Prophety B. Joshua has given us the anointing water to pray for people, for those that are sick, for those that are oppressed, for those that need freedom, for those that need breakthrough in the United States. So we will pray for you with this anointing water. This water is just water. There's nothing special about it, but yet it's special because it's been set apart for God. Just like anointing oil can be used as a medium to pray for the sick, like the Bible says. Just like the stuff of Moses was used to split the Red Sea into two miracles. Just like many other mediums that God has used throughout the times. Old Testament and the New Testament, when Peter used handkerchiefs, or people used handkerchiefs and belts of Apostle Paul to lay on the sick and they recovered. Dima possessed or received their freedom. His shadow was healing people and sick, those that were laying on the side. So any mediums God can use. And this is just one of the mediums that God is using at this time in age, amen? So as you're standing here and waiting to receive prayer, we focus our eyes on the cross and what Jesus has already done. There's nothing we can do, no efforts, no amount of efforts that you can put to receive something more or less. Whatever Jesus has earned is already earned and it's ready for you. Amen? So let's look on the cross, what Jesus has prepared for us. And the prayer will be done in Jesus' name and you will receive your miracle, your breakthrough, whatever you need from Jesus. Amen? So let's open in prayer, say, Lord Jesus, say, Lord Jesus, open my heart to your word. Say, Lord Jesus, open my heart to your faith. Say, Lord Jesus, open my heart to your spirit. Amen. Amen. Get ready to receive. Amen. Right now we can see that many people from all over the United States have come here today to receive prayer with the anointing water. And as they're here today, they've come with faith. So if you're watching online right now, if you're here today in the congregation, know that distance is not a barrier to the move of the Holy Spirit. So wherever you are, you can receive as well. As these people are being prayed for with the medium of the anointing water, know that it is by faith that we are connected to Jesus Christ. We know that Jesus Christ truly is the answer to all fundamental issues of life.  We know that Jesus brings a lasting solution to all of the problems that we may face. So today we can stand boldly and confidently knowing that our healing, our deliverance, our breakthrough is secure in the blood of Jesus Christ. So as these people continue to receive that prayer with the anointing water, it's not the water that saves, heals and delivers. It's Jesus Christ. It's His blood. And we know that that name Jesus is working in the spirit through the medium of the anointing water as the evangelists continue to pray in His name. We know that there is no power in heaven and on earth that compares to that name Jesus because all power in heaven and earth have been invested into that wonderful name. And that there is no name above that name and His name brings healing, His name brings deliverance, His name brings salvation and breakthrough into our lives in Jesus' name. As we continue with this prayer line today with the anointing water, we can boldly say together thank you Jesus because what we have been waiting for has already been done. It's already come. That healing, that deliverance, that blessing has already been done. And Jesus Christ is ready to heal. He's ready to deliver. He's ready to bless you. This means that the job is already half done. And what is your role? Your role is to have faith. Your role is to believe that it can be done.  So whether you're in the congregation today or you're watching online, you can reach out your hand. If you're online, you can touch your screen and believe that your case will not escape the anointing of God. Viewers all over the world as you watch God's power, trust Him. Your situation will change. You will be positioned to accomplish your divine destiny. As you are trusting God's power, never confuse these two.   Satan is the architect. Jesus Christ is the solution. Embrace Him and receive your solution. Catch the fire of the Holy Ghost. As the evangelists continue to pray, we want to remind everybody that it is here today that it is only by faith that we can receive from God. We know that the scripture says in Hebrews chapter 11 that it is faith that pleases God. Those who come to Him must believe that He is and that He is the rewarder of those who diligently seek Him. So wherever you are today, connect yourself in faith. Fire in the mighty name of Jesus Christ. Who are you? Answer right now in the mighty name of Jesus. Who are you? Fire all over your body right now. Answer right now in the mighty name of Jesus. Who are you? What have you done in her life? What have you done in her life? Fire all over your body in the mighty name of Jesus Christ. What have you done in her life? What have you done in her families? Speak right now in the mighty name of Jesus Christ. What have you done in her life? What have you done to her body? Fire in the mighty name of Jesus. Speak right now. Who are you? Who are you? Fire all over her body right now in the mighty name of Jesus. Fire all over her body right now in the mighty name of Jesus Christ. Fire all over your body in the mighty name of Jesus Christ. We are coming here to speak right now in the mighty name of Jesus Christ. What have you done to her life? In the mighty name of Jesus. Speak clearly. health why have you done to her family answer right now in the mighty name of Jesus speak clearly what have you done to her health fire all over your body in the mighty name of Jesus I command you speak who are you you are in the arena of liberty and you cannot stand in this place Jesus is stronger than you in a mighty name of Jesus I command you speak loser right now in the mighty name of Jesus lose so body lose so body lose so body fire all over fire all over in the mighty name of Jesus Christ out in the mighty name of Jesus Christ loser fire all over her body loser loser right now loser loser fire come on church let's stretch our hands let's begin to pray loser right now in the mighty name of Jesus Christ loser loser in the mighty name of Jesus Christ loser right now loser right now in the mighty name of Jesus Christ loser right now fire all over her body in the mighty name of Jesus fire all over your body right now you are in the arena of liberty and Jesus is greater than you we command you out in the mighty name of Jesus Christ leave your body every single one of you out of her body out of her mind out of her soul out fire all over your body fire all over your body in a mighty name of Jesus Christ all over your body holy goes fire in a mighty name of Jesus Christ holy goes fire in a mighty name of Jesus Christ because of Christ be free in a mighty name of Jesus Christ in a mighty name of Jesus Christ we declare you free in a martin emojis ma'am can you get up you feeling good yeah well Jesus Christ has put an end to your past and give you a brand new future say thank you Jesus thank you Jesus thank you Jesus I'm free I'm free Jesus thank you God thank you Lord I'm free I'm suffering suffering praise the Lord this woman has been declared free in Jesus mighty name we give God all the glory because we know that where the light of God is no darkness can prevail so as you just watched a spiritual combat between light and darkness you could see that the light truly wins out every single time we know that Satan is the architect of all of our issues all of our problems today but whatever our problem is we know that our God is greater than all those problems remember that prophet TV Joshua says that unclean spirits are the cause of enormous growth of sorrow hardship bitterness bondage and world heartache they cause men to lose control and commit all shameful acts however one thing is clear demons know that they must submit to the authority in the name of Jesus Christ so viewers all over the world as you want let's do a declaration of faith say I'm saved Jesus is my savior say I'm healed Jesus is my healer say I am delivered Jesus is my deliverer say my past is over I'm a brand new person in a name of Jesus now begin to walk in a light of your testimony you can make you may take your seats this way we welcome everybody once again to this prayer line with the anointing water in the United States of America this is the anointing water the prophet TV Joshua has given to hunger generation team to pray with for people who will come in need for all of their needs and we understand today it's not the anointing water the hills saves or delivers but it's Jesus for the anointing is done in his name and as the word was spoken today is that because of the grace of Jesus today the foundations of your problems will be removed in Jesus man Jesus Christ has suffered all of our pain and so it makes it unnecessary for us to suffer the exactly same thing that Jesus paid for on the cross whether it's a sickness whether it's demonic things the whole back things in our life today because of Christ we have the opportunity to walk freely and to walk in blessing of God in Jesus name amen and so I want you to right now as you're standing there to say this simple prayer right after me say Lord Jesus open my heart to your word Lord Jesus open my heart to your spirit Lord Jesus open my heart to your faith in Jesus name be ready to receive today in the name of Jesus these people have come here with many afflictions many sicknesses many problems many circumstances and we know that when you have exhausted your mental and emotional resources you can no longer rely on yourself you simply have to trust something someone stronger wiser and smarter than yourself so these people have come here today because Jesus was their choice Jesus was the one that they have chosen to hold on to because he was the one who raised the dead he delivered Paul and Silas and he will deliver them he rescued Daniel from the mouth of the lion and he will rescue you today simply by connecting in faith know that your future is restored in Jesus name as you can see right now this woman is not at ease with herself as she is receiving that prayer as the Holy Spirit is continuing to touch her continuing to do a work in her life and know that as the Holy Spirit is touching the lives of the people here that you can be a partaker of this divine healing deliverance and breakthrough that is happening right here live and direct at the anointing water prayer line in the United States that truly nothing can stop us from reaching God we know that Satan came to steal kill and destroy he came to rob us of a free life but Jesus Christ came to give us an abundant life to give us a life that is fulfilled a life that is free a life that is worth living so truly worthy is the lamb who was slain worthy is the lamb who was slain and we are blessed today because of the blood of Jesus Christ because Jesus did not withhold his own life from us God did not withhold his precious gift from us but he gave his own son up willingly and freely so that we could be saved so that we could be eternally a part of the kingdom of God we know that the blood of Jesus is what sets us free from every sickness every bondage every disease whatever foolish thing that you may be facing today the answer today is the blood of Jesus Christ the answer is hidden in that name Jesus because we know that it is the name above all names that every single knee must bow to the name Jesus because all the power in heaven and on earth has been invested into that name and right now you can see the name Jesus working in the spirit through the medium of the anointing water as the evangelists continue to pray in faith we know that it is by faith that we receive from the Holy Spirit it is by faith that we are connected to this power that you see today as the anointing water is being administered you can see the real authentic and forceful power of God affecting the lives of these people not just on the physical level but on the level of this spirit as the anointing water is acting as the contact point between the spirit of God and the spirit of man to remove every single unclean spirit to remove every single darkness right now you can see that this woman is not at ease with herself as a spiritual warfare is happening right now it is a battle between light and darkness and we know that where the light of God is no darkness can prevail in the mighty name of Jesus who are you fire in the mighty name of Jesus Christ fire in the mighty name of Jesus all over your body fire Holy Spirit speak out who are you who are you who are you what have you done in her life all over your body Holy Ghost fire in the mighty name of Jesus Holy Ghost fire all over your body in a mighty name of Jesus Christ what troubles you caused her speak clearly what troubles you caused her what have you done to her life what have you done to her family all over your body right now in the mighty name of Jesus Christ you cannot stand in a ring of light Jesus has overcome you and right now I commend you in the mighty name of Jesus answer speak clearly who are you who are you what have you done her life what troubles did you bring right now I commend you in the mighty name of Jesus your time has expired out in the mighty name of Jesus Christ all over her body five Holy Spirit church let's stretch our hands let's begin to pray all over her body five Holy Spirit fire because of Christ be free in the mighty name of Jesus Christ because of Christ be delivered in the mighty name of Jesus because of Christ be free in a mighty name of Jesus Christ Holy Ghost fire all over her body Holy Ghost fire all over her body in a mighty name of Jesus Christ. Holy Ghost fire in the mighty name of Jesus Christ. Holy Ghost fire in the mighty name of Jesus Christ. Because of Christ be free. Because of Christ be delivered in the mighty name of Jesus. Because of Christ live for right now in the mighty name of Jesus Christ. Every darkness, every planting, are planted by God. We come out in the mighty name of Jesus. Out, out, out right now in the in the mighty name of Jesus Christ, out in the mighty name of Jesus Christ, from her body, in the mighty name of Jesus, out in the mighty name of Jesus Christ, out in the mighty name of Jesus Christ, out in the mighty name of Jesus Christ, church let's stretch our hands, let's begin to declare, let's begin to command this demon to leave this body, in the mighty name of Jesus Christ, in Jesus name we command out, because of Christ, out in the mighty name of Jesus, because of Christ be free in the mighty name of Jesus Christ because of Christ we delivered in the mighty name of Jesus Christ because of Christ be free in a mighty name of Jesus Christ we declare you free in the mighty name of Jesus Christ come on church let's put our hands together say thank you Jesus thank you Jesus to watch the anointing water prayer line in the USA and the evangelists administering the anointing water always remember that Jesus Christ has overcome that he is the victor that he is the one that holds the name so just rely on Jesus Christ as you are watching that there is no barrier between you and your answer right now so as those that are watching and those that are here present in this place remember that distance is not a barrier receive what you need today if it is a breakthrough if it is your promise if it is a renewal of your salvation remember that as they are receiving you can receive to in Jesus name as the evangelists are administering the anointing water they are saying the name of Jesus all power in heaven and on earth has been invested in the name of Jesus Christ at the mention of the name Jesus Satan has to listen as the evangelists pray for the people hope the Holy Ghost fire is exposing whatever that is not of Jesus in their lives and that people are being set free from the hands of darkness in Jesus's name the moment Jesus enters our lives we are taken out of the satanic kingdom of darkness and placed into the kingdom of Jesus the kingdom of light to God be the glory so touch your screen catch the fire as you are in this place if you are present and those that are watching on livestream remember that you can receive your healing your breakthrough and your deliverance today in Jesus name as you're here today remember that believing is possessing when you believe in his word you possess the thing that the word has guaranteed the instant you believe you have the instant you believe it's yours the instant that you believe you become a possessor of the father's nature no matter the signs no matter the situation before or after no matter what symptoms you experience you can say my heart knows that the case is settled so you can touch your screen if you're watching online or you can reach out today in faith and receive your own answer so you can take your position in the believers authority and be assured that he hears you and if he hears you it is as good as an answer because you and him are cooperating say this out loud after me say I am saved Jesus is my savior say I am healed Jesus is my healer say I am delivered Jesus is my delivery so my past is over I am justified I'm no longer condemned I will walk in the light of my testimony in Jesus name come on if you have me push your hands together for Jesus Christ all the power on earth in heaven and on the earth has been invested in the name of Jesus and if we put our trust in the name of Jesus the name of Jesus will shake the very foundations of our troubles of our problems and of our sickness so let's look up on to Jesus let's look up on to the cross and what he has done for us and let's trust in that all powerful almighty name of Jesus to bring solution to your life in a mighty name of Jesus let's open up this and say Lord Jesus open my heart to your word say Lord Jesus open my heart to your faith say Lord Jesus open my heart to your spirit now receiving faith we thank God for this wonderful opportunity to be here today under this divine atmosphere where the spirit of God is present where the spirit of God is moving we can see the mighty hand of God working in the lives of these people beginning to shake the foundation of their problems creating a lasting solution something that they can rely on we know that Jesus Christ has given a permanent blow to all of our problems never a sickness Jesus cannot heal never a problem Jesus cannot solve never an unpleasant situation he cannot subdue never a burden he cannot bear never a disease he cannot cure by his stripes we are forgiven healed blessed saved and given a permanent solution never a friend like Jesus never a healer like Jesus Christ are you lost follow Jesus Christ for he is the roadmap to the lost are you hungry follow Jesus Christ for he is the bread to the hungry are you thirsty follow Jesus Christ for he is the water to the thirsty so this morning you can connect yourself to the living waters to subdue the thirst and hunger that you are looking for know that in him we have a lasting solution to the problems that we are facing and in him we are given a new future we're given a new start we're given freedom that comes only from Christ Jesus so whatever situation you may be facing whatever problem has been hindering your breakthrough whatever barrier has been stopping you from reaching the next level in life know that Jesus Christ is able to crush every barrier to remove every limitation to break down every wall that is stopping you from succeeding to the next level in life so today you can boldly and confidently declare that I am going to a new level in life the whatever situation you have is no more in Jesus mighty name you can declare a new level in life today in Jesus mighty name to God's power he can do the impossible so what is your situation today is it sickness is your situation needing a breakthrough whatever it is rely and know that it is Jesus Christ is the answer to all of your issues today so as you are watching if it is through livestream or if you are present today receive catch the fire that Jesus Christ wants to bring a solution to your problem in Jesus name remember today that trusting in Christ Jesus is not a mere intellectual acknowledgement but adherent to commitment to trust in faith in and total dependence upon him for everything that is you must depend upon him to live to move and to have your being because no state of being is as rewarding as living in tune with Jesus Christ in other words in coming to Jesus Christ for help and spiritual healing we should have an eye to him as the promised Messiah the trustee of mercy and grace therefore let the guilty the empty the naked and the hungry be of good cheer and of comfort for he calls them to be pardoned filled clothed and supplied you can see right now deliverance is taking place fire the Holy Spirit all over her body right now in a mighty name of Jesus Christ you demon you unclean spirit all over your body all over your body in a mighty name of Jesus Christ who are you who are you who are you speak clearly who are you what have you done her life what have you done in her family answer clearly right now in the mighty name of Jesus huh all over your body what have you done in her career why have you done her career in her family what troubles did you cause answer in the mighty name of Jesus Christ in a mighty name of Jesus answer clearly what have you done her life Holy Spirit all over her body in a mighty name of Jesus Christ because of Christ I command you out in a mighty name of Jesus Christ because of Christ I command you lucha grip because of Christ family goes you are in the arena of liberty and you must leave this woman right now in a mighty name of Jesus Christ fire all over all over her body from the top of her head to the bottom of feet I commend you right now in a mighty name of Jesus Christ you lose the woman lose the woman lose the woman right now church let's stretch our hands and let's begin to pray let's begin to ask for God's favor of all the spirits all over our body right now in a mighty name of Jesus you demon your unclean spirit leave her right now because of Christ lose your grip This your grip in a mighty name of Jesus Christ you Demonded Spirit your unclean spirit lose your grip right now in the mighty name of Jesus Christ sir Crip fire all over your body fire all over your body right now all over her body right now in a mighty name of Jesus Christ your unclean out of every fluid, out of every faculty of her body, out in a mighty name Jesus Christ, out in a mighty name of Jesus Christ shall let's stretch out our hands and continue to pray in a mighty name.  You are in a Reign and Liberty. You have no other choice but to leave in the morning of Jesus Christ. Fire all over your body. Fire all over your body. Fire all over your body. In the morning of Jesus Christ. Fire all over your body. Holy Ghost, fire. Holy Ghost, fire in the morning of Jesus Christ. Holy Ghost, fire in the morning of Jesus Christ. Holy Ghost, fire in the morning of Jesus Christ. Holy Ghost, fire in the morning of Jesus Christ. Holy Ghost, fire in the morning of Jesus Christ. out Fire all over her body, all over her feet All over her body in the mighty name of Jesus Holy God, fire in the mighty name of Jesus Fire in the mighty name of Jesus Church, let's continue to pray, stretch our hands In the mighty name of Jesus Christ You must go right now, right now In the mighty name of Jesus Christ You must go right now in the mighty name of Jesus Christ Out right now in the mighty name of Jesus Out in the mighty name of Jesus Christ Out, out of every faculty of her body out of every food of our body right now out in the mighty name of Jesus Christ in the name of Jesus Christ we declare you're free in a mighty name on Jesus Christ just let's put our hands together ma'am how are you feeling it again you're feeling great what was this whole thing happening why were you spitting on us you don't know it's the evil spirit that was in you that was performing those works but now that the evil spirit has been gone you are free and free forever say thank you Jesus thank you Jesus thank you Jesus thank you Jesus I'm free thank you Jesus thank you Jesus I'm free right now we continue with the prayer line as people are still here waiting for their own touch from the Holy Spirit and today is their day we know that where the spirit of the Lord is there is freedom and truly this is the arena of liberty this is the realm of freedom as as the Holy Spirit is here with us creating an atmosphere of faith so today as we are here it is so important that we are all here in faith we must remain in such an attitude of faith knowing that it is faith that God responds to when we come to Christ we must come to him with a genuine faith a genuine cry from our heart knowing that he is the one who brings the solution who brings the change to our lives we know that faith is the transformative power of the universe it's the power of change it is change from sickness to healing it is the change from disease to good health it is the change from bondage to freedom from a faithless generation to a faithful generation so it is so important today that we connect ourselves in faith wherever you are reach out in faith because believing is your connection to Jesus Christ so wherever you are you can receive your own healing your own deliverance your own breakthrough as you connect in faith today because faith is the currency of heaven for which you can exchange your own problem for his solution in Jesus mighty name say I'm saved come on say I'm saved Jesus is my savior say I am healed Jesus is my healer say I am delivered because Jesus is my deliverer say pain and suffering say troubles are things of the past in the name of Jesus say I am a new creation in Jesus Christ now walk in the light of your testimony


Who is the greatest six man of all time? I'm not sure it's just one, but I think that Kevin McHale, obviously a blue wheel. Manu, who was just unbelievable. Those two in our era, but then you have guys like that left shrimp who had a couple of wards. You had guys like Eddie Johnson who was underrated. Yeah, Ricky Pierce, Ablachek. Like there's so many guys, but those guys from my era could say like, oh, I remember him. And I've seen him recently, it would be Manu and Lou Will for sure.


But in the old world tight end, six foot seven three. America came out as a winner last night after the third quarter because Fandall customers get $10 million in bonus bets because Mr. Four Times Super World Champion Rob Gronkowski who is joining us right now attempted a field goal, apparently didn't make it, but we're gonna get to all of this, Gronk. I appreciate you so much for joining the show this morning. Let's start here. Did you really kick it or was it fake? No, I really kicked it. The commercial was 100% live. There might have been that little TV delay which was five seconds or so. That's the only possibility of not a true live update but it was definitely live. I had one attempt. It was a 30 second spot and let me tell you, it was one of the coolest creatives of all time. I just wanna thank Fandall for everything that they've done.  Fandall, all the creative team. I love doing these type of activities. I love learning. I love being able to pick up a new skill and throughout this whole process over the last month or so I was able to pick up a new skill and that's kicking now. I mean, I'm not a pro but I picked it up where I'm good enough now to where I can probably just pick up a football and just kick it through the uprights. With a 80% chance every single time whenever I pick up the football and put it down to kick it but it was truly live. It was truly live. I have one attempt and one attempt only. I think people thought it might be at the stadium which you clarified. I did the press conference with you guys. We built a set near the stadium on the outskirts because of course you couldn't be there during the Super Bowl doing that and then the production quality was so epic and so good. It looked like a movie was being shot so some people think that it wasn't live which is hilarious to me. Darius Butler is like, is it CGI'd? What happened? That's not the case. So then I asked you because I know and I appreciate how invested you were, Gronk. You were all in on this. I think I speak on behalf of everybody at Fanduil for thanking you for your buy-in. What went wrong? What happened? I gotta tell you, I thought you kicked it through. Every big wig I was in the Fanduil suite with we all are celebrating watching this commercial live and then I saw this angle. Take me through this other angle. I don't know, can we have that? Can we re-rack that? Take me through what happened, Gronk. All right, so I actually was very confident. I actually was not nervous at all. I was five for five on rehearsal day because we had to do so many rehearsals because we needed the timing to be exact because we only had a 30 second spot and there was no room for error. So I was five for five on the rehearsal day. I felt great warming up. I was really loose when it came to the third quarter. I've already made a couple of field goals beforehand because yes, it's a live commercial so I had a lot of practice runs before though. So that's to keep me loose and keep me feeling good. So I was not nervous one single bit. I've one single bit. I felt like I had it for sure. And let me tell you, when I kicked that, when I had that kick, when it was live, the kick that I missed, it felt like the best kick over the past two months I've been practicing. I, right when I hit it, right when I booted that, I knew I booted that and I knew it was my best kick and I felt the confidence that it was going through no matter what. And then I looked up and it was storing and then all of a sudden I swear a wind gust just came up there. Mother Nature was like, no, no, no, no, no, Gronk. You're not scoring again in the Super Bowl. All right, you have too many touchdowns in the Super Bowl. Let people catch up to you. Let people catch up in points with you. You don't even, you don't need field goal points too. So Mother Nature just sent this powerful wind when the ball was about to go right through the uprights, right down the middle. You could even watch it. It's going directly through. And all of a sudden the wind whooped. Yeah. Just whooped the football and it went live left. The tiniest bit. This looks like you hit it. This looks like you hit it. And then if you look at the other angle, you see it's, you drilled it. It looks perfect. And then it is as if Christopher Lloyd in the Disney movie, Angels in the Outfield came and scooped the ball up and said, not today, Gronk. Yes, exactly what happened. It was literally going directly down the middle. And then from whatever camera view you were watching, you couldn't really tell it looked like a make on TV. Yeah. So people were all confused. Like, wait, I thought it went through because it sure did look like it went through for many angles. But that angle that you just showed me, the side angle with the camera on my right. Yes, you can see it. Facing the field goal. You can actually see it that it did go wide left. It was definitely, you know, a tough situation.  It was probably about a 30 mile per hour wind gust. I mean, I knew the wind plays a factor, but not that big of a factor. Like I literally aimed it at the right goal post as well. So it was tough. But what's so great about it is that so many people put a bet on the Super Bowl. So many people were interested in the kick of destiny. That fan duel gave away $17 million in free bets on top of including the $10 million, you know, in free bets with the kick of destiny. Yeah, so that is what is really cool about the whole situation. So just thank you to everyone for putting together and giving me this amazing opportunity. And you know something, Kay? I'm gonna have to make up for it because I kept saying I'm gonna make it for America. Fan duel backed me up, though. Let's go! Thank you to Fan duel backed me up and still giving out the $10 million in bonus bets, but on top of it, another $7 million as well. So that's very, very cool. And I'm gonna have to have a redemption one day. I'm gonna have to do something. I'm not sure what it's gonna be yet, but I'm gonna have to do another something of destiny where I can do it in a cup or something for America. I gotta make up for it and I'm going to, but we'll see down the future what it's gonna be. Yeah, I asked how you were, and I heard about the wind. Like the wind started picking up legitimately around 4 p.m. and there was a buzz about it. How's this going to go with the wind? And you're not, you know, this is your first couple months training for something like this, but I did hear that you stayed after. You didn't run to watch the Super Bowl.  And I just, I think that was so cool to hear that you stayed until every last picture was taken to sort of wrap up this beautiful moment. So you are a gentleman and a four times Super Bowl champ who wants a chance at redemption. Quickly, when you're watching Harrison Butcher and he misses his first one and then he lines up, and that was a 27 yard or yours was a 25. What were you thinking and what was your new appreciation for him? No, I have some serious appreciation for kickers. I always have, but it's definitely taken, taken it to a whole another level. I was talking to Adam Benetieri yesterday, once again and just telling him just how amazing of a job he did throughout his whole career and how much respect I have for him and kickers. And then just watching that game, seeing that he had that 27 yarder. I mean, I knew he was going to make it.  That would have been the same case with myself. I would have made that 27 yard kick in the Super Bowl game as well. And a dome, I can tell you that even though I missed my 25 yarder with no one else on the field and no pressure. You got it. I knew Bucker was gonna hit that. You're gonna get it next time. Yes, I knew he was gonna hit that. It's a chip shot for those guys. They have so much repetition in the book, so just congratulations to him for hitting the game winning field goal and congratulations to the Kansas City Chiefs for winning the Super Bowl. And yeah, so let's get this quickly. Your guy, Tom, is the goat and the Holmes wins his second one. Two times Super Bowl MVP. Can Patrick give Brady a run for his money? Yeah, he definitely can give Brady a run for his money. I mean, he's young. He has two Super Bowl wins now. I mean, yeah, see, he's been two Super Bowl three times over the last six years, but in order to get to that level, I mean, you're gonna have to be consistent for the next 15 years. So that's not, you know, it's a debate, but it's not up to us.  He just gotta keep performing for the next 15 years. So that's definitely a... I'll say yes, can I say it? That's definitely a duty right there. Brady beat Mahomes. Brady beat Mahomes. What do you mean? What's the question? We gotta go, Gronk. I can't hear you. Brady beat Mahomes. We love you. Yeah, we did.


So I would like that and I like the crossings between the different ways of making things. And I guess it's also from, I think the theater reminds me a lot of church and we were talking about community yesterday and just thinking of live events and there's a liveness in music that I think is fully emotional when someone, they always say when someone can't speak anymore they just break into song and there's a guy who teaches a lot of composer librettist workshops in Minneapolis. It's called Nautilus and his name is Ben Crywatts and I think a lot of us have taken his workshops through New Dramatists and he says, talks about emotional expansion and I think that that's really useful in theater because I don't really like the sound of actors projecting. I think that's what I hear when I hear a play that's a cappello most of the time. But I think that there are plays that don't have music that are very operatic to the ear like more stately mansions at New York Theater Workshop. Didn't have accompaniment at all but when I saw it I really felt that it was an opera because of its emotions and the way it was scored. So I think you can do that with theater and you can also something that I've done a lot is to work on something with music and with a composer and then later take the music away and it then has the print of the musicality and the language so I hope I answered the question. Very good. Kim, what about you? I started acting, dancing, singing very young at age 12 and was part of a theater company that did original musicals commissioned by Liz Swaydos and Steven Schwartz and had a ball doing that and then went into college and studied and always knew that acting was my favorite and expressing and dealing with the people and their intentions and their desires and their conflicts was my favorite thing so I thought I'm just gonna concentrate on the acting and I studied acting for four years and then upon getting out it wasn't as multi-culty aging myself in 1988 and so all ethnicities were encouraged to audition that said on the notices but we were barely ever cast and I was considered ethnic and they knew I sang so my advisor was pushing me to go into musicals, go into musicals and so I found myself working with an agent and he just kept sending me out for Anita in West Side Story all over the place and then I managed on my own to get cast and hear the musical which is a really fun musical and I did the European tour of that and fun songs to do and blah, blah, blah but it really I kind of suffered by the end and I felt like it really hurt my acting chops because it was all about fun song and then poignant ballad and then blah, blah, blah and so after that I thought I don't wanna keep on going out for these musicals I wanna do theater and luckily I got connected with Ruth and in the whole downtown theater scene and started doing what is still one of my favorite things to do is theater with music and it often means that the whole play is driven by the characters and their desires and their stories and their conflicts and exactly like Ruth said that they burst into song because they can't speak anymore and they have to sing it out and I just love that because the songs then really further the intentions and the conflicts and the story of the character so I got to play these crazy ass great characters that Ruth wrote and got to sing and got to do a little dancing and yeah and so that's what I still long for I love in theater pieces with music I love feeling the audience when suddenly the character does have to sing you feel the audience just kind of oh, oh and they listen even more intently and it really furthers the script along and serves the script and the text and the story and the characters so that's how I got into it. Mark? It's interesting, I have somewhat of a similar background to Ruth in that I think about my early influences last minute what are your two early influences or earliest memories of music and one is chant in the church and then the other was I grew up here but I can remember when I was gosh maybe four or five going to a pow wow up towards Naya Brera and this was the not the Ogallala Sioux tribe but maybe one of the Omaha tribes and I can remember getting out of the car and hearing the sound of drums in the distance and then getting closer and closer and closer and just feeling the energy of that the sound of the drums and how where is that and I want to see that and so from a very early age I wanted to be a drummer and really to play these big pow wow drums but growing up in the Midwest before you can study any other instrument at least where I grew up in Lincoln you had to study piano for at least a year and so I studied piano and I continued I started about the same age well maybe a little older than you but maybe you know like second grade and then I continued with that my musical studies threw out all the way to high school and then became initially a music major and an English major at the same time started in college really exploring the connection and I did by the way a lot of musical theater in high school like you do and so as frightening as it is to Mary Beth I did act at one point and so but then I became really fascinated but then I became really fascinated with a continuing use of percussion and voice so I was influenced by John Cage, Harry Parch, Meredith Mung, people like this were I was listening to as well as a lot of avant-garde jazz when I got to graduate studies at University of Iowa as a composition student that was the time when I tell say this is the like Tom Waits said at one point I went down the black hole of percussion and I never came out again so I was doing I started building all of these percussion instruments and from found objects and creating sound sculptures and then I wanted to combine that with these kind of extended vocal techniques, and forms but I was finding I was also at that time to support myself I was teaching ear training what I called ear straining and sight swinging to the theory students but I was finding that there was this resistance among music sort of classically trained music students to doing these extended vocal techniques and just experimenting and improvising and so I thought well gosh where I know that people in theater you know at least this is my experience when I was in theater have this sort of yes and mentality so I went to the theater department University of Iowa and took some pieces over there and began experimenting and that's how I began to start doing a lot of work in theater and then when people found out that I could accompany live I could add music as a percussionist as a pianist then I went down to black hole of theater and stayed there and so that's my impulse really came out of you know out of a practical search to find collaborators who were willing to take risks in the music that they were doing and then I just became fascinated with the process of how music and sound can propel storytelling in a kinetic way. Very good, if Ruth and Kim could talk a little bit they've collaborated together so if you guys could talk a little bit about a project that you worked on and how music was used in there that would be great. Yeah, what was so cool about working with Ruth and director Tim Maynard producer Kristen Marding and part of Tiny Mythic theater company composer Matthew Pierce Tiny Mythic went on to start here Art Center in New York City which some of you may know. With the exciting thing about working with Ruth is often day one of rehearsal she'd come in with her script with no music written yet and she'd say I kind of hear this part as a song and this part here and why don't we just run through it and Kim see what you think, see what you can do and that sounds pretty nerve wracking but she'd give me a little guidance and sometimes she'd point out a phrase or a word and said this word here is really important to me so maybe elongate it or da da da da da. So again it was like totally character intention and conflict driven and oftentimes when you do something like that it was freeing, it's scary but freeing in a way cause it's not about I gotta make this sound really good. It's about what is this character going through right now and what does she need to say and what does she need to express and what does she want and so we'd often play around with that and one show in particular I did a little piece of it infringed the other night, Centaur Battle of Saña Sinto. The composer was Nicos Briscoe and we were he, when it came to those little monologues and songs that he had some ideas for chords and he'd say I'm kind of hearing maybe these chords here and these chords there and da da da da and then I'd look at the piece and see what was going on with the character and then we would just riff with it and even by the time it opened at Dixon Place a lot of it wasn't set, we would maybe set okay we're gonna switch then to these chords here and this will be like the chorus and then we'd sometimes just set certain lines to help the other cast members too to give them some kind of guidelines of where we were in the song and it was very, very freeing and a little terrifying times I often tell the story of when I did the show Night Vision, which was a vampire opera and it was about a Iraqi vampire rock star woman and the music was composed by avant-garde saxophonist Fred Ho Rest in Peace Fred, brilliant, brilliant man and so I think the first thing we did with it is we had a staged reading at the public and it was packed and what was I, 26, 27, 28, like, yeah I was like 28, 29 and so again none of the music was written maybe one song but the rest not and here I was playing this Iraqi vampire rock star who had to sing Ruth's words which if you know Ruth's words are pretty wild sometimes while Fred improvised on tenor saxophone in front of the huge public theater so and I just went over to Fred's one day and he was like I don't know, I'm gonna play around and do something like and you just come in whenever you want and la, la, la so I remember sitting in the green room backstage like oh my god, I'm just gonna make a huge fool out of myself but then to bring myself back down I said no Kim, again it's about the character it's not about how great I'm gonna sound or how sweet that part's gonna sound or how meaty or whatever it's about the character and the words and what she's going through in that moment and about especially just being completely open and ears open, heart open, mind open and just connect the character and the words and trust and if I didn't hear anything I would just wait and then yeah super scary but super rewarding in the end and freeing yeah, ooh, I just got on a long story there Ruth, do you have anything to add to that? But you forgot about the two hearts that you had swallowed in your throat yeah, so not only did I just say I had two hearts in my throat, ultimately she was supposed to sing in two tones so when we went to production there was a second voice on the side of the stage singing with her so she sounded like she had two tones and I had to keep in mind sorry, tube enchanting, right? yeah and I had to keep in mind the Iraqi flair so I was listening to all this Iraqi music so I could somehow sound Iraqi when I was doing all this it was a lot of components but very freeing and again about the words and the characters and the story and the hearts were a third world and a first world heart and so they were, the vampire was transfusing and she was a metaphor for capitalism so that was, Kim and I worked together mostly during my cry pitch phase I would call it, my cry pitch years I was obsessed with this idea of a cry pitch and so it was, someone told me that the voice you can tell where your voice breaks as to where you've had trauma and so I was very interested in that and also there was a time when I was making a video when I was in grad school and I had always sung alto in church and so I was always singing under the melody and always had been told I was an alto and when I was just performing for myself in the video camera I started to experiment and my voice went everywhere it went away all over the place and I was really inspired by that breaking open and I wanted to, I wanted other actors to be able to feel that and to explore it and a lot of singers won't do that to their voice because they're afraid they're gonna hurt their vocal cords and I think there's ways of doing it without damaging yourself and so the cry pitch carols was another piece that Kim did and she played the Bible smuggler's wife and there was a small, small Christus who would explode his manger and so it was basically a nativity operetta set in a nostalgic nuclear cold winter. And so the cry pitch was kind of if you can imagine a rupture through Christmas carols so I was using Christmas carols to inspire the way I wrote the songs and the sounds Matthew Pierce is a, now he's working for the ballet but a classically trained violinist and so he was writing things that could sound like Christmas carols and then there would be this rupture that would cry out through it and that came also from working with punk bands where punk singers are not worried about their vocal cords at all so. Or there it is. But a couple punk bands that I worked with in Austin and I wanted to have older women singing the vocals and so we had punk bands with like 70 year old women. It was very hard to find actors willing to hear all the noise in the background of their beautiful vocals. So, but the cry pitch lasted for a long time and in fact when I think about music I have a couple drawings that I've worked on over the years and I return to them sometimes and try to think of like what is the architecture of the kind of voice that I'm interested in and I've written a couple blogs for TCG one of which is called toward a neo-cubist Alamkara vocal art for playwriting and so I think of the voice as cubist and as language and theater as a cubist kind of art form and I'm very interested in showing something that is has a flatness like theater does but also has multiple points of view within it and I think that's also feminist and anti-capitalist I guess you could say because capitalism is all about a single message and one person dominating. So to have multi-vocals and multi-linearity to have that kind of multiplicity is really political to me and also feminist and interesting. So I'm interested in this idea of the voice as cubist and so the cry pitch is a part of that and I would say that's the most foregrounded kind of voice because when you meet someone who is in that kind of emotional poverty they are very desperate and they sound broken and so they're usually very close to you but then as you go into the kind of horizontal linearity of the space those are everyday events and could be even realistic events but then in the background there would be affluence and people that are doing really well and don't really need you so they've gone off into the distance. So a couple other things I'm working on are locket areas. It's another piece that came out of this opera project time that Kim was a part of and when I look back on that time I really feel that we were fortunate to be bold enough to just make what we were making and we didn't have a 501C3, we didn't have a commission, we didn't have really anything but our own bravery and it lasted until everybody started getting scared because the reviews were like, what the hell are you doing? And my parents were like, what the hell is that? Yeah. So then everybody scattered into more commercial things except for Kim and I really and Kristen. But during that time I wrote these pieces with Kristen Martin for a piece that she brought me into called the courtesan and I had written them as locket areas and now I've returned to them and by accident a composer in Minneapolis, I sent them to him as a reference for something he was working on and he started scoring them and he just worked for three months straight and just scored them for opera singers and so I'm really excited about seeing them this way and I heard all of them for the first time in April with six beautiful Minneapolis opera singers and I can't wait to keep working on it and finding maybe a little interstitial kind of scenes between them and then I'm working on Previously Blue which is more of an acoustic acapella kind of piece but I'm actually performing in it and thinking of it as spoken singing so it goes between speaking and singing and it's very percussive in the background but minimalist I think as well and I'm working with Da Theater who they're, as I was mentioning yesterday, my sister's in Belgrade, Serbia and they're very physical and they actually have inspired me a lot to think about the voice, they talk about it as resonators, like they take this from Grotowski and Eugenia Barba and they have trained themselves physically so that they can resonate their voice from different parts of their body and so it's wonderful to work with them even though they aren't singers, they're very understanding of all the ranges of the voice and then another piece that is, we're just trying to get it off the ground, it's called The Passion of Layla and I'm thinking of it as a Tassier opera inspired by the form of Tassier but won't be traditional Tassier at all but I'm working on that with Richard Marriott in San Francisco, so those are some things I'm working on now but it really comes from that work that Kim and I did and I'm so lucky to have the honor of working with a performer like Kim because she's just like a genius. Oh my, I love this conference. I wanted to move this, and I'll let Mark lead with this because Mark and Ruth have both done work using music as a tool or a means to begin an intercultural collaboration with artists from other cultures so Mark, could you begin by talking a little bit about your experience interculturally? You know, and I would lead that by saying that the fascinating thing to me always in working on a new place or a established place is the opportunity to explore an entirely different musical world than I know and opening up and learning about a different world so an example of that was when I did Kentucky Cycle at Iowa before it transferred to the Kennedy Center and to Broadway and interestingly we have somebody in the house who was in that, Levy Lee Simon was in that production but it really led me down the path of exploring the music of Appalachia and then that whole, you know, what imagining what the sound of America was before the industrialization happened and so I explored that, learned a lot of songs, learned new instruments, a hammer dulcimer, lap dulcimer and so that was, that's one of the fascinating things for me in doing theater is it takes me down different musical journeys. One of my favorite projects that we did that was an intercultural exchange also started at the University of Iowa with Cambodian poet Usam Orr and poet Ken McCullough. Usam Orr had a book of poetry called Sacred Vows but when I met Sam and his friend Ken McCullough he had just come back sort of on a grant from Cambodia. His friend Ken McCullough met him during, when they were at the International Writing Workshop in 1968 and then Sam went back and was in Cambodia when the Khmer Rouge took over.  He broke his glasses. He broke his glasses, buried actually all of his poetry as the Khmer Rouge was descending on Phnom Penh and his friend Ken, where they were very close, didn't, hadn't heard from him in years and had a beautiful poem about, they used to joke about people eating dog meat in Cambodia and he had this beautiful poem about, thinking about Usam Orr, you know, whether he was still alive or whether he was dog meat in the Khmer sun and then they got this letter out of the blue. Somebody requesting their thesis in Cambodia. So Sam came and if you know, if anybody's heard Khmer poetry, it's sung, all sung and Sam had a grant to come to University of Iowa and I did the first, Ken knew me because of work we had done together in settings of his poetry and Ken said, well, Usam said, I need accompaniment, you know, and I'm like, I don't know if play any Khmer instruments and he says, oh, well, we'll just come, he came over to my basement and I said, well, I have like these transmission gears that sort of sound like the kong-tum and he says, oh, those are great. So I play those and I have these flutes that sound a little bit like a Kemodian instrument, a pipak and so we did a reading of his sacred vows and well, fascinated me at that time when we first did that reading, we practiced and I had a synthesizer as well which was, so not an instrument except for with the mod wheel that I could sort of change pitch but we're doing this reading and all of a sudden his pitch starts shifting up as he's singing and I'm like, oh, I can't go there because I don't have like a trombone, they can slide, don't have a violin, you know and so I was kind of moving the mod wheel slightly and I come to find out in Khmer singing that it's a little bit like you talk about with the cry pitch but that their voices, part of the aesthetic is their voices slightly ascend so as they're ascending towards infinity so there's always this slightly tuning up and after we did that initial reading, Sam said, you know, I really see this as a theater piece or we talked about that, Mary Beth and I and then so we began a collaboration on well, how do we turn this piece into something, how do we take this to the stage and we created this chamber opera called Crissan Tree and Mary Beth can talk a little bit more about it but the beautiful thing of that was when we first did it at Iowa as a workshop, we put out a call for all Asian American students, we didn't care, there was some among community in Iowa, there was no Cambodians other than it was Sam Moore there at that time but it was a beautiful experience in Iowa to begin with because all of the Asian American students were in the room together and they said, this is the first time we've ever been in a room together creating a piece of theater that is about our culture. Not even just creating a piece of theater, they said it was the first time they'd been in a room together with just other people like them and we had one young woman that came to us and she said, I can't sing or I can't dance but I was in a refugee camp and I need to be a part of this. We then took the piece to, I'm gonna move quickly. A shorter amount of words than Mark. We moved the piece quickly to Minneapolis, St. Paul which we had funding from the St. Paul Company and various other organizations and Theater de la Jume Lune invited us to be able to work on the piece there and present it because it was very important because Minneapolis St. Paul has one of the largest Cambodian communities in the nation and full of a lot of refugees and there's a lot of problems, intergenerational communication problems between the parents who were, and grandparents who were refugees here and the young people who were going to school. So we also made it our focus to be able to work with an all Cambodian cast and we had people that were from the Royal Ballet which I saw our dancers who had taken refugee here. We had musicians who had worked their entire life as musicians, they're in fact survived by playing to entertain. And then we had young people who really didn't know what had happened. And it became a remarkable cross collaboration in which I think the music because we used found objects for the music considering everything was destroyed. So we had no true instruments, all the instruments we had were things that we could find that could sound like those instruments. And to me, I think it was one of the greatest ways of using music because I personally love theater that transforms and transports. And I think music gets us out of our heads and gets us into a place of listening and being that awakens our spirit. And so to me, that's my main purpose because I am a music whore for my theater and a sound whore from a technical point of view because I think that viscerally takes people somewhere else. And I think that's what it did with Grissongdry. It was really beautiful to see grandparents performing with their grandchildren and the grandchildren learning traditional dance, but mixing it with what they did contemporary. And that's kind of, I made it short because we don't have a lot of time. Yeah, and the beautiful thing was that it opened this dialogue because there were several intergenerational, it was arranged from 11, I think, to Bun Lung, who was a renowned musician. And as Mary Beth said, he survived the Khmer Rouge because he could play Vietnamese music and they loved Vietnamese music. I mean, think about the parallels of that, right? And that's their Holocaust, right? So, but some of it, it opened a dialogue because many parents were afraid to even talk about. Well, we had some people that wouldn't participate because they were afraid of being retribution against them from the Khmer Rouge that lived in Minneapolis, St. Paul. So, they were afraid to participate because of that. But Ushemur's whole ethos in writing his poetry is to talk about this and the experience. And it was really critical to him. He said, because we don't bring this to the light of day, if we don't go through this, if we don't tell this piece, then he talks a lot about the cycles of history and the wheel of history will turn again on us. So, that, I think, was one of the most amazing things. In addition to having an opportunity to partner with these amazing musicians and dancers, but that this dialogue, an intergenerational dialogue opened up and it really accomplished what I think Ushemur was thinking about in a broader sense, not just in creating a piece of theater that was beautiful, but in his mission as a poet and an artist. Kim has to say one more small thing. A small thing, and feel free to approach me if you wanna hear more about it. But I also worked a lot with the Talking Band Theatre Company and composer Ellen Maddow in New York City. And she's very much inspired by Meredith Monk, who, for those of you who don't know her, is avant-garde vocalist, came up in the 60s and does a lot of acapella vocal stuff. So, that's a way to incorporate music into your play that will help forward the scenes along, whether you want lyrics or no. So, just for a quick example, say you have a rainy scene and you would like a little music that would help serve that scene. In Meredith Monk, Ellen Maddow's style, you would have vocals, someone going, blip, blop, blip, blip, blip, blip, blip, blip, blip, blip, blip, blip, blip, blip, blip, blip, blip. That kind of thing. So, if anyone wants to hear more about that, feel free to approach me. We only have a few minutes left. So, does anyone have any questions that they would like to come up and ask? You have to take, I was told, the long walk up to the mic. Oh, we're quiet today. Ruth, is there anything else you would like to say? Well, I guess I would say, in terms of cross-cultural projects, there have been a lot in my experience, but I would talk about Fred, the work that I've done with Fred Ho, because he really brought together martial artists from all different schools of Kung Fu, and Kapoeira, and all kinds. They actually would have their own schools, and they would come and work together and do theater, and it was amazing to see them on stage together because they were trained to fight, and so they had to learn how to do theater and not hurt each other, and, you know. So, it was an amazing thing to watch their styles influence each other and come together as a whole piece, and there's a kind of parallel in one of the storylines that Fred and I wrote, which is the five martial artists of Shaolin Temple, who all have different fighting styles, you know, whether it's Panther or Snake Style, or their different styles, and then when they go to fight the evil Gar Man Zhang, who has stolen the Shaolin secret scrolls, and absorbed all of the fighting styles into her body, they have to improvise. So, I really love that idea of for cross-cultural collaboration that I think Mark is speaking to too, because I think when you think of culture, you think of traditions and conventions of music or theater, and I think that's really wonderful, but at one time those conventions were also improvisational, and so to keep that spirit, which comes also from the avant-garde and the edge that continues to move wherever it will, is to just keep exploring and to not be bound by the conventions of the past, because I think we're always working towards a new future, with also respect for the traditions that you are working with, and I always think of that as, I spoke to this a little bit yesterday, but I think of myself as taking off my shoes when I walk in the room, like it's sort of wholly ground in a way, and if I think of community, and another thing that I didn't get to say yesterday is that there's a song at the end of Three Graces, a piece that I wrote where it's talking about, it's a tavern song, and it's sit down at my table, have the drink the same old wine, there's a palace we can plunder, there's a life that should be mine, but this is my tavern, this is my table, and they're singing this as the to the Turk and the Greek rebels are fighting to the death, and I think in collaboration you have to sometimes say, this is not my table, this is not my play, this is not mine, it belongs to all of us, and I think that's sort of something I'm always trying to learn and also teach, so that's maybe something to think about. Yeah. If there are no questions, I think we've reached the end of our time, so thank you everyone for listening to us.  Yeah. Thank you. Thank you.


The DCU fashion show took place in the Helix on the 9th of March. The fashion show is the biggest event on the DCU's Style Societies calendar and is one of the biggest events in DCU every year. So I went along for a look. The fashion show was a huge success with over 600 people attending the event. I caught up with one of the models, Ifa McCormack, to see how she found the experience. And it's honestly one of the best things I've been involved in my whole time in DCU. It's so much fun, so much time and effort goes into it. You meet some incredible people and make such, such great friends. One of the choreographers, Jessica Trainor, explained to me that even though she enjoyed the event, she did find it very stressful. Yeah, I loved it. It has been really stressful. Obviously, we're doing, we did it four hours a week and I didn't think that was enough. So that was a little bit stressful. It's also stressful getting all the models. There's 32. There was more than last year. I think last year might be 28. And I would probably like to reduce the numbers because there's too many people to handle and too many people, like, to suit. Alana Laverti, one of the head stylists for the fashion show, gave me an insight into what her role was like. It's really not just a matter of going in and choosing clothes and putting them on people. There's so much more to it than that. So beforehand, we would have gotten all 32 models sizes. We would have been in contact with all the shops that had allowed us to use clothes. There was about 25 of them. I think we had 250 outfits in total. And so in the few days beforehand, it was a matter of we had to bring a few of the lads in for actual sizing in stores with suit shops and stuff. But for the girls, it was pretty simple. We just got their size and most of it turned out okay. So the Monday and the Tuesday, we were all day each day collecting all the clothes and you wouldn't imagine how full a car can get from one store pickup. So we did that and then we brought them all to the helix and we did fittings on the Tuesday and then all day Wednesday as well before the show. And then we just organized everyone into their rails by walk and then it was showtime.


Okay, good morning everybody, good morning and welcome back to our guest list participants and livestream audience as well for this second day of the European Theatre Forum 2020 European Performing Arts in Focus. We will start this second day with an opening speech by a special guest which we will present shortly before going over then to the presentation of the study the situation of theatres in the EU member states which is something we have been really looking forward to in the European theatre landscape. This will take place during the first part of the morning the second part from 10 am onwards will be divided into two sessions dedicated to environmental sustainability and EU cultural policies greening the theatre and performing arts sector and of course throughout the day this afternoon as well our forum platform stays open is available for you to meet exchange and network just as we did yesterday during the table talks with German organizations. Don't hesitate to already set up meetings in our informal networking rooms with the other attendees using the zoom chat the text chat on the forum platform or even the list of contacts you've received received per email to inform people of the rooms you'll be going to now. This way you can make sure that you will meet all the persons you want to talk and to meet during the forum. And because we are here to talk about the future chances and possibilities in theatre and performing arts it is our pleasure to invite you to join the 10th edition of the Fast Forward European Festival for Young Stage Directors starting this afternoon at 2.15. It is hosted by Sztatschauspiel President. The pandemic has shown us all how fragile the structures on which we have built our security are but the festival as a place for discovery creativity and innovation with this year edition entitled at work invite you for four full days to immerse yourself in virtual worlds and test new perspective. As we all know this European theatre forum is happening while most theatre and performing arts venues in Europe are currently closed to the audience not even rehearsing or some in the best case scenario only playing for very limited audience of 20 or 30 persons like where you are young at the theatre in Luxembourg. So we want to show the direct and undeniable effects of the pandemic on our sector and because the images are stronger than words we have prepared for you a video. Yes I am sure most of you have been witnessing first hand this difficult situation and the uncertainty of your latest artistic work which for someone has been cancelled reported postponed or even cancelled second time. So this time so with their accumulation of empty audiences asked for a lot of patience and strong nerves and of course glimmers of hope that the situation will get better for us for all of us. But right now even with those strong images we are nonetheless extremely extremely honored to have Maria Gabrielle European Commissioner for Innovation Research Culture Education Youth and Sports open our discussions for today. We know that's it I'm told we are a bit early this is unusual normally at these points and time we're running behind the schedule but we are a bit early this morning so we'll ask everybody to be a little patient and the sessions will go on shortly. Okay maybe in the meantime we can just say a few words about this day which is entitled making progress after yesterday we have stage the stage today we are trying to make in progress in our discussions in our what it is to be done and because we have seen these images with the empty theaters it is really for us the artists for the performance this feeling to be homeless having a home not having the possibility to really to enter in contact with your audiences with the people to which you are addressing your work this has affected us all very very much because for us the space the place itself the direct contact the proximity plays an extremely important and decisive decisive role it is almost inimaginable for us even though we are trying to adjust ourselves to these times to understand how how can we still practice our profession when the basis themselves some of the main levels are cancelled so how how is it possible for us to make our art the invisible visible to the audience the soul the spirit the mind to touch all this when the the physical presence of the audience the space the space itself when this can happen are missing so we are all trying to find to make this progress to understand what and how theater as a public space as a vector of direct transmission of emotion and ideas that are circulating between spectators and our audiences can continue to exist this is the one of the main objectives of this forum and we really hope you will see in this next session with Maria Gabriel we have we are we are touching and opening some very very important aspects and I think Maria Gabriel is here and ready to talk to us so we'll pass it over to her thank you thank you very much dear Gina so emotional messages thank you for touching our hearts ladies and gentlemen first of all really thank you very much for inviting me to open this second day of the first ever theater forum an initiative that I fully support because I really I really believe that theater is fundamental for our society beyond entertainment it also has a strong education purpose provoking our thoughts our critical thinking and our social dialogue contributing to the changes that affect our societies and for an audience to look at live theater is to reflect on itself on its identity on its society and theater since ancient Greece has always been a key pillar for democracy for this reason this performing art needs to be supported and nurtured even more so in a situation like the one we are living we are performing arts are at risk on our side you can count on our firm support first of course we have creative Europe program the only instrument at European level entirely dedicated to the culture and creative sectors you all know how much over the years creative Europe has supported theater which comes second only to music in terms of projects funded it is true creative Europe that before the summer we published the call for tendons worth two and a half million euros to support the cross border circulation and digital distribution of performing arts works and I think that we have some good news the last two days after the conclusion of the negotiations between the European Parliament the Council and the European Commission I think that we should continue to promote together with creative Europe program how how to support the sector better because we have some good practices but we need to innovate I think that the live recording and streaming of the supported performances will be promoted as a complement to reach a broader audience and make touring more sustainable and this support allow me to to say it immediately will continue in the next programming period second I would like to share with you that we need we need a regular and direct dialogue with the sector the crisis is affecting all of us therefore we need to help each other to share best practices experiences solutions and this first European theater forum has a crucial role in this regard connecting European theaters to each other and I very much hope that the forum forum will become a regular tool of dialogue exchange improvement and I would also like to invite you to share your views ideas and solutions on the creative unite platform a platform for and by the sector that offers a curated spaces to co-create and upload content and contribution when we launched the platform in May that was just a good idea now we have more than 26 000 registered users and over 600 published posts what I would like to see now is what are the main solutions that we can operationalize that we can put on the ground with a concrete benefit for the sector and for our citizens third I think that we need not only to stop to creative Europe not only to stop to the creative unite platform we need to think how to include the fundamental role of theater in other initiatives of the European Commission of course I'm thinking here spontaneously about the conference on the future of Europe I cannot see a better way to get citizens involved in a wide range debate on Europe's future in the coming decade and beyond then through theater and performing arts my colleague vice president Dografka Schweitzer is responsible for the conference I really invite you to contact her and to see how we can just make more visible your fundamental contribution second initiative let's think about the new european Bauhaus as you know this will be a bridge between the world of science and technology and the world of culture and art and it will also be a thinking and experiment space the european Bauhaus will be rolled out in three phases a design phase a delivery phase and diffuse phase and for me theaters are places to exchange in debate and your contribution in the first design phase will be important as the president von der leyen said it if europe is to lead the way in the twin green and digital transition we should engage in cultural debates as well and that's bringing me to my third point the european green deal to achieve this goal we need to engage all citizens at all levels they should be empowered and only theaters and culture more broadly have this power to reach everyone turning the green deal into a societal and cultural project the music sector for instance has already started moving along this line with the music declares emergency and i'm very glad to hear that later today you will discuss the environmental sustainability and the greening of the performing arts on this note i would like to inform you that the european parliament has approved a resolution in september on the effective measures to green erasmus plus creative europe and the solidarity european solidarity groups let's see how we can use these recommendations and to turn them into actions the fourth initiative i would like to raise with you is my current work with the committee of the regions let's think more and more about this following committing with its president we decided to establish a joint action plan for the next two years because theaters are in every one of our regions but we need to strengthen this and i invite you really to follow this closely it will certainly be of your interest in view of your deep local and regional roots throughout the european union we'll have 26 actions based on four priority areas and of course you know me now culture arts will be one of these let's see how we can build synergies with our regions with the regional development fund how we can really strengthen not only the different tools for support for the sector but how we can build a real ecosystem a real european network so let me now conclude on with one quote from oscar wild i regard the theater as the greatest of all art forms the most immediate way in which a human being can share with another the sense of what it is to be a human being thank you very much for inspiring us every day and count on us on our firm support not only in these difficult times but for a resilient recovery for innovation and for just have the sector to thrive in these opportunity times that's my my message thank you very much thank you very much for your warm words ideas and initiative we are going now further yan is introducing


Hi everyone it's MJ and in this video we're going to be looking at question 2 from the September 2017 paper and this is quite a tricky question so we're going to go through it slowly and hopefully you're going to be following along. What the question says it says assume that n independent random variables x1 to xn are observed which all have the discrete distribution given by the following. So x can either be 1, 2 or 3 and it has the following probabilities of which it can take that on. We then get told that the mean is this and I think they're just doing this they're trying to be nice they're giving us a bit of a clue because this is a difficult question a lot of people do struggle with it. Because then they come they say determine the exact distribution of the sample mean this is quite difficult because we're used to doing what question 2 says the approximate distribution you know we like oh yeah approximate distribution central limit theorem we can do this so question 2 is quite easy to do and just as well because you know that is for the bulk of the marks worth 5 but these first three marks can be a little bit tricky because there's no direct formula what you actually have to do here is think a bit and where your first bit of thinking comes in is you need to think of you know what are the possible values of our sample mean okay what are the possible values and I mean the possible values could be a whole range of things fortunately for us and this is the big clue is we have it for n equals to 2 okay if n was equal to 1 okay the possible values for x bar would be equal to either 1 2 or 3 because it will be one of those but now the fact that n is equal to 2 okay what this is going to do okay our possible values for when n is equal to 2 it means we could have 1 okay that's when both values any is equal to 1 and 1 we're going to have one but if we have 1 and 2 we could get the answer of 1.5 if both our values were 2 and 2 we get the value of 2 if we have 2 and 3 we're going to get 2.5 and if we have 3 and 3 we're going to get 3 and the nice thing is that if we have 3 and 1 we are going to get 2 again so these are the possible values that we can get and now this is the tricky well this is the cool part just by saying this by saying the possible values you're going to be getting half a mark just for saying that and that is the hardest part of the question if you figured that out if you figured out what the possible values were now to do the actual distribution it's going to be a piece of cake because what you're going to be doing now is let's just write these values out here probability that we get 1 is 0.6 2 is 0.3 and 3 is 0.1 because now what we can do is say the following the probability that x bar is equal to 1 this is going to be the situation where the probability x 1 is equal to 1 and x 2 is equal to 1 and that is going to be equal to 0.6 times 0.6 I'm getting that from these values over here and that is going to be equal to 0.36 the probability that x bar is equal to 1.5 okay this is going to equal the probability that x 1 equals 1 and x 2 equals 2 union with x 2 equal to union x whoops x 1 equals 2 and x 2 is equal to 1 okay you can see where probability is coming in to to help us those two things are the same so we can just say 2 times and then we have 0.6 times 0.3 0.6 times 0.3 and our answer is then going to be 0 comma 36 again look at that the probability that x bar is equal to 2 well this is going to be the situation where we have 2 2 and the situation where we have 3 1 and 1 3 so we can be having these three situations so we first have the one situation which is 0.3 times 0.3 okay that's when both are equal to 2 plus the two situations we have 1 and 3 and 3 and 1 which is 0.6 times 0.1 okay and what that's going to give us is 0.21 okay now the probability that x bar is equal to 2.5 okay this is now going to be equal so we looking at this this is in the situation where we have 2 and 3 and 3 and 2 which means we're going to have 0.3 times 0.1 times that by 2 hopefully you guys are starting to see a bit of the pattern we have going here and then the probability that x bar is equal to 3 it's only in the situation where both of our values are equal to 3 and that's 0.1 times 0.1 which is equal to 0.01 what we must always do is then add these values together to just double check that they do equal 1 and this is going to be the probability distribution for our sample mean okay like I said it's three marks these calculations here were very easy but figuring out the possible values for x bar was the hard part and the question you first look at it and you're like what I have not done this before so now you have done it if this pops up again in the future exam you'll be ready for it okay whereas part two of the question is determined the approximate distribution of x bar for n equals to 50 including all relevant parameters stating any assumptions you make well what we can say is because n is equal to 50 we can now use the central limit theorem to approximate the distribution of x bar okay so must write that out you must identify for that for n equals 50 that that is large enough for us to use the central limit theorem to approximate the distribution of x bar okay you get a mark for that I mean you could even say we're gonna you know normally distribute it you could say that you could say that but central limit theorem kind of implies implies that okay so the first thing what we need to do is find our expected value for x bar okay and we know that the expected value of just say one of them is equal to 0.6 times 1 plus 0.3 times 2 plus 0.1 times 3 and this is going to give us 1.5 there I mean what I'm basically just doing is taking each of these values multiplying it by the probability and adding them all up together okay then what we have is the variance of x bar this one is a little bit more complicated what we're gonna be having it's you know that whole situation where it's the x i's minus you know the whole x bars squared kind of kind of vibe going on so what we're gonna be having you know divided by then all of our ends so we're gonna be having a situation where we have 1 minus 1.5 squared times 0.6 plus 2 minus 1.5 squared times 0.3 plus 3 minus 1.5 squared times 0.1 defining that whole thing over our 50 and we see that we're gonna get 0.45 divided by 50 which is equal to 0.009 okay and now what we can do is we can use this and this as our two parameters so we can say the approximate distribution of x bar is normally distributed with 1.5 as the mean and 0.009 as our variance and tada there you are question done and you can see the second part of it was a lot easier than the first part but still overall I would say it is a fairly simple question like I said the tricky part was just understanding what to do or how to handle it but if you've got any questions please feel free to ask me in the comment section below thanks so much for watching guys cheers