Let's let's let's move. Good morning. Do you want to do you want to I can pass off to some introduction. This is this is my provocation to let's get going because we have the amazing Dorothea when she is in the house and she needs to get some rest for tonight's show. But a round of applause for Dorothea's performance last night thank you. Yeah so I mean I think you know it's this this moment is called a provocation but I think all the provocation happened last night at Nyla in your work Le Mai. So thank you for you know obviously bringing your artistry and this incredible ensemble of performers to to New York and and and to LA next week. I've been a longtime fan of you as an artist we worked together with Anna Bouffar in Baron Samedi years ago and your work has just continued to wow me and and just kind of manifest so many incredible approaches to the question of history and how history is lived out and crafted in performance. So I the first question is you know your your this ensemble of performers I want to hear about how you found them how you came together and what what the sort of you know initial proposition for the performance was to them how did you bring them in. Thank you Will. Hello everyone. We started talking in English yeah shall we continue in English. Okay okay good. So yes I'm so happy to when when I had this invitation and I realized that my partner was gonna be Will Crow Will I was like of course I will wake up early earlier than usual to be here and last night performing at Nyla was actually very emotional for me because the last time I was on stage there was with Will, Rose, David Thompson, Llingwim, Nadia Beugre and Olivier Normand we were performing in Baron Samedi this piece. So coming back felt like a like a return and felt like another portal into this other work that is called my and to answer your question yeah for the past few years I've been touring both in Europe in France particularly as well and across the sea so coming to America going to Brazil Chile I went to Africa as well and I met incredible artists and that's why it's so good to when one has the opportunity to to travel one has a passport that gets either visas or even the American visa is hard to get but when one is able to come over and perform there is this encounter with phenomenal creative beings and every time I performed it really felt like I was entering another realm and I met so in America had met one performer actually I met her in Lagos in Nigeria but she's from Chicago her name is Kiera Collins and then I met another artist who is based in Belo Horizonte in Brazil Zora Santos who was much much older than I because I really cared about this whole generational aspect of the piece how is knowledge transmitted how is our craft able to travel from the young guest to the oldest among us and then I met I had met many many years ago Yinka Esi Graves who is the flamenco dancer for those who were there yesterday not just very good as about she's a flamenco artist and let's say multi-disciplinary I had met her in school in secondary school in London we went to the lycee francais together so I've known her for many many years and when I found out that she had become a dancer of course I was drawn to her craft and I invited her as well as my drama who is the poet in the piece I met her in Bristol in England and I was really moved by her work and her words and she moved me also because she's the youngest among us but the maturity of her work and her sensitivity also really resonated with me so I wanted her to be part of the piece and if a day I had met in Haiti in Port-au-Prince when I was there for a workshop and had been invited by Ketli Noel there so I guess that's how the journey began and at one point my former production manager was like are you going to stop because I think I would have continued in the with the many artists I was meeting I kept coming back I was like oh my god it's incredible dance like it was like we don't have a budget we don't have the budget for that so maybe we should just like stop he wanted he wanted me of course he was there to encourage me and you know not sort of tell me I have to think money-wise but to encourage the artistic dream but it's good that he was there otherwise you would have had a crowd on stage a bigger crowd and the title of the piece of course Le Mai is mesh for those who are translating from French which of course brings up the image of just like a weaving together of stories and histories and also practices you have you know this performer who's trained in flamenco dance you know who and your some of your barefoot and she's wearing flamenco shoes and so also like the practices that you all are bringing into the room are allowed to be present as your modes of communication so I'm just curious yeah how like in terms of then pulling out stories and because this because of course the piece is thinking through histories of violence as well as kind of loving transmission and support and I'm curious how you how you start to cultivate those conversations and and decided to not all sort of work in the same methods of dance you know but try to allow preserve that individuality that's like a four questions in one it's more than four okay how did you make the piece so the piece so I had I mentioned all these wonderful African and Afro-descendant artists that had me meeting and I forgot to mention Nido Owera who is also on stage born in Burundi but she's Rwandan and the reason why I almost didn't mention her and also Elsa Mulder Ashley who was in there yesterday on stage normally with six on stage and yesterday were five is Ethiopian she's moved back to Ethiopia and I really cared that their names also are mentioned but because of the pandemic in 2020 that's when the idea Ashley of creating the piece that was the year I had wanted to create the piece but of course we know how things changed drastically in those months so Zora Santos from Belo Horizonte and Kiera Collins from Chicago were no longer able to come to France to to rehearse with me and to rehearse with us so I I had to rethink the work and to but to keep to keep the the the stories that I wanted to transmit or I wanted to share between us again this question of like coming from a generation of Nido which is older than myself and the generation of asma drama who is younger than myself and how does history and stories move through from the youngest to the oldest of us because Elsa no Zora would have been the oldest member but she couldn't make it so I began by asking them questions since we couldn't gather physically I sent out a number of many questions sometimes four questions in one good strategy yeah yeah and I really wanted to know various simple things I guess like how are they taking care of themselves what what how do they take care of their body the mental health because I know that all of us have gone through different trials and tribulations and the question of ruthlessness or being uprooted or exile or self-imposed exile too sometimes it's not all from coming from outside but how this movement from one place to the other what is the question what is our relationship to land ancestral land our current land because some of us you know are living where we were not born what is that new land of birth of belonging let's say so I had many many questions like that and you know how do we take care of our hair our nails like just like non superficial things because it's good to take care of one's hair and one's nails you know like taking self-care is part of the resistance right and and in those days of COVID I think we were also afraid of each other and and this distance created in us in sending these questions I think I reduced the distance that existed between us and this the I felt like this work was about gathering the dispersed because that was the whole idea the the African or the African descendants I wanted to gather on stage for my were dispersed you know across continents and so the stage for me was that space of attempting to gather the children of the dispersed or the dispersed and so the the idea of of joy as a tool of gathering you know when we gather we gather for banquet so we're me for Ashley Zora Santos who couldn't join us was a chef and an actress I would have had food on stage you know so what this idea of of a gathering of gathering yes the dispersed because there's a book by the other mobile in the rest she's a French wrote an author and she wrote a book called toutes des enfants dispersés all your dispersed children again translated us and and I felt like borrowing this idea of gathering dispersed and gathering the stories of the dispersed and in so doing finding joy in that and strengthen that and come thinking about provocation the way that you've talked about this work is not as an author that is signing the work and kind of you know that there is a there's a there's you make it kind of in insistence on the idea of collaboration can you talk more about the choice to sort of foreground that yes it's true that this this piece really is like I had the yarn the yarn and you know that the thread it's like each one of us is a part of this thread because when you look at the thread it's made up of many little other threads so Mia just was there to loop the movements to loop the the poetry to loop the words and the voices and the music and it's true that each one of them be it the dancers and the poet on stage the music the musician it was a collaboration also with two composers along my with whom I've been collaborating for many many years as well as Ben Lamar gay who's a wonderful phenomenal composer musician from Chicago and I keep coming to America you hear this yeah and as well as a costume designer called Stephanie Kudder who has truly understood the way that I want to create space for the body to move or the volumes within which we can explore and inhabit it's like the clothes themselves become another layer of the story so each one of us was answering questions sometimes four questions in one sorry I'm gonna come back to that sorry about that and they and in the answers are far the answers they gave me what I used in order to to create this work so it's really a collaboration and you know although in the end is true that I I decided I decide what is what it becomes or what it is but it's also a space that they contributed to absolutely and I mean I without you know without this sort of spoiling what is in the show I think this you use this word Tricoté you know and that you know when you Tricoté something it is all about you know the yarn itself but also the spaces in between right and in in the design of the stage there's all this kind of empty space there's a there's a flamenco stage is kind of installed on top of the stage and then there's these fabrics and costumes hanging from the ceiling and microphones kind of dispersed throughout so there's a kind of consciousness about the space between you that is kind of palpable and maintained and I just thought that choice is really really powerful and also in insisting on kind of gathering the disperse like both the dispersal and the gathering are happening kind of all the time in the work yeah I mean I think I'm curious about also as you like what are some of the before we kind of open it up for questions for the room like what are some of the responses you're getting from people who are coming to the work that you find are where there are moments of identification with the work or where that you know how do you how do you interact with the audiences we're seeing the work and do you have an opportunity to kind of talk to people who are identifying with the work in some way or it's always curious about that that like the specificity of your experience and also the desire for the public to you know identify as I was saying so we've created we premiered during the year of 2020 so actually even premiering the work was in itself a miracle you know it felt like something quite exceptional it was in October just before the second confinement in Belgium so it really felt we passed through something like a loop we had space to create and then boom they shut the borders again and we were locked in in our homes so every time we come onto the stage it feels like like a special gift or like a special moment that we dedicate both to the ancestors that we dedicate to our fellow dispersed beings around the world and with like it's an intention like that's what we do before we get on stage and and at the same time it's it feels like a celebration truly because I really wanted to tap into that into that aspect of finding joy in being together in moving together and resonating with each other even with the absent because it's true the absent are also present or become accompanied by by them and the audience members I guess I guess you know some some young people for example asthma is visibly hijabi young woman though she's she has a hijab right visibly Muslim and in places where we've performed I've had or she's had some really wonderful feedback from other hijabi young girls like I didn't know I could get on stage and rap I didn't know I could get on stage and sing and I couldn't I didn't know I could get on stage and like shout and I was like yes that's what this piece is also about inspiring one one that feels or like they couldn't or wouldn't or were kept to the margin of this space what it allows as a what what plant what seed is possible has the possibility to grow so that that's one of the feedback we get like a lot of enthusiasm from young people particularly young people I find that they really really resonates with them and also at times when there's a lot of upheaval and political how do I say unrest I feel it in this in the piece also I feel that the people come in that fully charged of what's happening in the world and of course what's happening on stage somehow also reflects it but in the poetic or another form and that and that form is somehow healing even though we are there screaming our rage and if we are there screaming our pain we that we are there moving through joy and through beauty because it was so imperative for me to have us looking so beautiful and we are aren't we surely we yes I really thought that beauty is also a form of resistance and beauty is a form of resilience and and existence and Stephanie could air again I insist on her work is is is creates sublime sublime I don't know how to create to say this it's sublime look and the way she the colors that she she put together for our costumes and it's all part of her journey because she was born in Baghdad grew up in France she's French and and even the orange the orange color that you see is like this sunset or this this light you know so yeah every time I wear her things I also celebrate who she is and what her journey is in the world yeah I guess there is a few enthusiastic people after the performance they are moved by it I was very moved okay other question wait let's talk about you no this is hold on hold on what is this quick what is this what's the meaning of life this is let me provoke this whole situation wait a minute this is how it's been to stay will tell us tell us about what you're busy with and how's how yeah what's your busy with at the moment I'm making or I permitted work this spring with five performers that is looking at the question of filmmaking and the photographic capture of black gestures and black bodies so it's a work in which there's a camera on stage taking a photo every three seconds and the performers are moving in the sort of stop motion kind of a suspension and then find ways to sort of navigate away from the camera and in and out and it was also work that premiered or was supposed to premiere before the pandemic then during the pandemic and I'm not sure if the pandemic's over it's yes and no it's also absent and present with us like so many other people and spirits so yeah so it was you know stop motion animation you know it was very slow form of filmmaking and arduous and grueling and this is kind of a staging of that but also a lot of joy like the labor of becoming a moving image and the joy in exchange between performers when you're kind of stuck inside of a role that is laborious how do you kind of animate it in ways other than the animation that you're being used to produce anyway so but the pandemic kind of turned it into this also this question of care and how the performance and a choreographic process is greater than just the the grant proposal and even the sort of aesthetic evolution I'm trying to go to go through you know it's a deeply collaborative project and yeah and it's also spanning a time period where there's been so much loss like in everyone's life involved in the project and so it's become a container for more than just you know performances and performativity and questions of choreography it's sort of like a container whose edges keep expanding as the time that we're called sicker you seen it has anybody seen it in the audience no one in this room is seen oh yeah oh yeah oh yes yes actually a few people here seen it Tara Willis presented it at the MC Chicago and Ashley Farrell Murray it's a performance that tours with a video installation so I also film the performance and make a video installation and Ashley Farrell Murray and her former role at experimental media and performing arts center produced the film shoot that then became the video installation and John who we are one side in Portland anyway hey nice nice and do you feel like today performing this work has a how does it they board oh my god bypass or like overflow yeah how does it overflow the space and and and continue beyond what what is this space that you have created um it's a good question I think it's the kind of piece that because it's made in a certain way and was unmade and and kind of undone by so many challenges along the way that it's something that I can never put down you know what I mean like it's both something I hold dear and I want to get rid of and so there's but there's no clear end in sight even when the project is over I won't be sure that it's over that I've done what I said out to do which is true of all works you know I think but but the performers are I said this yesterday the performers are aging their bodies are changing their jobs are changing they've lost parents I've lost a parent they've you know they've got new jobs everyone has lives in a new city than the city they were living in when we started the project so I so those those kind of stories had to be incorporated into my understanding of them as performers as we collaborated and therefore I've invested in them and their lives beyond you know how they're useful for the work you know so I think it's a reinvestment in their lives and collaborating as a colleague and friend yeah yeah yeah thank you that's a good question and it was just one question which I appreciate questions from the room it's a microphone hi I want to ask Dorothea about your relation to black joy compared to the phenomenon of black joy in America can you speak to that in your work and also role well can you talk about Sao Paolo a little bit yeah so I'm an African right it doesn't mean I'm not American in a way that I can relate to black joy in America but I will speak from a point from my standpoint of an African Rwandan creative artist living in Europe it's true that joy has always been there even through the darkest of times it's as though it was there before it was even named what it is it's like it's been there even when you ask me the question my grandmother's just appeared like this came to me because they are the ones when they welcome me they into their home for example she would just get up and dance you know as she sings in Kinyarwanda and that is for me the most joyful and the most joyous and the most loving way of of being in her arms and she was a healer one of them was a healer like physical healer spiritual healer she was constantly singing and dancing and I guess this joy is what she was transmitting without naming it without saying that's what it is but it's carrying me even to this day to share with my African and Afro-descendant communities dispersed around the world and when I come into a space I know that I'm equipped with that joy because it's somehow deeply rooted in me and I need to now consciously pull it up or bring it to the surface and use it as a tool again of resisting this at this situation that all these situations that make me want to literally fall and disappear and no longer be here you know so I get I do I do feel connected to to black joy wherever it is because I'm connected to the people wherever they are I'm part of this fabric if you come back to to my I'm part of this diasporic fabric now I'm part of this the it's bigger than I am just I'm one of the threads and in in this thread like I can hang on to the joy that I had already but that is expanding and and and and growing and becoming thicker and brighter and and stronger as I engage politically in this of black joy I am presenting an installation and a performance in the Sao Paulo Biennial right now I work a lot with language and dance and the transitions between the two the project I just spoke about is like my first foreign to film and video and that project is whoa how's it's like a long story in the 70s my dad and Tina Turner met and so so and they both passed away this year and so heading into Brazil Tina Turner also gave the largest concert in history in Rio de Janeiro in 1988 to 180,000 people so she has a deep there's a deep kind of love and kind of wonder about her in Brazilian cultural memory and you know so I was thinking about how to think of Tina as a way into Brazil as a context and what's love got to do with it as a song that was her comeback song and kind of a revival song so this project is there's a wall and I've printed an alphabet there's like a QWERTY keyboard on the wall and the performers undo the keyboard and spell out the lyrics to what's love got to do with it but because it felt ethically wrong to have Brazilian performers working only in English I we also talked about the sort of long tradition of Brazilian love songs and songs of pain and joy very much from an Afro-Brazilian perspective as well and so we could they kind of weave together a script of the lyrics of what's love got to do with it and other Brazilian love songs and so they're kind of deconstructing both of these colonial languages and and leaving a kind of hypercoded trace so when the performance is not happening you have this kind of riddle which fills to me like what love is meant to leave us with and unsolvable but constantly engaging riddle so yeah it's both a memorial and a love song yeah other questions thank you both I wonder if you would like to share a little bit about the experience of meeting each other when working with Alain Bufar coming you know with different backgrounds I imagine different trajectories and then meeting Alain who was working in France then right a particular environment and yeah the process of meeting each other but also Alain Bufar's choreographic process at that point when was that 2013 yeah sure I mean I was broke and Alain Bufar came to New York and did an audition I was like I want a European dance job and I got it so that was like that was and that caused many transformations in my life but chief amongst which was being put into the room with Dorothea, Lengue, Lushaba Matlala who's based in Johannesburg, Nadia Becret who's Montpellier, David Thompson who's over there, Olivier Normand and then two musicians Sarah Moussia and Seb Martel scenography by Nadia Laureau so just like a like superstar awesome group but I was but it was interesting because I think Alain was also then asking us to perform Kurt Weill songs but kind of transposed to sort of a blues and sort of like and very black musical aesthetic and and kind of in this sort of trans Atlantic kind of black ensemble it was the first time where I was asking some of these questions that I was asking in my own work but in relationship to other experiences that I hadn't had but that there was this kind of yeah my you know this kind of fabric that preceded us in a way that allowed us to collaborate with a lot of joy and seriousness and then the project was also I mean the project was about Baham-Sandy who's a figure in Haitian Voodoon so like not a casual figure to make a work about and what's interesting about that project is that it was also surrounded by a lot of birth and death and so I think we both got a lot from it and sort of paid the price of working with such a I think kind of complicated and powerful figure as Baham-Sandy invoking him in our work like and you know in the summer of 2011 right when we started Dohote comes and and you were pregnant with your first child and and another performer had just given birth two months before and then you were pregnant with your second child by the time our tour was over so there was three births that were associated that's what that's why I'm sharing that information okay and then there are also three deaths so Alain's nephew died in the car accident I think the year that we started rehearsing and then Alain's partner Alain passed away and then Alain passed away so that project kind of was you know speaking of spirits in the room I think it's also we were bound by these kind of portals between life and death and to have had the honor of working on a project that had that kind of depth and I'm sort of eternally grateful for that so yeah for me meeting David and Will and Nadia and Shingi Wei and Olivier and all the collaborators was truly life-changing because Alain when he invited me for this I guess he it was an audition but he had already made up made up his mind but it was nice that I went through that process because I also got to engage with Good Vile's song for that audition and Alain has really changed me in a very deep way even yesterday again I was thinking of him and being in that space and and the questions that he asked us the first one I remember I remember very clearly he we were in nim rehearsing and he invited us to to share a story an intimate story or fictional one and David went up Will went up Shingi Wei went up everybody went up and then I was last to go up on stage and when I spoke about my my journey I was really talking about Rowanda the whole pre-colonial era until 1994 the 6th of September which is the date that the president at the time his plane was shut down and when it was shut down it provoked the beginning of the genocide of the Tutsin Rowanda so that's that's when I stopped my monologue and Shingi Wei got up and she went to the bathroom to weep and I found her and I was while I was consoling her I asked myself what were people doing when my people were being massacred in 1994 and that question is actually the same one I'm still asking myself whenever I see atrocities going on around the world I'm still like what are we doing how we're engaging with the world how we're engaging with the different situations that that should actually strike us in the heart you know and move us to action and and I started writing a text at that moment which became the material for some did it don't which is my first work and so meeting Alan I also got to engage with this question of the diasporic body because at the time I was quite preoccupied with Rowanda France Europe this binary relationship and then with him I met these wonderful performers from the America that I had been to but not engaged with the artist right and that journey brought me then back and forth I see Angela has come into the room as well we invited me wonderfully in a year that also changed my life 2016 when I came to perform and for a residency at TBA at that time pika and that also was another addition to how these journeys back and forth can truly change one's trajectory and Alan was one of those people that that has changed us has changed me I'm just like that your performance also that you're doing again tonight like there's a line and it was like is there a helping hand which really struck my heart last night and just appreciate your insistence on that question and posing in your work thank you for that I think that's good right okay add one thing I'm so happy to be here thank you thank you all of you for really for making it work I know it's a lot of work to make us come all the way to United States to perform and things like this I'm such as these so thank you thank you thank you


The History Behind Black Friday Every year Black Friday begins on 27 November, the day after Thanksgiving. Many believe the term Black Friday was a result of shop owners, when recording their details by hand, they noted profits in black and losses in red. Most the year, shops were in red, however went into black the day after Thanksgiving. This is not actually how the name came to be.The term Black Friday was first associated with the financial crisis. Two Wall Street financiers Fisk and Gould, bought a significant amount of US gold, in the hope the overall price would soar and be able to sell it for huge profits. Friday 24 September, 1869, in what became referred to as Black Friday, the US gold market crashed and Fisk and Gould's actions left Wall Street bankrupt. It was not until later years that the post Thanksgiving period became Black Friday. Police officers in Philadelphia were first to link Black Friday to the post Thanksgiving period in the 1950s. Large crowds of tourists and shoppers came to the city the day after Thanksgiving for the Army-Navy football game, creating chaos and shoplifting opportunities. Police officers in the city weren't able to take the day off and instead had to work long shifts to control the carnage, using the term Black Friday to refer to it. As the name spread throughout Philadelphia, some of the city's merchants despite the negative connotations and unsuccessfully tried to change it to Big Friday. Black Friday later became known in print, after an advertisement was published in the American Philatelist magazine in 1966. By the 1980s, the term was known across the nation and retailers soon linked it to their post Thanksgiving sales. Today, Black Friday is the USA's biggest shopping event of the year, when shops cut their prices in order to boost profits. Amazon introduced the concept to the UK in 2010, promoting discounts to consumers. Black Friday has grown significantly since, throughout the UK. The concept has also emerged in other countries across the globe. In Mexico, they call their version El Buen Fin, meaning the good end while in the United Arab Emirates, shops cut prices on what they call White Friday. To help improve sales and deal with competition, retailers now choose to run their sales across an extended period, rather than the traditional 24 hours. In recent years, a number of promotions have started in the days building up to Black Friday continuing until Cyber Monday.


All right. So in this video, I want to talk about the two best social media platforms in my opinion that you should be on if you want to use social media to get clients. So these are two platforms. If you were to wipe out all the other platforms that I'm on, I'm on five different ones right now. These are the two that I would choose right now at this moment. So we'll get into that in just a second. But if you are here watching your second or more video and you're enjoying the content, I have something called a gentleman's agreement, which means that all I ask is if you are getting value out of these videos, please hit the like and subscribe button. It helps me out a lot and these videos are free for you to watch, but it takes a lot of time and energy for me to come up with the ideas and shoot and publish these videos on a regular basis. So again, all I ask is if you enjoy these videos and you're getting value out of it, make sure you hit the like and subscribe button and let's get into the two social media platforms right now. So I'm active on five different platforms right now. YouTube, which is obviously where you're watching this, LinkedIn, Twitter, Facebook, and I'm also on Instagram from time to time shooting reels. And if you were to ask me, what are the only two platforms that you would choose, these are the two that I would pick. And those two are YouTube and LinkedIn. And here's why. So social media for me has two goals. Number one is to get awareness for people to see your content and discover you and find out more about you. And the second reason is to connect with other people, whether that be other colleagues, whether that be new friends, whether that be potential clients, it's to connect with your market. So there are two platforms that I feel are the best to do this. And this is based on years, three years or so of posting on social media pretty regularly. So the first platform, YouTube, the way that I use this is for discovery and awareness. And I love YouTube because I can post a video and it's a bit of a hybrid between a search engine and a social media platform. So I can post a video and it can be viewed for years. If you go back to my oldest video on my channel, the first video was posted in January 2020, it's still getting views. And it's one of my highest viewed videos on my channel. And even though it's different than what I'm talking about now, it's still getting views and it's still introducing people to a bit about what I do and introducing them to who I am and my personality as well. So YouTube, there's really no other platform like it. There's no platform that has a built in search engine where you can make a post and people can type in keywords where they're looking for something specific and your video will pop up. So another video, for example, my highest viewed video is around Twitter marketing. And I don't know exactly where I show up in the search engines right now, but if you type in Twitter marketing, I'm usually in the top three spots. And so just imagine the value of that when someone goes and searches for how to do Twitter marketing or how to grow your Twitter following my video shows up there. And so YouTube is my first platform because I use it for discovery and awareness. And it's also a bit of a sales funnel because people can watch all of my videos and I have hundreds of videos at this point and they can spend hours and hours on my channel and get warmed up to what I do. And if they want to work with me by the time they reach out, they've already been warmed up through my content of my videos. So that's the first platform is YouTube for discovery and awareness and for the search engine capabilities. The second platform is LinkedIn. And LinkedIn is also a very unique platform because what LinkedIn gives you is the ability to search by job title and industry and company size. And you can get very specific with this. So let's say I wanted to find the CEO or CEOs of software companies in Seattle, which is where I'm based right now. I can go to LinkedIn. I can type those queries in and it'll give me a list of thousands of CEOs and founders of SaaS companies in Seattle. And there's really no other platform like that. So I can't go to Facebook and give it job titles or industries. I can look in groups, but it's not going to give me those exact people. I can't do that on Instagram. I can't search for people who have specific job titles or industries because I can search based on hashtags, but nothing that's as specific to the individual on platforms like Twitter. Twitter is great. I love Twitter, but it's not easy again to find exactly what you're looking for. So LinkedIn, remember the second reason that we're using social media or the reason I use it is to connect with my ideal people or my ideal targets. So if I want to start conversations with those CEOs of SaaS companies in Seattle with a few clicks of a button, I can find those people and then I can reach out with a message. Now the other thing that's really awesome about LinkedIn is it's a two way street, meaning if someone connects with you, if they accept your connection request, they now see your content and you see their content as well. So it's a two way street where you see each other's content. And because I'm a content publisher where I post something every day on LinkedIn, that's very important for me. So if you look at another platform like Twitter, for example, or Instagram, if you click follow on someone's page, they're not automatically following you back. You're just following them. So it's a bit of a one way street. They have to choose to follow you. So while Twitter is great, if you're publishing ideas and your perspectives and insights and just random posts, it's good to build a following by attracting people through your content, but it's not a two way street and it's not easy to identify the exact people that you're looking for. So LinkedIn solves those problems. You can just, with a few clicks of a button, you can find exactly who you're looking for. And when you connect with somebody, it's a two way street. They see your content, you see their content, and it's easy to nurture people that way because if they see your content for one, three, six, 12 months, they're going to be a lot more warmed up to what you do by that time. And the other thing with LinkedIn is the profile feature is pretty powerful. It looks like a website. When you click over to someone's profile, you see their headline. You see the about section of what they do. You can link to their different products, and there's a featured section where you could put links and images and videos there. So it's a pretty all in one solution for treating it like a website. You can have all of your links and information that you would otherwise put on a website on your LinkedIn profile, which isn't like the other social media platforms. So I hope that's useful. Those are the two platforms I would choose. I'm not saying I would abandon the other ones right now. I'm still active on all those platforms, but if I were only choose two, it would be YouTube and LinkedIn for the reasons that I just stated here. So hope you liked that video. If you did, give it a like, comment below what you thought, and I hope you found that valuable. I'll see you in the next one. Take it easy.


Hi, good afternoon. I'm Jayesh Bhatia, Founder and Director of an RMC. We are delighted to host, along with other organizing committee members, the second India Land Development Conference. Today is the last day. The last two and a half days, the basic rationale of why an RMC decided to put the efforts for different organizations to come together has been validated and the reasons were that we believe that land as a sector will catapult India into the fast growth economic retreat that needs to be in and various political, social and economic measures that are being undertaken by the government would not come to fruition without land. We've set out this partnership with leading academic, institutional, research-based firms, activists who come together on a common platform to really look at impact, scale and evidence to the entire discourse on why land is important and impacts, scale and evidence is what drives an RMC to where it is today and where it wants to be tomorrow. We wish people were looking at this to come in and participate with this growing change and we welcome you to and invite you to the third edition of RMC in 2019.


We're talking about privacy, and let me know if I'm getting this too close to my mouth, because usually I don't speak in a microphone. Today we're going to talk about some of my more hard core writing. We're going to talk about two books, Fake ID by Mail and Murder, and the ID Forger. Definitely not favorites on the FBI reading list. Okay? Now, two things I've got to tell you. I've sold out of this book, but we will have more of it here tomorrow. And I really encourage you guys to get a copy of this book, because I need the royalties. We got plenty of this one left out there. When I'm done, I urge you, I beseech you, beseech you to please beseech the Lumpanix table and get your books now. In any case, let's get started on Fake ID and ID Forging. As you know, I have written a lot of books about how to create a new identity from the ground up in various permutations. Generally, during that process of new identity creation, at some point you'll need to use a fake ID document, or you may just want a fake ID document for privacy reasons, and we'll get into a number of reasons why you may want them. Of course, there are a lot of sites now on the internet, as the internet has grown as a medium of doing business, but purport to offer high quality documents. Well, as many of you know, who have tried to buy these documents, that many of these sites are scams, who take your 100 bucks or more, and you never hear from them.  I have no idea about it, and the guy at the FBI would say, well, why don't you come on down my office? He'd be more than happy to help you out. Okay? So, here's two things. One, go to my website, PrivacyPower.com. I have a page on there about fake ID sites. If I find out an ID site is legitimate, I will post it on my site and say that I've checked them out. In fact, I was hoping to tell you I would have know of a new source of high quality fake IDs at the conference. I was contacted last week. I gave the guy my email address. I told him to email me his URL and other info. The guy never got back to me. I called him a couple of times, so it probably was a scam. I will not recommend a site, I recommend a fake ID vendor at my website or in the book unless I personally have verified that they will, one, do the quality of work. And, number two, that they will shift their money. First, let me tell you there's a bunch of websites that offer, to purport, to offer high quality fake IDs. They're all run by the same guy. One of them is called ProMasterID. There's fakeID.org, a bunch of these places.  What they do is they set up domains. Then they get mail drops. They take all their customers' money. When the heat gets too bad at that one, they have another one set up, and then they start there. The scans at their sites look really good because what they do is they get a copy of the ID checking guide and simply put their scans up on their site. So do not fall for these guys, okay? Unfortunately, probably a quarter of the websites purporting to offer high quality fake ID on the internet are these guys. Don't give them any more of your hard-earned money. These guys are already millionaires from all the people they've stolen money from. Okay, those are my two caveats. Now let's get to the big stuff here. First of all, can you legally sell, make, and use fake ID? Well, the answer is yes and no. Prior to 1983 in the United States, there were basically no, there was no federal regulation of fake ID. It's always been a crime to counterfeit federal documents like a military ID, a passport, currency, stuff like that. But there was no specific laws at the federal level that dealt with the production, the manufacturing, the use of fake ID. Prior to 1983, there were all sorts of vendors across the United States who would sell anything you wanted to buy. You wanted to drive those license, you could buy it. You wanted a birth certificate, you could buy it, and it was good stuff for the quality of the technology at the time. And the only possible problems these vendors could have was in their own state. So usually what they would do is if the vendor was located in New York, he wouldn't sell a New York driver's license and he wouldn't sell it to anybody who actually lived in New York. That meant his customers, they couldn't, there was no legal way for him to be held liable because it wasn't even illegal to use the mails to shift the fake ID. When they started to try to harass them on that, then they would use FedEx or UPS. Well, that all changed because of two things. In the mid-70s, Congress had a big to-do on the use of fast identification in the United States. There was a huge government report, blah, blah, blah. Well, to make a long story short, that government report seven years later created the impotest that created the first laws at the federal level regulating the production sale use and transfer of fake ID. And it was a false identification control act of 1982 which went into effect January 1 of 1983. In a nutshell, now, in this book, Fake ID by Mail and Noted, and let me flack it for you again. See? Nice bookie. In any case, in the front of this book, I replant the law. But in a nutshell, here's what the law says. Let's say you do two things. One, you can make any kind of document you want to make that's even if it's an exact duplicate of the federal or state ID if there's a disclaimer in 10-point type across it that says not a federal document. Well, let me tell you how that is developed. One time I ordered a document from a vendor they were selling Colorado driver's licenses. This was a few years ago. Wonderful license. But in the ad, they neglected to tell you that, oh, when you get this document, underneath the laminate will be not a government document. And it's like, well, I sent it back to them saying, what good is this going to do me? If I go try to use this at a bank or whatever, they're going to look at it and say, but it says not a government document. So it was useless. The point of it is they have to put the disclaimer on it. If you put the disclaimer on, you can make anything that you want to make. The second thing that the law allows you to do is that if a document doesn't have a birth date on it, essentially, it's unregulated. If you notice a lot of the, what I call the lower level types of IDs these places say, the kind that say that you're a bounty hunter, a photographer, a private investigator, you notice none of them generally have birth dates of the holder on them. Why do you think that's the case? Because if you don't have a birth date on it, it's not considered to be an identification document as per the law. So the other part of the law says you can make anything that you want to make if you leave a birth date off of it. And it's not a duplicate of something that exists. So this is where the law stands. Now, what's happened is a lot of vendors now have realized, hey, this is the law, they've consulted with lawyers, and now they have set up businesses selling documents that conform to this law. So here's my first warning to you about fake ID by mail and mail. If you consult with a vendor and whose documents don't have this disclaimer, I can guarantee you that in a matter of time he's going to be busted by either the FBI or the Secret Service. You have to use the disclaimers. If you don't, you will be busted, okay? If you're in the United States. Now, let's talk about IDs from other countries if the vendor is outside the United States. Then the law of that country is the operational law. To give an example, it is illegal to go to a copy machine and make a copy of a U.S. dollar bill here in the United States. It is not illegal to go and make a photocopy of a Canadian dollar bill here in the United States because a Canadian dollar bill is not or a five dollar bill since there aren't any ones and twos left in Canada anymore as any of the Canadians here know. That is not legal tender in this country. It's not legally money in this country. It's colored paper in this country. So the law that governs the manufacturer's sale and transfer of fake ID in another country is that country's laws. If that country's laws say, hey, if they say it's a novelty and they put novelty on it, then we are not interested in it, then you can safely order that from that country because that country's authorities would have to prosecute the seller of the document. What is a novelty? Because you see this a lot. Novelty means toy.  If I said to you define a toy, well, you know, we all have an idea of what a toy is, but it's kind of hard to say exactly what it is. Essentially, when you say something is a novelty document, you're saying I made a toy in the form of a driver's license. Okay? That's what novelty means. So for example, fake ID sellers in Canada under Canadian law, if it's clearly labeled a novelty document, they can sell them. Now, if most of their customers are in the United States, the problem is what happens when it goes across the border and U.S. customs would open the package? Well, there's two things. First of all, smart sellers of documents know that you send things via first-class mail because in general, customs can only open a first-class letter if they have probable cause to open it. They just don't open it at random. However, packages or mail that's sent other than first-class can be opened for any reason at any time. So generally, these sellers of these documents will send them via first-class mail. The other thing that they will do is that the document will have a sticker on it that will say novelty and the outer envelope, there won't be anything that won't say fake ID company of British Columbia. Okay? Hey, you think that sounds stupid, but I have ordered stuff when you get it. Now, it's crappy and it's got on there photo ID fraud place, 54 Granville Street, Vancouver, B.C. Gee, it's like, hmm, that's probable cause for the customs guy to open it. But the point is, if it says novelty, it's legal. But here's what will happen. They'll open it and go, oh, let's write down this guy's name and address. Anything else you get that comes from out of the country, then they might open it. And then you come back from that weekend trip to Toronto or Vancouver. It's like, damn, why did they send us in for secondary inspection? Well, gee, because, hmm, that fake ID he ordered from the ID scammers up in Toronto or Vancouver. That's why. So these are the operative laws that govern the manufacturer sale and transfer of fake ID. Finally, there can be state laws. That's where you have to be real careful. For example, Florida recently concluded an enforcement program of fake ID because college students were buying high-quality fake IDs from a vendor now that shut down and using it for underage drinking. So the Florida Alcohol and Beverage Commission started really going after this guy and they threatened to charge him under a Florida state law. So you have to be cognizant of the fact that since a few cases there are state laws that govern this. But in general, the federal law is the operative law, especially if a vendor says, well, I'll only sell my wares to someone located in another state than a state that I'm in. So, like I said, step one is to always make sure that the vendor, if he is offering for sale documents that are finished documents that do not have the disclaimer, then he's going to be shut down and your name and address might get on to an investigative list. I say stay clear of that, okay? Now, as far as a disclaimer, though, nobody says it says it has to be on there, but nobody says it has to be on there in an indelible ink. Nobody says you can't put it on there in a way that you can take it off. One seller of Go-Kart driver's licenses, Go-Kart driver's licenses, he puts the disclaimer on, but the disclaimer and the word Go-Kart are above the body of the rest of the document. So, it's like, oh, I see, cut along the perforated line, add photo, seal, and laminate, and miraculously the Go-Kart has disappeared, and now it's just a driver's license. Then, now, if he doesn't, as long as the vendor doesn't tell you to do that, it's legal, okay? Or, there's sellers, and I show them in the book, who sell what we call the unsocial security card. The unsocial security card, okay? Did you hear that? All right? Now, so nobody said, well, wait a minute, is there any way I might be able to remove the un? One vendor puts the U in on a flap a little bit above the rest of the word social.  Right? Hey, a lot of you have green cards, the so-called resident alien card. Well, how'd you like to be the president alien, okay? You get my drift here? Because those are clearly novelties, it's not illegal to make a president alien card, maybe the guys from Mars, the president of Mars, okay? That's not illegal. It's not illegal to make an unsocial security card. Maybe the guys just in bad mood all the time. That's not illegal. I don't even have to put a disclaimer on that. And of course, this drives INS, and these, the FBI, and you name the, you put the three letters together, drives and nuts, because these are totally legal. They don't even have to worry. So, if you see a president alien card, or an unsocial security card, or a go-kart driver's license, then I say that's a good document to buy. Now, the other reason those documents can be good, and I'll talk about that in a couple of minutes when I talk about ID forging, is that president alien card? Well, you know what? He sells it to your blank. And you know what? It's a pretty good card, because you could put that card in your computer and in Photoshop, miraculously, you go from being the president alien to being a resident alien. And I'll tell you something. Fake green card is very good. You know why? Because the only people who can verify that document is INS. Most state DMVs can't. Most other government agencies, they're taught if the document looks to be authentic, and we'll talk about this a little bit more, then you accept the document. So, for somebody who's trying to create a new identity, the use of one of these store-bots, so to speak, fake green cards can be an ideal way to penetrate the system, because the only people who can verify it are INS. But that brings us to another point of the use of fake ID. You never use a fake ID when it could be in it, where you could be in a position where the person you're supplying it to can verify it. You never do. In other words, a fake driver's license, with one exception, which I'll talk about later, is good for everything except driving a car. A fake green card is good for everything except crossing the border, because you give that fake resin and alien card to the border inspector when you're coming back from Vancouver or Tijuana, and he puts it in the computer. He's going to have a nice big smile for you and say, Mr. Jones, could you please step inside for a few minutes? And guess what? We're not going to step outside for a couple of years. So let's keep that in mind. You have to know when and where you can use your fake IDs. Generally, the stated purpose of the fake ID, driver's license to drive a car, is exactly what you cannot use it for. Now, we talk about the one exception where a high quality fake driver's license can be used to drive a car. It's what we call ghosting. There's a man in Portland, Oregon, I guess about a year and a half, two years ago. He was a bus driver for the transit system. He's driving his bus done, but he done, you know, be in the way to slave that we all are. And the bus gets pulled over. He's like, damn, who are the cops after? Four cops pulling them over? It's like, yeah, holy smokes, right?  We want you, Betty. Who's that? What's your effort about it? He said, well, you know what? You never showed up for that DUI trial down in Florida.   I've never even been to Florida. I'm a damn bus driver in Portland, Oregon, for God's sake. Hey, I've been to Portland. It's not a bad town, okay? Now, listen. So what happens? A guy goes to jail. He's telling the cops, no, no. And he's like, yeah, yeah. We've heard it all before, blah, blah, blah. Now remember, when you wanted to be extradited someplace, the state doesn't give you a lawyer. They say, hey, we just told you, we send you back. You take it up with the people there. Well, he's, you know, hooting and hollering it. No, I am not this guy, whatever. Finally, he hires an attorney. The attorney gets the fingerprints sent, all that stuff. It's not the guy. Here's what happened. A very enterprising fellow said, hey, I need a driver's license, one that if I get pulled over, it'll verify. So he said, I know, I'll go buy the CD-ROM, which I believe the state of Oregon still sells, of all their license holders. So he buys the Oregon DMV database. See, I'm talking about privacy yesterday. See, I told you, your DMV is the greatest seller of your privacy in everybody. So the guy went through and it's like, okay, I'm a black male, 5'11", stocky build, medium-complexed. There's 10 people in this room who, in general terms, look like I do. So I could go search the Oregon database, find a license holder whose general identifiers are the same. Now I've got that person's license number, their name, the expiration date of the license, and their general physical description. And I then go buy or make a high-quality forgery of that Oregon DL, but I put those identifiers on it. If I get pulled over any place in this country, the cop will run the license and bingo, it comes back that it's valid. I'm not John Q. Newman, I'm Joe Smith from Portland. Well, that's exactly what happened to this guy. Yeah, exactly. He said let's hope you don't pick the wrong guy who's wanted for murder. Hang on a second. Ladies and gentlemen, real quick, and it's very serious, there's some people out there and I'm hoping one of their friends is in the audience who seem to think that IRC is real life. Okay, threatening the staff will not be tolerated.   You will be arrested. We are currently looking for them. If you see them before we do, would you please suggest that they'd not come back? That's absolutely unacceptable.  And I'm ashamed that you would let this happen. So going forward, once again, please act like adults. I'm sorry. In any case, back where we were. So the point is, is that by buying the database of real license holders, he was able to then use a high quality forgery that actually was the license of a real individual. And I might add this is a danger that all of us could face because if you've got a license from almost any state in this country, then they sell off your driving record to anybody once in a while. In fact, many of them sell the whole database off en masse to anybody who wants to buy it. The point is, if you're on the other end where you want to create a fake ID that you can drive under, this is a step you can take. First, go get a state's database of drivers or you could be a clerk at a busy store, heck, at a hotel, right? You need a driver's license because yours is toast. When the people check in, they show ID. You find somebody whose general physical description and that's all it has to be is similar. Then boom, you write that information down, then you don't even have to buy his driving record. You could then go put that data onto your high quality counterfeit and boom, you're driving and styling. Okay? It's kind of like making a counterfeit credit card except in this case, which you're stealing is his ability to drive a car and not his ability to charge merchandise. So this is the one way that you can actually use a fake ID that will pass a credit check, that will pass a computer check. Now let's talk about other reasons that somebody may want to use a fake ID. I've written a piece that's in the current catalog supplement that we've got at the table at Lean Panics and we've also reprinted the article. It's called the tyranny of the check approval services, the scarlet letter of the new millennium. At my website, of course, you guys know I offer a consulting service for people that have identity, credit, and other similar problems. I get hundreds of inquiries over the course of every few months about, I can't open a bank account any place in the United States because of what happened they always call check systems or telecheck and it was 10 years ago or whatever. This is where the ability to have a high quality fake ID can help because let's talk a bit about this. When you open up a bank account, a deposit account, we're not talking about credit in the traditional sense, but just a deposit account, generally the bank either calls or now most of the time it's done online, they will check with telecheck or check systems and give them your name and license number or name and SSN. Now, if it comes back that there's negative data in their files, they say, I'm sorry Mr. Jones, but well, we just don't like your kind. Of course they won't say it that way, they'll just say, we really don't want your money.  Blah, blah, blah. Well, it's because you have the new scarlet letter of the new millennium which is check approval services. Anytime now, and be aware of this, boy, you can have an account closed because it was overdrawn for 30 days or more for 50 bucks. In the old days, it was just, you could pay it off eventually and then you could open new accounts. Well now, they said, we're basically like credit bureaus, we're going to keep this on file for seven years or even longer. So even if you pay it off, you may still not be able to open a new bank account. And of course, the banks say to you, well, it's not us, it's check systems. That's like the murderers saying, well, it wasn't me, it was the gun. So getting a new driver's license, a high quality fake driver's license or a social security card can be a solution to the banking problem because it can allow you to immediately go open a new bank account. It's to understand what they do and it's not verified. The bank isn't actually verifying your license is real and been issued. What they're verifying is that the number is not in the database, the negative database of people that have had accounts closed for overdraft abuse. That's what they're verifying. Same way with the SSN. They're not verifying that your credit is good. What they're verifying is that that number has not been associated as someone who has abused check writing or savings account privileges and had an account closed because of overdraft abuse. Understanding that, for example, frequently my clients will say, okay, I want to open a new bank account, but what do I pick for the number on the driver's license or whatever? Well, what I say is pick a state that uses an SSN for the license number, then go look up and see what current SSNs are being issued because they'll belong to just people that aren't in the banking system yet, use that SSN and say that's your license number and say your license is from Hawaii, which is a state that uses the SSN as your license number. Guess what? They apply online and boom, the computer comes back saying welcome to big, ugly internet bank police and your initial deposit, blah, blah, blah. They're back in the banking system. That's one place a fake ID can help. The other place where a fake ID, high-quality fake ID can help is you might set up a new credit history using the classic techniques of identity creation, which I talk about in my book, Reborn with Credit and Credit Power. The problem is now you've got a fistful of credit cards, but they're in the name that you have no ID in. This is where a high-quality fake ID can be helpful because now you have an ID to match the credit cards that you have now created under a new identity. So there can be a second ID, a high-quality fake ID can also be used to allow you, if you just want to create a second bank account and a different name for privacy reasons, it can allow you to do so. So there could be many reasons that you actually want to get a fake ID. So the thing of it is that this is, like I said, what you have to be aware of. Now let's talk about things like mail-order birth certificates. You can order birth certificates by mail or a few places that sell them. Here's the caveat.  They're going to be hospital birth certificates. Anybody can make a hospital birth certificate because it's not a government document that we're duplicating. So if I want to create hospital birth certificates or church baptismal certificates, I can make a high-quality document. I can make anything I want to and sell that because they're not reporting to be from a government agency. Well, don't think our friends in the ID accepting business haven't realized that. Read the application for a U.S. passport. It says state, county, or city-issued birth certificate. Most DMVs now, if you read the literature carefully, it will say a U.S. or county-issued birth certificate. A few places will still accept hospital birth records, but the general tendency has been not to. Why you might be curious? Why did it get so bad like this? Well, you can think the little town of Rio Rico, Texas. Back in 1970, they readjusted the border between the United States and Mexico. And to make a long story short, Rio Rico, which had previously been in Mexico, is now in Texas, which meant that anybody who had ever been born in Rio Rico, back to whenever Texas entered the Union, was technically an American citizen. Well, this is a little tiny village of maybe as many people in that section of the room. Mysteriously, eight to 10,000 people applied for U.S. passports from Rio Rico. It was rather an amazing occurrence.  I thought this was just a little town of one borough and a gas station. Well, no, it was like 10,000 people. It's like, yeah, from Rio Rico. See, here's my birth certificate and there's no clinic to whatever.  Well, to make a long story short, the U.S. passport office is now the most adept agency at detecting fake ID. Okay? You don't want to go for a passport even if you've made a new identity and it's hardened unless you have taken all the steps because if anybody will ferret you out, it will be the U.S. passport office. However, having said that, it's possible to get around them. Look, the watch words of agencies that accept documents. Here's what you have to understand. Let's say I know that you, sir, are going to the DMV under the new identity, because you look like the kind that might need a new identity, under the new identity that you have set up to start over. Because you've got 10 kids, you're tired of supporting them and whatever. Okay? Hey, I know about this guy, trust me. But if so, in any case, in any case, you and I both know you're up to no good. Right? So when you walk in there, I know you're up to no good, you know you're up to no good, but what you've got to understand is the clerks in that office don't know he's up to no good.   The employees are underpaid, overfed, and bored as hell. It's the same thing. Is this your certificate? Is this where you live? Is this your current address?  Blah, blah, blah, blah, blah. All right, I'm going to lunch, and then after lunch, is this your certificate? Blah, blah, blah, blah. Okay? It's the same damn thing. So the point I'm making here is of the thousand people they see that day, those people, 99.999% of them are there on legitimate business. They're not crooks. They're not particularly looking for crooks. So if you go in there with everything they say they have to have, unless you give them a reason to suspect that the documents you're showing them are not real, they're going to treat you as if you were any other customer. So it's two things. One, understand that.  If you're asking what your name is and you go John, I mean Trent's, whatever, that's not a good sign. Okay? Or if they say can you sign your name here, sir? And you're like, oh, there we go. That's not a good sign. That sets off the warning bells because they're given some rudimentary training to tell them if the applicant is unsure when asked to state his full name, this may be an indication of identity fraud. Well, I've seen their training tape. Okay? If the name on the documents the applicant presents does not match the name that he gives you, this could be a sign of identity fraud.   So the point is, is know your story.  Okay?  So if you understand that just what, they're not thinking everybody in here is a criminal. When my number comes up, they're not thinking criminal, criminal, criminal, criminal. You are. They're not. Okay? They never underestimate their intelligence. This is the other thing.  Okay? So the point of it is, they're working that job because they want that job, even though it's boring as hell.  I don't know if you've noticed that. So don't go in there with documents you know your grandmother wouldn't believe. Okay? I mean, I have seen this happen. It's like, oh, well, I'll go in here with this, and it's like, well, sir, I don't understand. It looks like your birth certificate was filled out in pencil. Well, sir, I don't know if, according to this, you were born in 1947, but your mother was born in 1960. That makes no sense there. I mean, hey, I have seen and heard it all. That's the guy who they're like, oh, could you please wait here? And the next time he opens a door, it's with bars on it, and five years later, he's free again. Okay? Never underestimate their intelligence. Here's the thing. When you're using, you know what kind of fake idea you can and can't use. You can use what I call foundation documents. Foundation documents are the documents that allow us to get the ID we use on an operational basis, on a daily basis in the United States. For example, a foundation document is a birth certificate, a baptismal certificate. A social security card can be considered to be a foundation document, a college transcript. Those are foundation documents. High quality forgeries of foundation documents will almost always allow you to penetrate the identification system and get real things like licenses, passports, that kind of stuff. You never, ever use a fake state ID card or driver's license at a DMV because they can verify its issuance on the computer. So foundation documents are fine to use as forgeries to build real identity documents. Now, there may be a time between when you're creating a new identity and leaving the old one where you need to use, like I say, a fake driver's license to open a bank account because then that will give you a credit card, an ATM debit card on that account. That's now a piece of real ID that will verify. The goal is to use the fake ID in a gradual process to migrate into a new identity where all of the documents are real. So, let me conclude the first part of this on the fake ID by Mela Modem by saying that's the kind of thing I cover in this book. Other things I cover in this book are like, okay, there's some good cards to use. Like for example, you picked out a new name and birth date for yourself. You can buy a press card from a real press service. Nobody needs, no, it's not Newsweek, no. But the point is, it'll actually verify. They can actually call or write the press service and it'll verify. It's okay, you can use some of the techniques talked about in here. There's a company that will custom make high quality PVC corporate ID cards for you. There's no reason. If you guys, as computer literate as you are, you set up a corporate website, address, telephone numbers, you make your own ID cards to go with it. That's now a supportive form of ID. Here's the thing to know when dealing with government agencies. Find out what they'll take. In general, government agencies operate on two systems. Either they'll say we require this document and this document or some of them say we operate on an ID point system where you have to have 70 ID points and that's acceptable for us to issue you what you want. And then there might be a whole bunch of different documents they take, like in Ohio, oh my God, to get a license. Man, they'll take a college transcript, they'll take this, they'll take that, blah, blah, blah. I mean, it's like this long. And they think this makes their system more secure. In reality, it makes it easier to penetrate because they're taking so many different kinds of things that there's no way that their people can know what all of those things look like at any given time. So if you go in there with high quality forgeries, you probably walk out with what you want. And that brings us to the second thing that I wanted to talk about, which is the ID forger. I saw that there was a lack of a book that could teach somebody who doesn't know a whole lot about computers, such as myself, hey, I want to make a birth certificate or a transcript or whatever that is so good I can take it to a DMV or a passport office and it will pass scrutiny. That's what this book is about. This book primarily is about how to make those kind of foundation documents. First, I'll talk about the birth certificate because that's a critical document to have. Okay, here's to deal on birth certificates. In the United States, there's 50 states and what, about six territories. Virgin Islands, Puerto Rico, American Samoa. You know, God, are there any more? Heck, I don't know. That lets you see what I know. In any case, in this country, there are 7,000 offices that can issue birth records at the government level. In fact, there's always, and here's how it breaks down. In every state, there is the State Central Vital Statistics Bureau. That state acts as a correlating center where all counties forward birth records after somebody is born and the birth is registered in a county to that agency. So you can always get a copy of a birth certificate for anyone anywhere in that state from the State Central Vital Statistics Bureau. In most states, the county registrar also issues birth certificates for people who were born in that county. So at a minimum, most people can get their birth certificate at two different locations and they will look different very frequently. Usually the state is a certificate from the state, but sometimes the reverse of this will be on much more ornate paper with more security features, whatever. Frequently the certificate from the county will just be a white sheet of paper, even a half-sized sheet of paper and that kind of thing. Finally, many cities like Cincinnati, a few others, New York City, still issue have city registrars where anybody born in the city limits of that particular city can get their certificate from the city health department. So those are the three different agencies in the United States that issue certificates. For those of you in Canada, Canada has had a centralized birth certificate issuance process for almost 50 years. In Canada, all certificates are issued by the provincial government and then Quebec, that started in 1994. Up to that time in Quebec in New Brunswick, birth certificates were primarily registered by the Catholic Church and that's why baptismal records are still accepted if you were born in one of those provinces of Canada as proof of birth. But Canada, in the main now, it's a centralized birth certificate issuance process. All Canadian birth certificates look essentially the same except minor variations and that was by design. But the United States is a completely different situation. So let's say you decide, I want to make a fake birth certificate. Well, once again in this business the devil is in the details. How many times I have told clients who have paid me much money to advise them this. I'm just checking the time here. I've told clients who have paid me much money this and I'll talk about the details on the birth certificate. Those numbers on the birth certificate aren't just mumbo jumbo, okay? They really aren't. There's a numbering sequence and let me talk about how that is decided. Every 10 years, a vital statistics working group meets in this country and they decide this is what we would like to see most countries birth certificates, most states birth certificates look like. The reason they'll notice if you talk to people and say hey, can I see your birth certificate, blah, blah, blah a lot of them, maybe over half of them will have the same general outlook. And this is what's called the U.S. standard certificate of birth. This is what a blank U.S. standard certificate of birth looks like here in the book. This book is available over at the Lumpanix table in case you don't see it here. This is a standard U.S. standard blank birth certificate body. If the federal government could have its way all states would use this as the body copy for their birth certificate. Now not all states do, but most use this or a very close variation. There's certain information that is on all of them, the numbering is at the same place on all of them, that kind of stuff. So, step one if you're going to forge a birth certificate go with the flow, okay? Think about it. I'm Mr. Snoopy DMV Clerk. What do I see hundreds of every week? This. So don't go in there with a birth certificate that looks much different. Go in with one that looks like this. Then you look like everybody else. The whole point of the ID changing business is to blend in. This is not for iconoclast.  Your computer says I'm James Bond, okay? But to get there, you got a girl with the flow. This lets you go with the flow, okay? That's number one. So, know what the document is that's most popular looks like. Make sure your document looks pretty much like it, okay? Now, the next thing is the numbers on birth certificates. There's two types of numbers on birth certificates. When you were born, the registrar of the county has a registrar's file number. That's generally a two to four digit number. It's usually just the year that you were born and whatever number of the birth you were in that particular county. Sometimes it's not even that. It's very frequently just a two digit or four digit number. It doesn't have a whole lot of significance. The two digits might be the number for that particular district in the state and then the other two digits are the your order of birth for that month or whatever. The real important number on the birth certificate is the state birth number, okay? That's that number up on the side and it'll be like one, two, four, dash, such, dash, such, such. This is where I have seen more identity changers wind up in the pokey that I'd like to talk about, even though they make absolutely wonderful documents. This is the difference between the tech smarts and the street smarts. Let's talk about that numbering system. Once again, this numbering system was created by that vital statistics working group I told you about that meets every ten years. The first group of three numbers is the first digit of that group of three numbers is always a one. That means the person was born in the United States. I know it seems kind of redundant, but look, that's bureaucrats for you. Okay, I mean we're talking about American birth certificates like, well damn, I guess so. Missouri is in America, but maybe they figure somebody don't know that. In any case, the first number is always going to be a one. So right there, you go to Miss Snoopy DMV clerk with your Missouri birth certificate and the first digit is a six on your birth certificate. They know right away, wait a minute, this is baloney. Okay, it's got to be a one if it's a state birth number. Okay, the next two digits are the state number. These are just generally goes by alphabetical listing with the option of Alaska and Hawaii because they came into the union later. So from Missouri, which is the example we're using, that number is 24. Okay, because if you go through and do alphabetically, Missouri is about the 24th state. Once again, check this out. If you're making a certificate, excuse me, that says you were born in Ohio, then get us a real certificate from Ohio and make sure that you get the number right because if you go there and your Ohio birth certificate says 150, right away a Snoopy clerk might be wrong. Wait a minute, I know I remember from that training film that it said these numbers are in an approximately alphabetical order, blah, blah, blah, and there's just no way Ohio does not come before Washington. Okay, know this. Know before you go. Okay, people, this is the whole point. Finally, there's a dash mark. The next two letters, the next two numbers are the year of birth. Of course, now that we're in the millennium, there may be four because we've got to allow things to roll over. If it's two digits, that's going to be a year of birth in the 1900s. So somebody born in 1967 in Missouri, the first five digits on their state issue birth certificate, one born in the United States, 24 born in Missouri, dash 6, 7, born in 1967. Okay. The last six digits will be the sequential birth number. Now, it won't be the exact time you were born in the state, but it will be when they registered you into the central database. Okay, let me explain this. One time when I was doing research to find out on what different states birth certificates looked like, I was like, okay, how am I going to find somebody who was born in Georgia or whatever. Then I realized, you know what? Every newspaper covers the first baby born of the year, don't they? And they give the name of the parents and the mother's maiden name, because, you know, the baby gets a little gifts or whatever. So I went around to all the big city newspapers and I read the story on January 2nd about the first baby born. And that's where I was able then to build out my little file of birth certificates. Well, guess what? The first baby born, for example, in Georgia, in a year I would not disclose, of course, her number, or let's say in Missouri, the first baby born that year, the state birth number would be 124-67-0-0-0-0-1. The baby who got born after her 0-0-0-0-0-2. Okay? You see where I'm going with this?  Any case. The point of it is, the point of it is when you're making this number up, if you want to make sure that you don't accidentally make a number that actually could belong to somebody, now this is what I mean by knowing that the number of the baby born is 0-0-0-2. Okay? You see where I'm going with this? Now, this is what I mean by knowing what bureaucrats know and don't know. If I make a number from Missouri and I say well, I was 124-67-0-8-5-9-9-6. I can tell you something. In Missouri in 1967, there was not 96,000 or 26 babies born. But by picking a number that's on that high end of the range, I guarantee that that birth certificate number isn't in any database that doesn't really exist. But the form of the number is plausible. The form of the number makes sense. You'll have no trouble putting that birth certificate into using it to get things because in general, things are not indexed by birth certificate number anyway. Yeah, I'll take your question. Yeah? No, because I won't notice that. What they'll look at is that, okay, and then the other thing is make it so you're born at the end of the year. Number, you're creating the ID. That's up to you. He's asking me, well, wouldn't somebody notice if you were born in January that the number is high? My point of it is, you don't have to necessarily make it you were born in January. I'm using that as an example to let you see that when you make the number up, the form of the number should agree to the form of the number on a real certificate. Just make it so that the birth number is high enough that there's no chance in hell that you'll actually cross in a database that you're trying to get into with somebody with the actual number. Now, I can tell you, as a practical matter, most states do not even put the birth certificate number into the file. They'll usually just check that it was a state birth certificate. Those that do put it in the file, the number is not used as a file identification or retrieval tool. It's usually just entered in but it's not used to actually segregate, identify, and retrieve the file. The birth certificate number is not used to do that. Yes. No, she's asking me, do they verify the birth certificate with the state of issuance? And this brings me to a point. Government agencies are caught. You go to a DMV office and that office during the day's work, they may see as many people that are in this room. They don't have time to verify every birth certificate with them. So the watch words are if the documents appear to be authentic and the person presenting them is credible, you accept them. And this is my whole point on understanding how you can use documents to get what you want. Yeah, I'll take your question. I'm about to get to that. Okay, so now we've talked about the numbering sequence. This man's saying, well, what about embossed seals? Once again, this is where so many people in identity changing, they don't do all their homework. It's like they'll go to a DMV with a great looking birth certificate and there's no embossed seal. And that looks odd. It's like, well, we know that they always put an embossed seal on it if it's a certified copy. How do I get embossed seals? Well, there's a company called NIC, and they sell state embossers from almost every state. Now, you're wondering, how can they do this? Well, the state seal in most states in the public domain. There's nothing to prevent all of you after I'm them talking from running to OfficeMax or Staples with a drawing of your state seal and ordering them to make you an embosser with that state seal. In fact, I implore you, go do it right now, okay? So, the point of it is the state seal is not private property. It belongs to the people. You buy an embosser that has the state seal on it. Now, here's we have to be careful. A birth certificate issued from the state vital statistics bureau will always have the seal of the state on it. But a birth certificate that comes from the county, we usually have a county seal. In a few cases it may have a county and a state seal, but almost always a county issued certificate is going to have the county seal because what does the embossment say? The embossment is the certification that it is a accurate and true copy of what is on file, that the record is legitimate. That's what that embossed seal over the signature usually that's what it actually means. That's why everybody wants to see is there an embossed seal? Now, like I said, in I.C. they sell embossers. Now, the government isn't completely stable. The passport office, they actually look at the seal. So if you go to the passport office with a state issued birth certificate, but you have a county seal on it then you're going to get checked out because they look at stuff like that. In fact, if you look at a U.S. passport application, you'll see at the bottom there's little boxes and it says R, C.R. or city. That stands for was it a state registrar? Write a statistics bureau C.R. county registrar county statistics bureau or city. And then they write down the certificate numbers. In general, the birth certificate is not verified if everything else is in order. However, if there are any questions, they have authorization to verify. So that is the reason, like I said, agencies operate on the premise that 99.99% of the people coming here are honest. So if the documents appear to be authentic or whatever, then we give them what they want. Otherwise, the whole system would grind to a halt. So that is the thing about certification. Now, understand that there is a difference between document certification and document notarization. A notary seal on a document means that a simply a true copy of the original. But it does not attest to the accuracy of the information on the document. That's why you'll notice places say they want a certified copy. Not a notarized copy. A certified copy says that not only is this a true copy of what's in the record, but that the record itself is a legitimate accurate record. That's why they want certified copies. Now, you could also buy little things from MIC, like a red thing that says certified copy. Red ink is very good because that lets people know that it's not a copy. If they see the red ink, and I can tell you it makes bureaucrats just their knees wobble. You walk in there with a fake birth certificate, and it says certified copy and red ink across it, they're like oh, it must be genuine. Here, okay? You can buy a stamp that says certified copy from MIC. You could also go get one from an office supply store. You can buy your own kit and make your own. Another thing that makes bureaucrats knees wobble is when you get something that says copying prohibited and nice big red letters. Oh, I put one of those on the birth certificate and I think they had an orgasm right there.  Send this man to the head of the line. Okay? So, things like this are important. Finally, you make sure your document doesn't look too good, and this is what I'm talking about. For example, if you make a baptismal certificate, when do you get a baptismal certificate? You get it when you get baptized. Most people are baptized at usually a young age. So, if I walk into a DMV office and I'm saying I'm 30, and I'm like, well, here's my baptismal certificate and it looks like it came out yesterday, but I was supposed to have gotten it back in 1970. I guarantee there's some questions that are going to be asked, especially if there's a little copyright notice on it that says copyright 1985 on the sheet. In other words, a baptismal certificate should be old company. It should look like it's been around. I talk about in many of my books on new ID and the ID forger and some of the others out there. How to age documents using such common household items as iced tea and coffee. And you can age documents very, very well. A document's age should always look appropriate for its age.  Okay? Other thing, learn to keep things like date stampers, because of course now we're near 2000. Those date stampers you have from 1990, 91, 88 can be very useful because it can allow you to stamp an old date on a document. Remember things like that? Okay? These are all very important things. Okay? So, basically I will tell you this book covers how to make these documents. It covers two ways to forge. There's the old fashion way using write out, photocopies, light table, paste up. I cover that. I also cover things on forging, for example. If your scanner can only scan at 300 dpi it doesn't matter that you've got a 1200 by 1200 dpi printer because you can't print what ain't on the image. So I talk about stuff like this that when you have to need a high-res scanner you also want a very high-res resolution printer. I talk about the minimum system requirements. Now remember this book, you know, a year ago I did the research. So, of course, technology has sped up. But the parts about computer forgery on birth certificates and such is written at a level that if you just have rudimentary computer knowledge, as you guys know I do, you can read this and then go out and buy the things and then start turning out good copies. The thing of it is, is that if you can make good foundation documents, birth certificates, college transcripts, even things like social security cards, whatever you can penetrate the identification system and you can get almost any real document that you want to get. And that's what I wanted to touch on. And this is an excellent guide to doing that. Before I take questions and then go, the other thing that I wanted to ask you is that, look, I have a sign-up sheet for the book I mentioned yesterday. If you sign up with your name and email when it comes out you get 20% off. I also would like it if there's somebody here from in the military who would not mind me making a copy of a current military or dependent ID. No, no, no, listen. Listen, you guys. Hey, hang on, hang on, listen.   I'm trying to build up a database on different identity documents and birth certificates.   If you're not comfortable with doing that here, drop me an email and I'll be more than willing to make it with you while in the form of a book or a free consult on something, that kind of thing. The other thing is once again, I'm looking for an expert on internet privacy and I'm willing to work with more than one person for different aspects of that chapter. In any case, I'll take some questions and until the goons run me off.


No, no, no, no, no, no, okay. Let's zip through these revisions. I know so many revisions. Okay. Lies are updates So Qt Pi ESP 32 s2. It's an adorable little Wi-Fi microcontroller with the ESP 32 s2 microcontroller and a ufo connector so you can connect any kind of antenna you like This is now revised. It now has much better deep sleep performance So if you are needing deep sleep performance at 70 microamps We fixed it. It's ready to go and you can pick it up. So next up next up We have revised the adxl 345. This is like one of the first products. We put in the shop the adxl 335 and 345 We've been STEM a Qt of buying all of our boards to make them plug and play no solder required This board is a laser to get the revision. It's the same schematic same functionality same library But no soldering required because it's got stem and Qt connectors. So a lovely Qt vacation Next up another revision the CP 2104 has been discontinued and can't get it anymore It's been replaced with the CP 2102, which is very much like but not exactly the same schematic. And so The Bluetooth sniffer board has been revised. I made a couple other little tweaks. This now uses CP 2102 It's a great little tool for sniffing BLE connections with wire shark and doing debugging and analysis on unencrypted BLE messages and advertisements check it out works exactly the same as before it doesn't has a new chip and We just kind of cleaned up the schematic a little bit Another revision similarly the Pi UART also the CP 2104 based board I really like the CP 2104 quite sad that I got discontinued But you know, we revised this for the CP 2102. It's a little board that goes onto your Raspberry Pi Gives you a UART connection plug-and-play and of course you could also power the board and now it's got a USB C connection Upgraded it one of those things if I'm going to revise the board. I might as well revise the whole thing So updated it from micro B to USB C here's just showing the previous version on a Pi zero I just found this really handy for like I want to power and Send and receive data from the serial console on a Pi This border to the job. Okay, and the stars of the show tonight besides you lady at our team our community our customers is The solar bug kit from brown dog gadgets brown dog makes some really cool fun Toys and kits for students and young kids that want to learn Making electronics these no solder projects are great for classrooms for rainy days for sunny days Actually, this one is good for sunny days And this one is you make these little like bugs And you have a little motor and a solar panel and when you put them outside the little bugs They get energy from the solar panel and they start Jittering around like creepy little bugs who doesn't love bugs So there's a four pack which is good for a small family or a kid who likes to make a lot and a 25 pack That's really good for like Birthday parties classrooms camps You're somehow stuck with 25 kids and you really need to entertain them 15 minutes This will do the job and we've got one built here, and I've got a lamp. I'm gonna try to do a live demo This might just run off of the Okay, so this is the oh yeah Well, I was gonna show we want to you want to turn on the lamp No, cuz I want to show this beforehand and then I'm gonna show this, okay So there's a solar panel here, and then it's taped on to you can see there's a little motor. This is a Pager motor vibration motor no soldering and then you actually use these googly eyes as like a little like slider thing And then I've got this lamp Yeah, so we that's cool Yeah, so I'm just got this little lamp pointing at it and the Sun of course is gonna be even more active But no batteries required it just it just kind of moves around a small Sun just to demonstrate So a fun project. Yeah, what's going on on this side here? Yeah, hi. I just got a lamp star. They start It's not even that brave of a lamp to be honest But a fun little project so you know if you want to do like a solar box kits But you don't even want to so it's my couscous. You don't even want to do any soldering This takes like two or three minutes a piece to make and it runs forever right