many things were impactful, as you can imagine about that experience for me, but one of the things that it did that was really important, what it was, it freed me as a writer from trying to tend to directions. So for me, I allowed myself to be even more curious than I had been before about what my collaborators, performers, audiences, whoever, the visual artists, like more curious about what they would bring to the work than about me telling them what to do inside of it. And so then my job as a writer was then to write in a way that held space that was specific. And so the writing was the architecture and I do not like my words being changed. So I was being very intentional in the writing and for me, the use of language as music, but then somehow, which is just so much fun for me, helping the page to invite and hold space for other people's vision to be inside of it. And so I guess a prompt I have for you, huh, there's Florenda, a prompt that I have for you is what is it that you have learned from one of your mentors that you are still exploring and expanding? What is it that you've learned from one of your mentors that you are still exploring and expanding? Hey, Flo, we just showed blood pudding. Okay, give you a moment. So again, if you didn't quite catch the question, you can scroll and find it. So bring that to a close and I'm gonna share another video in just a second. This video is a documentary, so we're only gonna see a little piece of it, but the link will be in the chat. But in it, I'm talking about a piece called RiverSea that premiered at Lynx Hall in Chicago in 2014 and talking about kind of like the architecture of the piece. And so in this, I really found that I wanted the audience to be more engaged, accountable, responsive and activated inside of the piece than in previous pieces. So the audience has always, I call them witness participants, been really important to helping to create the experience, but with this one, I really wanted to activate the audience more. And I wanted to be more active and I found that I had to put my body in it and I created some physical signals to help offer improvisational responses from the performers and from the audience that were from the text and from the world of the piece but also improvised based on my invitations. I had been deeply inspired by Lawrence Butch Morris whose work I found out about in the 2000s because I got to work with Helga Davis who worked with Butch and just his conduction. And so if you don't know his work, please look him up. Lawrence Butch Morris, he's now an ancestor but he created as a jazz musician something called conduction where basically he'd invite, one of the things that he did was he'd invite musicians from all over lots of different instruments, musical backgrounds and experiences and they would have to learn his signals. So they weren't getting a sheet of music. What they were getting was his signals and then they would create music improvisationally live and Helga directed a piece of mine and I think 2004, Love Contra Blues at the University of Texas in Austin in the John L. Wolfield Center for African and African American Studies and Helga's direction was very similar to that. And so it just took me years to get the courage to actually do it but I had been moving towards this thing of putting my own body in it and composing live. So anyway, let's play just a couple of minutes from this documentary. I'm Sharon Bridgeforth, the writer and composer of River Sea. River Sea is a theatrical jazz performance installation and what that means for me is that the text serves as the structure that improvisation happens from. So the text is, or the script, is handled by Sandra Parks who plays Sea, S-E-E. And the text is a series of blues stories and in these stories Sea tells us about her family, her ancestors, her dreams, and her community. So move in the light, see the sea come there. Everybody get it, get it in the light. I have developed a series of gestures that are requests. This means change, sonically, follow me, walk up and down the center of the crossroads for the egu or the dancers. This means warrior, dance, do what you feel. Sea means process, go get her. When the audience comes in, I ask them who feels like gossiping and I give them bits of text that are gossipy. I say who feels like praying or sending light and I give them bits of text that have that kind of energy. And I'll ask who feels like translating and I give them bits of text. We're gonna invite you to a little x-tree. Look, I do this, I'm asking you to gesture. So just try that. It can stop it there. You don't have to, I'm doing it. In fact, thank you. So again, you can see the full thing online. When we go into the breakout sessions where the folks that are with us live on Zoom are gonna be creating work, those of you on HowlRound will see a clip from the performance. So we'll continue that conversation in that way. A prop that I have for you is what is the thing that you are most afraid to do? That is a thing you need to do in order to realize your work more fully. What is a thing that you are most afraid to do that you need to do in order to realize your work more fully? So write that prompt down and then you'll just have a couple of minutes to respond. I'm gonna offer one more prompt and then we're gonna go into the breakout sessions and then again, the folks in HowlRound there'll be a video and conversation happening. This final prompt, at least for now, is what is the story that you need to tell right now that could offer the most healing for you? What is the story that you need to tell right now that could offer the most healing for you? So take just a couple of minutes. So bring that to a close. Thinking about theatrical jazz, thinking about Laurie and the piece that she directed of mine that I shared from Blood Pudding. What I learned from Laurie is that she was always listening for what hadn't been said yet. And sometimes she would hear it through your gestures, your everyday, like if this is my gesture, I'm just talking to you, that gesture, if I was a performer, that would end up in the thing. And somewhere underneath that gesture, something would shift in me that needed to come forward. I think also in theatrical jazz, we're working with the idea of ensemble, working as an ensemble or working as a collective and virtuosity, always virtuosity, but solo performance. So sometimes I'm the one that's the lead voice, the lead voice, and then sometimes I need to step back into the collective. And so we're shining together and we're holding space for each other and we're listening for what hasn't happened yet, which means that sometimes dissonance gets created. And sometimes out of the dissonance, the unexplainable phenomenals happen. So what are the risks? I said that was the last prompt. This is the last one for right now. What are the risks that you've taken your work as a director? What are the risks? What are the ways that you risk in your work? So let's bring that to a close and then I wanna check in with our team. I think the breakout rooms are not working. Is that true? That's the word on the street, Sharon. Okay, we're rolling with it. Okay. Yeah, we go roll with it. We know how to do that. We go step and shift. So for the people that are here with us on Zoom that wanna be in conversation live, if you would keep yourselves muted but show your, you know, like, unstop your video and we'll have a conversation and we'll see what happens. Oh, gallery. I wanna do, yeah, there we go. Hey! Oh, snap. Oh my God. Okay, I'm just so happy to see you all. This was like a Christmas gift.  Yes! I invite you first to just look at each other. What you find selves. Just take each other in. All the memories we have, all the new memories we make in, all the love that's here. Oh, all the power. Blessed be, good God Almighty. Oh, Lord. Thank you. So I just wanna open. I think we can still make some work together but before we do that, I just wanna open and see if anyone wants to share anything either that they responded to in the prompts or anything that has come up about your work, how you make work, who's influenced you, anything you feel moved to say I invite you and don't feel free to not raise your hand like we can just pop in, you know and if two people end up talking at the same time we'll just figure out how to have one person talk. Well, listen. Oh, Linda can't hear you. I think you're talking but for some reason I can't hear you. Now it's muted. I think we need to ask our team to unmute participants and allow participants to speak. Okay. There we go. Okay, now try it, Linda. Oh, still not hearing it. Still not hearing it. Well, she's muted now. Yeah, we're working it out. See if we can just take a little time. Thanks everyone for your patience and for rolling with it. Okay. Let's try again. Okay. Linda, you wanna try again? No. Okay, well while the team's working on that I'd like to ask you all to go through some of your responses and find a thread that you wanna follow. Like if you were to make a little mini story right now what would that be just based on whatever writing or maybe you responded to drawing or, you know noting music but with your responses find the thread that you wanna follow and tend to it for a moment. You'll just have a couple of seconds, a couple of minutes, sorry. Sharon, can you repeat the prompt please? Oh, sure. Does that mean that the sound is working? Cause I heard you. Mine might be on. Okay. Check one, check two, check one, check two. Can you hear me? Oh, go flow. I can hear you. I can hear you. Thanks team. Okay. All right. So the prompt was look through your responses to the prompts that I offered earlier and find a story or a nugget that you wanna follow. So basically the invitation is to find something in there and make a little short bit out of it. And you're not gonna, you don't have that much time so, you know, it's not full story. It's just probably gonna be a couple of sentences. Okay. Bring that to a close for now. All snap. They got the breakout rooms ready. Okay. That's actually perfect. So take that in to the breakout rooms. We know how to roll, don't we? Shout it. Okay. So in the breakout rooms, I invite you and there'll be roughly five people per room. You're only gonna have 15 minutes but I invite you to share what you just crafted and then together create something. So each creation should have at least one word from everybody. Maybe there's a way that you have all the lines from everyone but at least one word from everybody. It should have some gestures and it should have something sung. If you have the capacity for it to be multilingual, let that rise in there as well. When we return, I'm gonna ask each group to share what they created. So don't let it be like, keep it at two minutes just being mindful of time. Again, if we were meetin' live in person, we'd have bays but we got two minutes here and that's good. So again, in the breakout rooms, everyone shared the piece that you just tended to gather, create something, make sure the thing that you create has at least one word from everybody but you could decide that everybody's words all get heard. That's totally up to the group. Should have gestural language or some gestures in it, something sung and if you have this available in your group, multilingual. You'll have 15 minutes. When we come back, we'll ask each group to share no more than two minutes of what you created and then we'll talk. Any questions? And then folks in HowlRound, you all will see a video and I'll pop in and chat with you before we all come back. Suzanne also wrote our group instructions in the chat if you need it. Okay, let's do that. Let's do that. Break out rooms, hi. So I think in just a moment, you'll be getting an invitation to join a breakout room. If you see that pop up, you can just accept to join it. Yes, click the message to join blue button as you get the invitation and we'll see you on the other side in just a few minutes. I don't know, maybe we'll keep hanging out. We're rolling, going with the flow today. Yes, it has been so inspiring already Sharon. These prompts are just golden gifts. Thank you so much. Thank you, thank you everyone. So is anyone seeing the invitation to join a breakout? Can I see some head shakes or nods? I've seen a lot of no's. The invitations are not popping up. I'm saying that out loud for our tech team. Ooh, there's a little wiggle now in the background. I see you, Oba. Hi. Hey. If breakouts do not pop up, we can just continue the conversation and stay together. Absolutely. You can just have Oba dance for us. That's right, that's right. That's always good. Right Oba, do your dance. I think the hell room of folks, I'm kidding the joy of all the dancing. All the dancing. Maybe we are in gallery view. This is clearly a dance break moment. That is what has organically happened. So I say we all just take the dance break moment. Yes. Yes. Shake it out. Oh yeah, that's my song. Who's got music? Well, what should we do? Tanya, do you have a message for us? This is a great moment to introduce and thank Tanya Neumeyer who is working tech in the background all this time. Hey Tanya, what'd you say? Hi, so I just went over to a breakout room and I chatted with Oba. And I think the thing is that because we had to initialize them a little late in the game, our apologies. My best guest, thea, you can tune in on this, is that it's only working for people who joined late at the meeting because I can show you the screenshot that it works on my end, but I think that may be correlated to the fact that I left. So we just have to make a decision. Do we really want to do the breakout rooms? Then we all just go and come back to this same Zoom room. I think we can stay here and flow. Okay, thank you so much. Thank you, appreciate it. Okay, all right, thank you. All right, and thank you for the song and the movement. So, first of all, I want to hear, Linda, what you were going to say earlier. Oh, we still can't hear you. Linda, it might be your mic. Let's go to someone else and then see if that works and give Linda a moment to hear it out. Okay, all right. Then let's play with the pieces that you created and then we'll do a little bit of that and then we'll talk. So anyone that wants to, I invite you to share the piece that you just shaped. So anyone that wants to just do it. Yes. I'll share mine. Thank you. So good to see you, darling. Yay, thank you. So I had two deities, Olurimi and Daddy, who created two mountains that they transformed into bodies that knew everything. They were wise bodies. They knew everything in the world, there is to know. When they gave birth to them, the two bodies bowed down and said to Mommy and Daddy, thank you for bringing us into the world. Now teach us everything you know. So they said, oh no, you're supposed to know everything. They said, no, you brought us here. We did not ask to be here. So now you have to teach us everything you know. Hmm, thank you, thank you, thank you. All right, so is it okay with you if we play with you with your piece? Okay, great. All right. In a moment, I'm gonna ask you to read it again. Okay. And this time everyone, as you feel moved to, offer gestures. So we're gonna add a layer of gesture. Okay, let's hear it again if you don't mind. Okay, so Olurimi and Daddy created two mountains. Then they decided to transform the mountains into bodies that would know everything in the world. So they created the two wisest people in the world. When they gave birth to them, the two children bowed down to their parents and said, Mommy and Daddy, thank you for birthing us and bringing us into the world. Now teach us everything you know. Yay, thank you. All right, thank you, everyone. Okay, we're gonna continue to play and continue to layer. Someone else, please, Adris, you stay on if you don't mind. Okay. And someone else, please share what you crafted. Okay, I'll share. Okay, thank you. Okay, I'll share. Okay, thank you. Everyone, we're together here at Tieta. So this is what I crafted. Returning to my roots, I seek the drive and passion to ignite the engine on the road to healing. Say that again. Yes. Returning to my roots, I seek the drive and passion to ignite the engine on the road to healing. Wow, thank you, thank you, thank you. Okay, so now I'm gonna ask you two to play together. So Ova, if you would just repeat yours, let's just do it in repetition. You all really listen to each other. You'll have to figure out who is the lead voice or are you all in ensemble voice together? When the rest of us feel moved to offer gestural language in support. So it's not that you're doing with your gestures, literally what they're talking about, but it's almost as if you're in another layer of the world that they are in. So offer gestural language in support of what they are sharing. Okay, so you two go whenever you're ready. Returning to my roots, returning to my roots, returning to my roots, returning to my roots, returning to my roots, returning to my roots, returning to my roots.  Returning to my roots. Mommy and daddy created a mountain. Okay, let's stop. Okay, so this time let's do it again and do the text as you have it written. Okay. And then over I think yours because it's shorter, you'll need to repeat it and you all may want to both repeat your text just to kind of, you know, find your legs together. We're giving space for each language or. I think you all in listening. Make those decisions in spirit. Okay. I want to add another thing will offer gestures as we're moved to and again it's, it's like we're part of a world that's holding the world that they are speaking to us through and from that's where the gestures are coming from. If anyone feels moved to add a multilingual lingual element and spirit and offering. That please. And there can be as many languages as are available to us. Using some of the words that they offer. Okay, let's try it. Mommy and daddy created a mountain. Returning to my roots. They turn that mountain into a body. They seek the drive and passion. The wisest bodies in the world. To regress or a lot of time. To ignite the engine. They created two of them. They will tell me races. To why is this people in the world. To regress or a lot of time. From the road to healing. The world that means races. When those bodies were born. Mommy. When those bodies were born. They bow down. Returning to my roots. The world that means races. They said thank you mommy and daddy now teach me everything you know. To regress or a lot of time. The drive and passion. To ignite the engine. On the road to healing. The world that means races. Wasn't that beautiful? That was so beautiful. Okay. Let's keep playing. We're going to add one more element and we're going to try something a tiny bit different. Okay. Okay. I would like to invite someone to sing. What you wrote. So one of you. So not Idris. We're having a third person, a third voice in. To sing. What you wrote. And it doesn't have to be the whole thing. It could just be some words. We'll continue the gestural support. So. The traditional choir of languages. This time over and Idris. Talk at the same time. So this time. You're saying different things. But you're in the same world and spirit. Talking at the same time. So part of what you have to then negotiate. You have to communicate. You have to communicate. You have to communicate with that, but you have to feel into that and just. Repeat. Your, your. Language as necessary. And then. To our, our, our spiritual chorus. Offering. Multi language and spirit to our world here. You all are also part of the same world. And so you're in support of. Our spiritual chorus. You have to communicate with the speakers, but we do still need to hear you. And you don't have to wait. Until there's a pause, but if you want to, you can, but feel free to. To, to, to hold them. As they speak. And then the person that is going to let's do this before we bring in the person that's going to sing. So let's try this one time. And then the next time we'll bring in. Yeah. Wait, I'm sorry. What are we doing right now? So right now you two are in the world together. Same. At the same time. Yeah. Yeah. And we'll still have the gestural language. We'll still have the multiple languages. Okay. Okay. Thank you. Can you hear me now? Yes, we can hear you now. Yeah. It's a miracle. Yay. Linda. Okay. That was perfect. Oh Jesus. Okay. Whenever you're ready. Mommy and daddy. To my roots. Created a mountain. Seek the drive and passion. They transform those mountains. Okay. I'm going to stop you. Talk at the same time. Okay. Okay. I know, right? Yeah. I got you pinned the address. Just so if you want to connect. If you go on your screen and there's that three dot, dot, dots, there's one video. You can pin me and I'm pinning you right now. So. How do I pin? That'd be, um, if you look on your, your video, uh, click it and there should be three dot, dot, dots on the top, right? Oh yeah. And then it says pin me to, so go to my video, pin me. And then I'll show up on, on, on screen with you. Okay. Does that make sense? Let me try to do that. I don't think I have that. I'm on my phone. Oh, okay. Yeah. That's fine. I'm here with you. I'm, I got you. You got me. All right. Here we go. Mommy and daddy. My roots. Created two mountains. I've been passionate. Transform those mountains. In general. Two bodies. Two wise bodies. The world. That means races. I've. Add. Everything to ignite the. On the road to healing. The two wisest bodies in the world. The road to healing. They said mommy and daddy. I've been passionate. The world. That means races. Thank you. Okay. Let's do it one more time with the, actually we're going to do it two more times. Cause we're going to add a, a final layer, but this time let's invite the. The singer in whoever is going to sing. And whoever is singing. You are the lead voice. So you'd be louder. Then everyone else. So. Yes. Just say something. Hi, Sharon. Hi. Good to see you. There's a setting. Yes. Okay. I put it into the chat. There's a set. In Zoom that. Makes. That, that this allows for voices to speak over each other. And that's. And be turned off. Oh. Okay. Okay. Yeah. I'm sorry. I think the setting can be turned off. So that. Okay. Yeah. I think the setting can be turned off so that you can speak over. Or speak together. That's why we couldn't hear the text. Together. Tech team a second to work on that. But we're not a hundred percent sure. Let's just keep rolling and, um, and see how it evolves. Okay. All right. Okay. Hey. Yeah. I think my sound. Yeah. Oh, you did. Oh, great. Okay. Awesome work. Turn, turn, turn on audio or turn on. So just go ahead and click on that. Do we turn on the original sound or turn. The device sound. I think it's turned on original sound. I think. Let's try that. Yeah. And who's singing. I think your Hannah is singing. Oh, wonderful. Oh, hi. Oh good. Okay. Let's make sure we can hear you. Can we hear you? Can you hear me? Yes. Perfect. Okay. Great. Okay. Let's see what happens. All right. All right. So. Breathing in being present. Being playful and curious, allowing what wants to happen to instruct us.  But for right now, we go play and discover. All right. Thank you. Let's go. The engine on the road to healing. Return to my roots. No. You. No. You don't say it. They. Its. So I miss. Races. The. Thank you, Mami, again. I always said that the life of my children is worth more than mine. The mountain is worth more than mine. The engine on the road to healing. Thank you. Yes. Yeah. Yes. So kind of in closing, I'd like to invite all of you to read or sing or offer gestures and just play with timing in a way that feels good and right for you. But if you'd like, let's hear all of your voices. And it can be a cacophony. So there might be dissonance. Maybe it'll be really bright and beautiful. Maybe it'll be creaky. But let's see what happens. So I invite everyone as an ensemble to offer. And be sure to add in gestures. You can sing. It can be multilingual. You can repeat your texts. But let's hear everyone that wants to at least participate. And go. Next up, she's... Hi, we're here to go together for a surprise. Check out the jumps that came at night. He's from Mother's Day. He came home to the mountain. He's from Mother's Day. One and a half weeks. And a half. Now, release words and let us up your nose, release words and let there just be gestures. Yes, y'all! Yes, family! Ha! Beautiful. So, thank you each for participating, for offering, for being present, for going on the journey, for being so generous and courageous and kind. So, yeah, let's open it.  Let's just be a conversation for this last bit of time. And if there are questions from the HowlRound stream, we can also have those join us. I do, I do want to say that, you know, the deepening of the questions, the prompts, was really had impact, you know. It went from, oh yes, I can answer this to, oh, that calls for a deeper examination. And the progression was really good. And I just wanted to thank you for that, you know, you're an excellent facilitator of this workshop. So, thank you. Thank you so much. That means a lot coming from you, because you are super badass. No, you are the badass. I'm just trying to hang in here. Trying to figure out myself. Thank you so much. Okay, who else wants to share, offer? Oh, Nova Co. Hi. I miss you so much. No. Oh, so good to see you. You know, actually, the way you left this was like jazz.  So, even though, you know, you're going with the melody, and then all of a sudden you're going, okay, you know, we have some offsprings from that melody, and then it confused me, and then I try to find my way back to the melody, you know what I mean? It's a fascinating process, and one that I could relate to, because I love jazz, and it made me ask a lot of questions about, you know, my, these multi-cultures, you know, we live in a blurry, you know, we live in this mixed up world, and to say that we only are one thing is crazy because we're not, and that can be very confusing at times. How do you bring those different voices and those different aesthetics? Yeah. One place and have them work for you is a question that I have all the time, and how do we express these multi-worlds that we live in in a way that really helps people synthesize their own lives? Thank you so much, and you're masterful at that in many ways, and one of them is in how you create space and offer the Bonne Festival. Would you talk a little bit about that? Well, that was another stumble. When I worked with Quetzal, and he took me to a Fandango class, which is, a Fandango is when people make music around a platform called a Darima, and these small guitars called Haranas, players. It's a very participatory situation where people who are not necessarily professional musicians learn how to play these instruments, learn these three or four chords, and they start singing these songs and making verses up as they're going. And then I saw, because I've written some Obon songs, which we dance around the platform, and the musicians stand in the middle of on this platform. So I said to Quetzal, I wonder what would happen if we bring these two things together. And when we went to Reverend Kodani, who of a temple that I'm part of, he said, well, it shouldn't be a fusion, it should be a conversation. So each of us had to stick to our own aesthetic and yet figure out a way to create a conversation. So that's what we did with this music, and then what happened, and it had Spanish and Japanese and English in it, and what happened is, and we created this purple band, and what happened is the Japanese community picked this up in their festivals, and it's being done all over Southern California and beyond in these different temples every year. And they feel perfectly comfortable hearing Japanese and Spanish and English in the same song, because that's how they live. And it makes people feel comfortable. Well, this is the way we live anyway. How come we can't dance in a circle and remember ancestors, which Obon is about remembering ancestors? Why can't we remember all of our ancestors? It's an insane circle. Now it's a festival that's been going for eight years, and now we have African, West African dance, and Sufi Muslims, and so we've learned how to take in all of these different elements and put them in the same circle. So it's very enriching and fun and challenging too. Thank you so much, and thank you for sharing. I'm so grateful I got to go to the festival that happened last year, and it's so awesome. And I think I feel like there's a thing that we're trying to do in the Jazz Esthetic too, that it's like I felt right at home. And some of it is the ancestral wisdom around spirit connection and opening portals and moving inside of them together gets activated in circle with colors, with sound, with language, like it's like it was just it was it was a spirit moving experience, and one that I felt really at home at because I think that's what I'm always trying to do too, even though it looks different, you know, even though it's in a different venue and form. So anyway, thank you. I love you so much. I love you too. Anyone else want to share, offer, ask anything? Flo, what you doing? Look, I have to call on her. She my baby. I'm here. I'm trying to, you know, step up, step back, because you know, I'll get in there. I'm thirsty. I'm thirsty and hungry for working with the people. I'm like, how much more time we got? What are we going to do? So I'm good. I know all, yeah, I know this. I know that it works. And so I'm just, I'm just chilling.  But that's it. I'm following you back. Yeah. Yeah. I, you know, and I have a new piece of development, which is really interesting because there are a lot more characters that I normally deal with and a lot of the things that I haven't, you know, always looking for that thing like what's not being said, how else am I not exploring in my body?  So just exploring different practices to help me explore that and figure out how, you know, how we're all, because I've been, you know, a lot of us are dealing with that right now. But hey, everybody. Hey, thank you so much, Flo. Thank you. Hey. Yeah. How, how are you? Yeah. What's some of this? Yeah. Well, I was also going to say to Sharon is so funny. The thing is, is that dancing and singing is still on my list, like that my writing, the things that I'm still not like, it's very, you know, interesting that once I wrote that, that there is just like this, it's like a mummification, but it's like a self-imposed like mummification. And, and things that I rely on other artists to kind of do now, especially from a directing perspective, when it comes to creating the work, is like, oh, but you're still not singing and dancing, which is funny. After 20 years, we're still pushing, but yes, I'll let someone else be. Good to see you. Good to see you. Thank you so much, Florenda. Sharon, I just loved, loved, loved this exercise. It was so beautiful. It kind of made me go back and reach right into a memory that I had not accessed in a very, very long time. And it was a very beautiful memory because it was of my dad, actually.  My dad has joined the ancestors many, many, many years ago. And, but he used to sing the newspapers headlines. Wow. So he would, he would sing all the lines of the newspaper. So even if it was like, as I, you know, I have four projects, Sharon, right now, like four artistic projects. I'm not even talking about Pangea. Yeah. You made me think of a fifth artistic. That's awesome. That's awesome. And then I have, Myla and I are working on something, want to work on something together. It's like, that's the sixth one. But, but my dad would sing. How are you going to relemet and relegate me to number six? You're number one. You're always number one. I'm a slacker. I'm only doing two. But I, I, I seriously, my father would sing the newspapers in the morning. He would sit in his comfortable, this thing. He would sit on the chair and then he'd be sitting under the most dire news.  I mean, it's like people are not giving up their presidency. People are like, you don't know how they're going to get out of the White House or not.  So everything would be reduced to this. Like we would all be like around him laughing. But it would take the bite out of the news because of the way he would sing out everything. And then suddenly out of all of that, there would be like the strains of a very good singer. So he would sing a karnatic, like in Tamil, a karnatic music classical song in the middle of that. And then he would score Shakespeare after that.  I don't know. Maybe it's there somewhere, some seeds somewhere. Yeah. Oh, thank you for thinking of that. And I love the way that this aesthetic, you know, I just want to say another memory of mine, which is anyway, so that's one, one thing I just want to share with everybody because it just made me go to a personal place. But the other thing that I remember seeing that Adlin actually acted in was this play that Laurie directed. We hired her to direct a Banana Alba in 2009.  It employed the jazz aesthetic from beginning to end. It was just movement. It was like abstract movement. I mean, it couldn't be anybody else but Laurie who directed that piece. And that's what Deepankar and I were like in awe when we saw the piece and saw how she had directed it. The people didn't necessarily understand it, but it was brilliance and action. Yeah. Seriously. Yeah. And she, you know, and really so much, so much love and respect for Laurie Carlos. Seriously. Yeah. Absolutely. I was in that piece. I was in that piece. Are you kidding? Oh man. Yeah. I was in that Banana Alba piece. It was amazing. It was amazing. Wow. Learned so much. Learned so much about that rhythm and that counterpoint and the use of movement and to denote so much. It was really a fantastic experience. What was your experience of working through the text, paying attention to other cast and the simultaneity, particularly sparked by movement? For me, it was a lot about listening. Listening to what Laurie was saying because to understand Laurie, you have to listen in a particular way. At least I have to. I have to put my brain. I have to switch it. Yeah. Yeah. Absolutely. And so it was like learning in my, again, it was like learning a dance. It was like a choreography. A choreography that included words, movement, and listening, and listening. And so that's the only way that I could tell you that from what I remember. There was a moment in Banana Alba where all the women are sitting or they're talking about the man, this man that has come to rile up everybody, right? And she had us sitting in chairs with this huge cloth. And then just asked us to start talking the text. And then gestures came up. And so with this cloth, as we're all sitting there, we're not looking at each other, but we're talking. And do you see that the man is coming? And do you see why he's going over here? And do you see why he's saying the things that he's, and everybody has their, and it's like a dance. It's like a dance. And I agree with what Mina is saying that a lot of people that understand the dissonance with the sound of the music over it, my mother was in that audience and she was like, I didn't understand certain parts of it because of the sound or whatever. But she said, I have never seen anything that just flowed so beautifully with words and movement and that it wasn't said, okay, this is a dance thing or this is now it's going to be a, you know, the dialogue. It's all weaved together. And with the use of culture too, because she had us doing the flamenco claps and she had us doing a lot of different movements that was just, I wish I could go back. I wish I could go back. So I could take notes. Oh, God, I hear you. Well, thank you for taking us back and what you shared. Oh, and Mina, please do all seven of those projects, but especially that one that you shared that came to you about your dad singing those headlines. My God. We just for a sake of time, maybe if there's one or two more people that want to share anything you want to share. And if you want to share about something that you're up to or something that, yeah, anything, no boxes on it. I just want to acknowledge that there was a baby in the room. Yes. Congratulations. Have beautiful, Stephanie. Thank you. Congratulations. Yeah. He's eight months old. Oh my God. You better go to sleep. Congratulations. Thank you. I do have a question, actually. Yeah. Thank you so much for this workshop. This is really, really powerful. Thank you. I'm wondering about specifically when you're talking about telling stories that you require in this moment for healing, what happens in that process when you encounter old wounds or when you encounter ancestors that you may not want to encounter or ancestry that you wanted to leave behind. How do you move through that or step away from that? How does that work in your process so that you can keep moving forward? Thank you so much. That's such an important question and thing for us to talk about. I feel like all of us have different ways, tool sets, understandings, methods of doing that for myself. The art and the life are not separate. So I'm always writing through my own healing and growth. So anything that shows up is something that is trying to work itself through me anyway. And so through years of just understanding my creative process and also my own personal commitment to spirit and healing, I recognize now kind of how to accelerate that. So it's the whole life. It's like that day in 1995 when I stopped drinking is that day in 2005 when I gave up sugar. It's like all the things. It's that time I got initiated. It's when I got baptized. It's my memories of the Catholic Church. It's like all the things and all the bits along the way have somehow given me information, places to turn. It's my therapist. Yes, I do call him. You know, it's how I care for my body. It's who I have in my life. It's that I've released toxic people from my close, from me closely. I've released and worked on my own toxic behavior because I was a fool in a hot mess for years. So it's like all the things and then it's the continuous opportunity to discover new things, new ways, new places, new people, new opportunities to lean in and grow. So I think that understanding creative process and for me part of that is research, literal research which has taken me all the way to Nigeria to Ile Ife. It's taken me to the archives at Tulane. It's taken me to prayer, crying on my knees. It's like all of that. And then having people that I am in close relationship with, that I trust and are trustworthy, that I can call and cry to, I'd be like, Flo, what happened was Flo, and she can hold me. So it's my community and then it's gathering other tools. Like I became a Reiki master, not that I practice Reiki, but I needed to experience learning about how to move energy. So I think it's all of those things and for me following the work and really, you know, I think there are some things that it's not time to tell. There are some places that we're not prepared to actually go to. So it's also discernment. There are some places that if we go, we'll harm ourselves or we won't be able to get up from. So I think the sermon is part of it and that's for me where my community, my art family can help me because they'll call me out of a dark place or push me towards it, if that's what's needed. So I think it's all those things. I'm sorry, Sharon, I want to just add, because I think the thing, especially being someone who's been in this particular practice for over 20 years, it is a specified training. It is a thing and you have to have that community piece that's not just about being in a circle with each other, but also about mentorship. And so then that way you're not ever in a position, as you get, or I'm hoping as I continue to get better at the practice, I know how to witness the emotion without becoming emotion because I've learned it from an elder in the practice who taught me that as part of the practice. You know what I mean? Like there has to be, you got to go to, you know, who's learning, like who's learning it? Who's training you? And then that belief that you can do something on your own, I think is there's no place for it in this particular kind of work. Like you have to have connections to people. And then a lot of that connection has to be in a mentor, mentee capacity, somebody who you can trust to snatch you up. And then one thing, as I've noticed with the work, then you run less is like, oh, I'm not hurting myself doing this work. I ain't got to kill myself to get to the beauty of a moment. And I'm in the right room when people aren't allowing me to do that as a part of my artistic practice.  So that same thing runs true, I think with our work in that. Yeah, you got to, you have, you got to go learn about it. I think regardless of your discipline, like who's who's who's got your back. So I just wanted to just echo that. And I think that ties to the experience that I got to have with you guys in Minneapolis is that that mentor, mentee relationship is so, so important. Like who's training you? How are you getting the word? And then that way you're clear when it's your time to pass it on to the next generation. Thank you so much. And I'm getting notes that we're it's we're already at time. That was a perfect way to close this moment. But thankfully we have other things that we can come back and gather into. I thank you each. I'm so grateful for you each. I'm sending you each love and light and blessings you and all your loved ones and everyone everywhere. May we be the light and the love that that we seek and that we are most powerfully able to offer. Thank you so much, Sharon. Thank you. And hi to everybody because I've been like looking at this room and going, Hey, there's interest. So hi to everybody. There's Denise. Please know that I I see you and I love you. And that's it. Thank you to everyone, everyone for being here in the zoom room. Thank you so much, Sharon, for that gorgeous workshop and for modeling perfectly how to go with the flow and roll with the spirit and make it all happen. And thank you all. Institute participants who are here with us and everyone who's watching on HowlRound. We want to say thanks to HowlRound for life doing this weekend. And thank you to our amazing technical crew for figuring things out and rolling with us to Panjio World Theater, of course, and Art to Action and all of our funders and partners. And we want you to join us tonight for the night at 2020 Open Mic on HowlRound at Six Pacific, Eight Central, and Nine Eastern with your amazing co-hosts, Kayla Salcedo and Andresia Real mostly and DJ Ushka. If you don't know these folks, believe me, you want to know these folks and you want to get in on seeing all the amazing work that's going to be shared this evening. So please join us back on HowlRound then and throughout the weekend. We got more sessions tomorrow. Thank you, everybody. Love to Sharon. Love to everyone in the Institute. And we'll see you all again soon. Bye, Lani Nova.


Welcome back to another exciting episode of Road to Glory. Everton 2019, 2020, Premier League football. We are up against Norwich City at home, a game Everton lost in the real world. We did. I mean, a bredyn yn swallod o'r ddysgu'n tanne, you said an exciting episode, we haven't played it yet. Well I know it's going to be an exciting episode. This is the game that got Michael Silver the sack, essentially. Let's be honest, it's the game that got him the sack. So listen, we've gone for the thing that people have been craving for. OK, McCharleson, Carvel Llewyn, Moise Keane, all in the side together, and that too, a Wobie Sigarton a Nondri Gomes, very attack on Lionel, and Siddi B and Dean. We've got, we're essentially playing 1, 2, 7, well 1, 2, 8 there you go. I'm quite comfortable with that. Yeah I am, I'm quite comfortable with that. When they are in Pwchgyl, they'll probably take us apart, I'm hanging on to this, but we'll see, we'll see, we'll see, let's see what happens. Come on. There we go, come on. I want revenge for that. I want revenge for having to sit there and watch this game. Woo hoo hoo hoo hoo hoo. Yeah, you're surrounded. I've never seen a team just so unmotivated in the way of that.  On another thing with Norris, she realised that Mike Walker came to go with some twice on the run, but Norris didn't beat us. She was only in 5-1, a 5-1. Oh, oh, there's Carvel Llewyn, there's Keane, there's the chance to go at the start. Goal for Everton, it's an attempt to go. Look at the pressing from these two. The boys are already nagging after an hour. We're trying to get it done, really, get it done within the first hour, I think you can just keep the ball for the last half an hour. It's pathetic, three people, but that's a ball.  Oh, don't mistake it, you fired it. Come on now. Look at the aim. I'm not much off of this, the perfect goal. Oh, that's Guilfee Sigurdson. What is that? Imagine Guilfee Sigurdson heading above. Never say I messed up. Oh, Guilfee. That's terrible. Was he nutched though? I think he was nutched in the back there. It's still like he was nutched. I'm going to give him the benefits. Now. Oh, Richie. There's a sloppy ball. Go dead. Yes, Tom. Go on, Richie. That's a good sack. It's conservation, but it's a good sack. It's kind of sack when you want to be able to see. Well done. Don't give them a second blues.  Oh, yes! Moise Keane. What a weird finish. What a weird finish. The old count. And all that matters in this one is the blues are in front. Yes. Just at this moment in the season, we're handling the pressure quite well. I mean, he's almost let it run across him before going out of his left foot. Go play the three of them involved. Calvert Lewons of the Tialis. Now he's falling. Moise Keane slide in the hole. I'd like to say that's his party trick, but we know that's not. Well, we don't know what his party trick is. We know he's at the party. We just don't know what his trick is. And he's filming himself. It's me quick. Oh. That's your box. Oh. I'm going to take it in and strike. I'm going to strike. I'm going to strike it in and strike. Duda, should have scored. Should have scored. The business is best opportunity. Go play him, man. And Duda. Oh. Sliding into someone's DMs there. Oh, she gets it. Oh, Moise. That's okay. That's okay. That's all, Moise. Look across the crossings. Yeral. Big head from Yeral Day. Too easy that. That's too easy. We're all over the gaffer yet. All right, all right. They're opening us up. Go pay some play for them. Ah, bitty. A slid to stop the cross. Come on. Come on. Stop it's time. Nothing, silly. Ball in. Job on half time. Man, go bad. Oh. No. Yes. Well done, Yeral. That's a great ball. All right. Come on, Nell. Should have been more. Or could have been more. That's a 50-50 game. It is. Literally slightly more. We are winning. That's a 50-50. We've got double the shots. The look of the inch gone flying in. That's heavy. Off with such. Straight to Pickford. Good effort there. We're going to have a kick. Got a sound at least. Yeah. Yeah.  Play the pass. Play the pass. Play the pass. The low mower is out. Get that low mower out. Fully trimming his bush. Great ball. Look at that. And the finish was beyond the keeper. Before he could even set himself. What a pass. Yeah boy. Look at that. He found it. He didn't know where he was. He went away. He looked like a hundred dishcloths. Yeah. Forever a wet squirrel. They picked it again. Let's see how this will go on. He's made a run. He's key. Yes. That's the fun tree. You've been involved in everything. Look at that. He's got the presence of mind to thread it into Moise Keane. He waited calm this personified. Everton three, Norwich nil. Three more points coming. Still rather staying. Look Moise Keane.  Yeah. Penalty chew chew ball finish. Come on. We want five. Even though we've only got three at the moment. We still want five. Big win, big win. Finish it. Guilty dropside. Guilty doing that. I don't know. Come on. Come on. It's called number four. Nice roll Moise Keane. It's a good start. Where's that eye? Tom was playing the ball in the game. 46 your hat's offside. The side is again involved. Yeah. Great roll by Moise Keane. On the rise. Evertonians to clap Moise Keane. Two goals today. Strwg going towards the end there. He can feel poverty happy with his performance today. Popping it off.  He's put it back in. Asking questions. Asking questions. You're not getting any answers. Mene. Mene is deciding. He's thinking he's playing with Charleston in. He should have made it four. He's been out. Gomez. Mene has stayed up with Charleston. Mene has stayed up with Charleston. Mene has stayed up with Charleston. It's a great job. You've got a ball. Sigurdson. A Wabie. A Wabie. A Wabie. A Wabie. A Wabie. A Wabie. A Wabie. A Wabie. A Wabie. A Wabie. Mae'n rhesonwch yn ysredig. Rai, mae'n ei wneud fynd i gyd, yn fawr! Mae'n ddwy flynyddio ddwy pwynt! Mae'n ddwy pwynt! Rwy'r byd yn rhaid i'r pawn i ddechrau'r cyfeirio maen nhw'n fynd i ardechrau'r sicurau. Mae'n fawr drws gyd yn gorfod peth o gael eu gwirio! Felly yn ystod, rydyn ni'n busgu! Rydyn ni'n bryd! Mae'n bade i gyd yn ei ddweudPower. Mae'n bwyd wedi'w bwyd! Efallai gweld i, heddiw. oedd I li yn y plwyddi. The Glamd. Is it the most recognisable? It isn't a premuli, but cause it's a shed. The harsh. Woa! It's amazing! Come on, lad! See what you were trying. I'll see what you were trying. That blade. There's Luca, come on. Everton has made this tremendous start, Jim. What's the reason for it? I think Team Spirit, I think it's something that... I mean, the question on the fact that you've made a great start, that's not a bad ball. Hit it then, go on then.  Nick Pope! Test the Pope there. Patience though, nice bit of patience. We've got to do this, shall we? Go Batman brought it. I mean, it was a one for the cameras. Nearly brought it again. Nearly brought it again. Go on then, bing it. Like Bing Crossby Wood. No. I don't know if Bing Crossby Wood, I'll be honest. I think it's just his name. I don't think it was a Nick name. I don't think he was, that was his like thing. Bing, he started calling him Bing cos he was... You know, same with Chamber. No. Well, his name literally was Chandler Bing. Well, that's it. Yeah, he's striding. I mean, I don't know whether he should be striding or the only. Yeah, I mean, I was out of position. It's all right, nice and unlucky. Will he? Yeah, I think he's done enough to help. What's Luca Dean doing in the pit? What's Luca Dean doing? He did the old Pelley thing from 1970. I'm not sure that was the right play to make it that big. No, I don't think it was. I don't think it was. We've gone a little bit... We've gone a little bit way wild. I don't know what he's doing in here. These are making the pitch. Oh, skipped. Look at the low block dog, the low block gym, please. Dean's following up. Get in! Oh, yes! Yes! Yes! Yes, man, what happened, eh? Big dom. Big bad dom. Big bad dom. Pop's gutted, he made it. He's not happy. A wobby's cross, ask questions. Ask questions. Don's, eh? It's a brilliant save from Pop. Don just went... Give it a little bit of jockey. The shuffle and then just...  Great, it's a brilliant save. Oh, I sat him down. I sat the keeper down. I like that. I like that. I don't know whether it was intentional, but... I don't think it was, because I'm in control. That's fine. Yes, Gerald. I'm just sure there be... I mean, I didn't do anything wrong there. Ball's interviewed, let's see what Jerry does. Pins of the ball. I mean, said there be, it does go through. I said he's asking questions. He's saying, like... I just put me out. He did, because he came through him. You've fully rattled them. You did.  Is it Moose King? Go on.  Got him through a wobby. He's finished it off, think him. Yes! And what a start, Evan, of me, to this new season. We are flying. The training has paid off. The training has paid off. The calm, the Samantha Lottie's coming. I'm in Duncan, David. Three amigos. I've got us calm and collected. The Moose King's sat down. And it is game over. I mean, it's not. The saying, no one ain't never. They might be right. There you go.  We had the narrow lead. And now it's like, oh, it's short. He's obviously never watched us play. If you think it's going to be comfortable for me here on in. We've been great this season. We've put a lot of those things to bed. Cos we're a treat. No. Dean's gone inside. And I'll try Dean's through. Poor, poor, poor. It's Dean. Let's open it up for Luke and Dean. I mean, the finish is horrific. The great run won some fear. I need it, I mean. We've got the opportunity there to just hit the target. Good off. Good off for football. Good off for our time and have a cup of choo choo, baby. Very comfortable. Really comfortable at the break. That's what you said. Right, come on. Get this putter about to come out. Jarlison's been quite quiet so far, so let's... Oh, he's struck it brilliantly. Oh! Oh! Can you son? What a goal! What a goal! Straight out of the traps. And the boys in blue. I'll stick you all three points. Jarlison, brilliant way. Look at that touch. From Tom, struck it beyond Ben. Meet Runic Pope. Stabbed it over Pope, 3-0. Pope's been done twice with the dink. We broke Russell Armstrong's arm. No, we broke the goalie's arm. Kevin Tingo's arm. Put his arm between two bits of wood. Bang, like that. Just so hard to go playing goals. They didn't because Russell was kicked off. We can win this. We can win this. What do you mean? We can win. We're going to win it. You didn't play on? Have we stayed? Michael King. Bobby Mosley. I'm going to put the spirit jury back. Oh, he's gone there. He's gone there. He's gone dark. Oh, he should have scored. Phil Bartley. Phil Bartley. He got it well. He got it up well. On today Gomez, too busy combing his hair. That's grown back. Impressively. I'll have to say. I've done this against Norwich. He got 3-0 and couldn't get the fourth. I think we'll get the fourth. I will because I've decided that we're going to get it in the back of my machine. Thank you, referee. Thank you very much. It's jack-oach. I mean, got 100%. Literally nothing wrong with that. This game is occasionally on just madness.  Oh, oh. No, it's all nice. Steps across, lad. Oh, he played him in. Cally! A bit too much.  It's a different corridor of uncertainty. But one all the same.  I'm here if you need it. You need it.  We've promised the fourth. I feel like we'll be letting people down if we didn't. Clown shoes. Clown shoes. Go on. See bands. OK. Give them something they wanted. Penitrate us. I mean, that's the only time I've ever been penetrated in bed. I must admit. Oh, to poor to Alan's referee. He said it's OK. They only feel like they've got something here. They feel like they've got something here. We were very comfortable now with throwing in tackles and getting yellow cards. Gary never, they're all thinking Alan it was. I'm Martin Alan. I'm ready to buckle. Right. What's the steal with this? I'm going all in. I'm going white. I'm going white. I'm going white. I'm going white. I'm going to get retribution. Oh mate. You've cut them in half. My scheme's booked. I don't know why. Let's see this again on Ben me. There's an even 1% of the ball. 100% of Ben me. Felly hynny'r tu. Felly hynny'r tu. To me him off. Oh. What's the goalie doing? What's the goalie doing? I'm staying on your line. What's going on? Tell him, tell him Richie. Creswell. I'm really on that conversation. I'm all that weed salted ourselves out. Big video conflict. Like what? The game went on. Paws for the English shot. Right, right, right. Right, right. Get the ball. And just knock it back a few times. No, smash it. No, go for it. No, just give it to me. This is what we should have done. It's going to come straight back. Oh, look. It's coming. I made it look like you were in the game. Oh my God. A volume free kick. That's amazing. We won the game. Relaxed far too much. Do you go? What upsets us there with the Moise Keane record itself? It made us think, like, it was over. A win's a win's a win. OK, top of the league, obviously. Four points clear from Manchester City. No defeats. We are the only team in the Premier League. We're getting to the stage now. I feel like we're hanging on. Nah, nah. Anyway, next time I will be playing Wofford at home. Great chance for three points. Join us then on the road to glory. See you later.


National Center for Advancing Translational Sciences defined translation as the process of turning observations into interventions that are adopted, sustained, and improve health. Dissemination and Implementation, D&I, Sciences are informed by an understanding of the critical role of people and systems in disseminating, adopting, and sustaining innovations within real-world settings. This article was authored by Tara G Mehta, Jane Mahoney, Aaron L. Lepping, and others.


I get huge increases in strength, huge increases in size. My skin feels better. Like every time I look at myself when I shoot a video after I've been taken and I'm like, wow, that supplement just works so well with me. It makes me just look a little bit better in all areas. Hey, what's up guys, it's Josh here. Today I wanna do my third review on Black Forest Labs Turkestrone. When I first tried this compound, I thought it was like all the other brands of Turkestrone. I had back and forth emails with somebody who works at Black Forest Labs. Early on he told me that their version of Turkestrone was stronger than the rest, was better than the rest. And I was reviewing another muscle building compound and I decided to look at all the other brands of Turkestrone and I noticed something very unique with this brand that none of the other brands do. And that is that this brand claims to have a 95% extract of Turkestrone. Whereas every other brand I ever saw only claimed 10% extract of Turkestrone. So I don't know if one extract is stronger. I don't really fully understand that. But if we're solely going on the amount of Turkestrone extract per pill, this one should have about 475 milligrams of Turkestrone per pill. And all the other brands, every single one, feel free to Google yourself. All of them have 500 milligrams Turkestrone with 10% extract, AKA 50 milligrams. So this brand has close to 10 times the Turkestrone extract per pill versus any of the other brands. So real quick, I do wanna state I don't have any affiliate links with this product. I'm gonna get into my results and why it's the best in a second. But I just wanna let you guys know, I don't make any money off this. I would actually make money if I lied and said another anabolic was better, but I'm not gonna do that. And unfortunately, this one is head over heels better than any other anabolic I've tried. And I don't have an affiliate link. Just kinda wanted to put that out there.  Now this happened initially when I took Turkestrone and I kind of forgot about it because I've been off Turkestrone for like three, four months, trying other compounds or taking nothing. And randomly a day or two ago I was just like, why do I wanna have like two to three huge meals every? Like I'm just craving this huge meal even though I had one like four or five hours ago. And then I remember it. Oh yeah, that's the Turkestrone. So if you're somebody who has trouble eating, trouble bulking, this one is a great compound to check out. Another huge pro of this supplement is I get almost immediate increases in strength and size. And it's just really impressive and noticeable. Even yesterday I was going to the gym. I was kind of exhausted. I was moving things around. I got off work. I'm trying to do kind of like a maintenance workout in there. And every time I picked my weight for a machine, I was surprised. I'm like, oh, I need like two or three slots below that weight on every machine. And I also didn't even go to the point where it was too heavy for me. Every time I lowered it, I was able to do it with ease. Now obviously if I lower it to the heaviest one, I probably can't do that. But it was a huge increase in strength, at least for me, like two to three slots lower on all the machines that I normally use. Another pro of this compound is that my skin seems clear. I think testosterone at times can clear up your skin, but most of the anabolox that I have tried really don't affect skin that much. So it was nice that this cleared up my skin and made it look pretty good. And real quick, this is also supposed to be an adaptogen and help you with brain stress as well. I don't know if that's all versions of testosterone. I'm not too sure, but an adaptogen is something that adapts to heal your body based on its needs, which is mind-blowing and great. On top of you getting big muscles, you're also getting a more balanced brain. And adaptogen properties. Okay, another huge pro of this compound is I get no rage or anger. Almost all other anabolox I have this kind of issue with. The only other ones that come to mind is laxogenin. I didn't have too much anger with that.  I feel either really weird or very angry and moody. This one didn't do anything for me. And like I was just saying, it could improve your brain health as well. So as far as my sexuality, everything felt great. I would say there was kind of no change in it. When I woke up today, things actually felt a little better than normal. So maybe that's the Turkestrone, I don't know. But for me, I don't get much of a change in my sexuality, which I really appreciate because almost all other anabolox for me really mess with my mood, my sexuality, it just throws almost everything off. So the fact that I don't have any issues there, I'm loving it. TMI warning, I'm gonna get graphic here. People say that Turkestrone does not cause shutdown, which means you could take it and your body's not gonna shut off its natural testosterone like it would with other hormones. But I don't know if it's this compound because again, it's 95% Turkestrone. So if you're not taking this specific one, I'm not sure we're taking the same compound. I feel like I get about 10% shrinkage in my testes with this product. I have not done any tests. It just seems like they're a little bit smaller. But again, I have no tests. Maybe it's all in my head and maybe it's because it's this version of Turkestrone. Maybe it's because it's so strong. If the extracts are the same, that would mean that this product is nine to 10 times as potent as the other brands. And yeah guys, I absolutely love this stuff. I get huge increases in strength, huge increases in size. My skin feels better. Like every time I look at myself when I shoot a video after I've been taken and I'm like, wow, that supplement just works so well with me. It makes me just look a little bit better in all areas versus the other ones. So real quick, I wanted to compare it to the other antibiotics that I tried recently. So Epiandro, Epiandro from my understanding was kind of like a derivative of DHT. It was supposed to give you those dry, rock hard gains. I took it for two days at the suggested dose and I got really frustrated and it felt off for me personally. This is what happens for me when I take hormones. It's not gonna happen to everybody. If you've taken testosterone, melatonin, other hormones you're probably gonna be fine with this one but I'm just really sensitive to taking hormones that aren't created by my body. So got really angry, frustrated, can only take it two days but I did notice that my muscles felt ridiculously hard. That's what she said. Just like harder than they felt in years, just touching them. Like they feel pretty hard and tight right now but they were just surging and just rock hard. It was crazy but I only took it two days. I can't really talk too much about it. Okay, then I tried this anti-estrogen compound. I think it's called like Arimidione or something. I just reviewed it and I really liked that compound. Like that's something that I could take I don't mind taking. I got pretty good effects off it. It seemed like the effects on the anti-estrogen made me a little bit more hard and vascular and something like Turkestrone but I don't really care, I like both of them. But as far as the muscle-building effects they were both good in their own ways. I wouldn't say one is better than the other and when I first took the anti-estrogen I felt weird for a few hours but generally every single time that I took it I didn't have to worry about a change in mood or just like a negative side effect, didn't have it. Really enjoy the anti-estrogen.  Okay, five alpha hydroxy laxogenin from bulk stimulants. Love this compound as well. You can actually get tons of servings because it comes in a 10 gram bag and you only need like 50 milligrams per serving. So laxogenin compared to this I felt like I got noticeably more shutdown with laxogenin but then I also had much bigger muscles. Laxogenin for me is more of a bulk type thing but again I'm not really big on any of these side effects and that's just what comes along with it. So I would prefer to stay closer to my natural rhythm versus getting tons more muscle and having more issues. So maybe you're somebody who wants that. I don't know, but laxogenin was great, huge bulk but I didn't like the shutdown. And yeah guys, this is pretty much the perfect supplement. I think I need to try some other brands of Turkestrone to see do I get the same effects with those other brands? Is this brand truly better? I have no idea but every single time I take this it has just blown me away and like when I assess the full spectrum of my life this seems to help almost everything versus other anabolics. It's like they kind of give and they take away. This one just seems to give and like every time I look at myself or analyze how I look even in videos I just look better. So anyways guys, that's been my re-review of Turkestrone. It's my favorite anabolic. It's better than everything else at least for this point. Anyways guys, I'll link all my testosterone related supplements down below if you wanna check out some more but I'm having a great day out here. Hopefully you're having a great day at home. See you all in the next video. Peace.


Consonant clusters with S. Pronunciation. Consonant clusters with S. Initial. Final. Sleep. A sleep. Flight. Fresh. Carve. Steam. Esteem. Crib. Glitch. Curb. Specially. Especially. Dwarf. Clamp. Month. Stray. A stray. Trash. Arch. Harsh. Strange. A strange. Blank. Girls. Earth. Pronunciation. Consonant clusters with S. Initial. Final. Sleep. Steam. Specially. Stray. Strange. A sleep. Esteem. Especially. A stray. A strange. Flight. Crib. Dwarf. Trash. Blank. Fresh. Glitch. Clamp. March. Girls. Carve. Curb. Month. Harsh. Earth. Challenging words. Worldly. Drugs. Stripe. Pressure. Flippant. Thrift. Cliff. Pleasure. Yearly. Breath. Crank. Stringent. Wrench. Child. Sparse. Splash. Curly. Glisten. Streak. Cringe. In phrases. Itch. And scratch. Extremely clear. Strange, but true. Length. Width. And depth. Slake your thirst. No strings attached. An order of French fries. February 3rd. Stop. Look and listen. A church steeple. Standard bearer. Dialogue. What in the world are you doing? I'm cleaning the kitchen sink. With my brand new dish rag? It was already dirty. Aren't there any paper towels? I couldn't find any. I think they're in the cupboard. You should have told me that sooner. Well, just remember to wring out the dish rag. I will when I'm finished. And don't splash water all over the place. What in the world are you doing? I'm cleaning the kitchen sink. With my brand new dish rag? It was already dirty. Aren't there any paper towels? I couldn't find any. I think they're in the cupboard. You should have told me that sooner. Well, just remember to wring out the dish rag. I will when I'm finished. And don't splash water all over the place.


What will a cat 5 installation cost for my building? A common question to our project team is how much is a cat 5 installation cost? Also how much does it cost to install the cat 5 cable? Cat 5 installation is the generic term used by most clients. However, the specific specification for the cable is the enhanced cat 5e. A general guideline for cat 5e in the UK is £35 to £50 per point. Conversely, the information below will guide you through how that cost can fluctuate depending on many factors. However, every project is unique and therefore every quotation has a multitude of factors that can affect the overall cost and price. Thus the main consideration is always to make sure the quotation includes everything you need. Furthermore, it allows for your scheduling. Finally, the quotation can be compared like for like with any others you have. Common factors that can affect the cost of cat 5e cabling in its overall value and its price per point. Overall number of cables installed within the location. The cat 5e cable layout. The distance those cables are run to the main communications cabinet. The ease or difficulty of installation routes. The density of the cabling outlets. The type of building, warehouse, residential, school, etc. The presence of containment or the requirement of additional or new containment. Whether there is a requirement for external cat 5e or external grade cat 5e such as armoured. Ensuring that the installation has a fire rated cat 5e cable and cat 5e CCA as a minimum. The presence of false floors or ceilings. The scheduling of the works whether it be regular hours, weekends or evenings. Location of the project. Access into the building, security limitations. Parking, congestion charge, and other factors. Cat 5 installation cost, network cabling installation estimate. As an overall average, the cost of cat 5e cabling including the cable, patch panels, and cat 5e modules will range from 35 pounds per point up to 50 pounds per point. This would be based on a cat 5e cabling project starting at 20 to 24 outlets as a minimum. There are of course certain projects where the price per outlet will be less than this range or in some way more than this estimate. The common factors above are part of how that quotation will build up and how it contributes to the overall price. What factors keep a cat 5 installation cost to the lower range? If you are comparing the price per point for cat 5e cabling consider the following factors. Generally, this will enable the quotation to be at its most competitive and most economical cost. The overall number of cat 5e cabling outlets. The more cables installed within the cat 5e cable layout leads to an overall lower price per point. There are economies of scale when installing more cabling outlets within a building. The same labor can pull in more cables at the same time, for example. Therefore installing 100 cat 5e cables in an office will cost less per point than installing 50. The ease of the installation routes. The more modern the building is and the more it's suitable for installation of service the lower the cost will be. If false ceilings and false floors are present then installation of the data cabling will be easier. At the same time, those with solid ceilings and floors will be more difficult. Open routes result in lower installation costs. The density of the cat 5e cabling outlets. The greater the density of the data cabling outlets the lower the overall average price will be. In situations where larger bundles of data cabling can be pulled into the same area, economies of scale of installation come into play. For instance, in a hotel environment, you generally have 6-8 data cabling outlets per bedroom. In addition, each of those cabling outlets is in a different part of the room. Subsequently, this results in a much higher price per point installation compared to a large number of outlets in a single office space. What factors increase a cat 5 installation cost to the higher range? Absence of containment or specific routes. False ceilings and false floors were a contributor to easier installation and better overall costs. However, if buildings have solid ceilings, floors and walls and not pre-installed containment to run the cables in then the cost of containment needs to be added to the overall cabling installation cost. Depending on the containment required and how much is required this can at time increase the overall installation by 50-100%. Location and access. For projects in central London, considerations are required for congestion charge and parking. Thus at times, this results in almost £100 a day in additional costs. A project in outer London will not have these costs and therefore the central London projects will have a higher average cost. The larger the number of outlets the lower this impact will be. Scheduling and working hours. The requirement to undertake projects out of hours or in bespoke timescales can result in an increased price. At times working out of hours can increase the speed of completion of the project due to easier access. But in a like for like situation unfriendly working hours will increase the overall cost. What factors increase cabling cost out of the range? Unusual or difficult buildings. Building that requires complicated installation, difficult routes or bespoke access equipment would result in a quotation that exceeds the range above. Buildings such as the following. Warehouses. Large-scale buildings with high ceilings requiring powered access increase the time to install the cabling and the additional cost of the equipment. Care homes. These buildings are usually a solid construction with no visible routes so require a lot of containment or builders work to create the routes. Hotels. A hotel can have a large number of overall cables but they are split into single outlets spread through the bedrooms and hotel. They are usually solid ceilings also for design and their routes are difficult to negotiate. Projects with a large range of individual outlets. Projects that involve the majority of outlets installed with a single cat 5e cable to a single location and repeated will move the pricing out of the average range. These projects may involve Wi-Fi access points, CCTV cameras or door access control, all of which are dispersed outlets all in single installation runs. Low number of required cables. If the requirements for cat 5e cabling are only outlets then the economies of scale don't contribute to bringing the overall price per point down. With labor being a fixed cost for a certain number of outlets a low number of outlets have a larger average labor cost. Fire rated cat 5e cable and cat 5e cca cable. On the 30th of November 2017 British standards issued BS6701 to 2016 plus a1 2017. An amendment to the frequently used standard entitled telecommunications equipment and telecommunications cabling specification for installation operation and maintenance. This states that to comply as fire rated cabling it must be installed as a minimum of a cat 5e cca cable. This classification structure covers seven euro classes fire rated cat 5e cable of which cat 5e cca cable is the minimum. Further information can be found by visiting the link in the description area. Other considerations. As detailed above there are many factors that contribute to your overall cat 5e cabling cost. Consideration should be taken on the initial installation to allow for the requirements of the current technology and any future requirements. Allowing for 100 data points instead of now to cable a whole floor instead of partially cabling 50 will increase the overall cost by a significant amount less than double. However if you install a further 50 cat 5e outlets after an initial 50 cabling outlets the cost for the second project will not be the same as the previous but more than likely more. This is because the now finished cabinets floors desks and staff will have to be disrupted and the installation time will be increased. It may also now require out of hours installation and additional elevation in price. For further assistance or a free survey please email or call on the details below and click like and subscribe if you have enjoyed this video.


Hey guys, this is my review for layer cake This is by far one of the best movies that Daniel Craig ever did and in my opinion It's Matthew Vaughn's best movie that he's ever directed Matthew Vaughn You'll know from films like Kingsman Kingsman to kick ass X-Men first class He also had a hand in doing some producing for the X-Men series Which kind of led it into Poopyville But Matthew Vaughn got his start with producing some of Guy Ritchie's movies and some would say that layer cake is a Guy Ritchie movie but on a little bit of a different level. I can almost agree to that however, I feel that layer cake has this uniqueness to it in terms of a captivating criminal drama with some fantastic soundtrack selections as well as some pretty ingenious camera techniques and Visual storytelling the film follows Daniel Craig's character who is a cocaine dealer and the opening monologue of this movie sets Everything up perfectly. He walks in a store that looks like a department store But it's got cocaine method men it means and they're all in FC UK containers Remember when that was a huge brand at least out here I haven't seen one of those shirts are their stores in forever He talks about how eventually they will realize that there isn't millions But billions to be gained by this and that is essentially his character is that he's just kind of ahead of the curve He has rules He has morals, but he does take advantage of what he can and he deals in a business that while technically is illegal He does it in the best way he can the film has a fantastic set of characters to the point where there are some side characters that you Would almost say are Richie characters some of the actors in this movie are even from Guy Richie films And I feel that this movie gives you quite a few twists really Moments from beginning to end all the while was some fantastic acting and narration by Craig as well as all the other cast members And the music the music is so good I actually went out of my way to get the soundtrack the physical soundtrack even though when I bought this off of Amazon It was $40. How was the cheapest option fc Kwanah the cult Kylie Minow the source a few Duran Duran songs Craig Armstrong Joe Cocker Lisa Gerard Craig Armstrong's track of ruthless gravity so good Honestly, my favorite part of this movie is Ordinary world for those of you who've seen the movie and you know the context of the scene It's just a great great scene and that's not even about the main character It's about a side character and that's what I enjoy a lot about layer cake is that you get an Extensive background into all of these characters. They're not just faces. They actually have a reason a purpose and Interest in them Whereas some films would kind of sideline these guys to a stereotype You see that each character has a great arc We see that everyone matters in the story even the ones that you don't think matter at all They in the end do have it lasting effects and all the while that this story is going on There's humor littered throughout it, which will make you ball out laughing It's not on the same level of almost silliness that Richie's films go into which is Welcome because it works within those films of his this one still portrays a level of seriousness While having humor very lightly sprinkled in but every moment that there is humor is perfect. I've got an idea Why don't you come around for breakfast? I'll squeeze some orange juice and grind some coffee.  There's one particular shot on Craig's eyes That leads into the scene using Craig Armstrong's with this gravity track one of my favorite shots in the whole movie Matthew Vaughn definitely proved himself as a director and this if I'm correct was his first film so to have an outing this good He proved that what most first started off producers can't do which is direct a really good movie You want a good example of it?  It's very very Rewatchable it's great to see a bunch of actors in this film before they got really big Daniel Craig This was the movie that got him bond. You see a young Tom Hardy You see Sally Hawkins as a complete and utter reversal of her character from the shape of water and speaking of actors Who kind of just surprised you in this film Dumbledore's in this movie and he's a tan gangster.  It is one of my favorite films I've ever seen of Craig's so if you ever get the chance. I think it's on Netflix right now at least for Canada You should watch this movie. It's that damn good in the end I'm gonna give layer cake a seven out of seven. This is a really good movie. Definitely check this movie out That's all I'll say about it. Anyways guys if you like this review leave a like and if you're interested in more subscribe Otherwise see you guys next time. Thanks for watching the video My name is Nits and you might remember me from the animated cult classic TV show undergrads It's been a while, but I'm happy to say the click is finally getting back together in an all-new movie Thanks to a successful Kickstarter campaign But we are still asking for your support to see any and all updates about the upcoming Undergrads movie be sure to check out and like the bring back undergrads Facebook page and with any luck We'll see you guys soon


Things are invisible before they are visible. You know in traditional Chinese medicine there's this idea that something immaterial like energy or Qi leads to form and even if we talk about cancer at what point? Five years ten years twenty years thirty years ago before a tumor forms in the body There is something that is immeasurable, but that pathological process has begun those seeds of cancer are being sown If you save five dollars a day in 30 days It doesn't look like much but in 30 years you have a retirement plan for so many things in our life The big whether they are good or bad start off as these invisible seeds that we are sowing every single day With our thoughts our beliefs and our actions and our habits What is that immaterial part of your life? You are sowing every single day and is that leading towards the health the life the finances the love the meaning that you really want Think about that every single day