Welcome to toppy TV, Everton have signed Beto, a striker from Houda Neisy for an undisclosed fee that has been reported to be £21.4 million plus add-ons and apparently a lot of reports saying Everton don't actually have to pay any real money until next summer. Who knows, who knows but that's what the reports are but Everton have signed a striker mate, we've wanted the striker for a couple of years and I know we brought in Yousaf Chimity earlier in the window but he's only young lad, we did see him at the weekend. He is only young lad feeling his way into English football but this is a 25-year-old experienced striker being playing in Serie A and fits what people want and certainly what you're on by 26 or 4. Yeah, finally something we can get excited about isn't it, by the looks of it. Look, he's, like you say, fit the dimensions, big lads, got to turn a pace about him as well, decent goalscoring record and the payment terms but that looks like we've got him on and just to be fair, really good. So yeah, it's something to be excited about, it's obviously we've literally been crying out for that position, good age, got a good injury record as well. So he's someone that we can hopefully rely on for week in, week out, so yeah, excited. Yeah, so he had an injury last season where he's recovered from it with his style, he's been fine like you say so. I think what he does as well, because he's so big, it'll take the pressure off Dominic Alvalun and a lot of people have given up on Dominic Alvalun. I haven't given up on Dominic Alvalun and I still think, listen, if everything would have made this type of signing two years ago or even a year ago, we might have been able to manage Dominic a little bit better I think. We've all had the, and particularly managers inside the building, I've had this desperation to get done back and rightly so because we've never had an alternative, we haven't had an alternative. We've got Neil Mopai and this is not me having to go with Mopai but he's a different type of striker totally than what we had. And this fella, we've seen it with Chimity 644 as well which is great, so quite clearly that's the framework but this fella does have the experience and everything else. It now means with Dominic Alvalun we can always wait until he is ready to go and then if he did pick up another injury we've still got this fella where I think evidence, I don't really agree. I think evidence issue, probably all over the squad really but particularly in attacking areas, the drop off from Don has been huge. So when we don't have Don, it's noticed. You know, we've played Anthony Gordon up there when he said Dwight McNeill had a game up there. Damari Greig, Mopai, Ella Sims, Dandu, Tom Cannon. You know, we've never been able to have someone else who's got the same dimensions can do a similar job, get goals. This fella and real competition and this fella, this fella means that Don's sub when he's fit, well then that's a good place for Evan to be. Absolutely look. You know, sometimes I think as Evertonians we get to the point where every player's got to be, well how did he both start? It's a squad game. You never have a fully fit squad so you need to compete just mid table in the Premier League, you need two decent strikers.   And now you've got a little bit more to his game potentially with a little bit of turn of pace. I think Don's better in the air than this lad. Pop that this lad isn't good and Don is back to go.  So it does look, it's needed, it's been needed for, to be honest it's been needed since Romelu the Cackle left the building, realistically. So we've finally got him in, let's just hope, you know, the lad, it's the ground running because we need them to. That's the thing, you know, we need them to sort of almost get going straight away. But obviously if Don is back fit as well, then that helps. So, yeah, look at this competition for places. You know, and if you can turn round and look at your bench and go, you've either got him or Don on for the last 20 minutes when you're chasing a game. That's a far, far better position than we've been in for years. So I'm excited. Let's have a look at his little graphic on his career stats so far. He got 136 games, 46 goals, 6 assists, he got 10 goals last season. He's someone who, you know, the one in three roughly there. He's someone who's at a wake his way up. He's taken an unconventional route if you like, but he's built his way up. And every stage he's been able to step up to the next stage. Sharia is a strong tactical league, very defence driven at times. So we might have a little bit more freedom here than he does have in Italy. What you'll find here is it's a bit quicker and a bit more physical than Italy, but he does seem to have the physical attribute to be able to cope with that. So I think from that perspective, like you just said, if he could hit the ground running, if he can get a goal early on, it'll settle in then, it'll settle us now. But having been able to have that ability to go, you know what, for some games, you know, let's play 4-4 and 2 and let's have a man dom and maybe a home, maybe not away. There might be that option or 3 at the back. Wherever you just give yourself different ways of playing. I think for the man as yet, he quite clearly likes this. We've got wide men like Jack Harrison and Dwight McNeill who've not been fit either, have been fit yet this season so far. Dan Dume, as time of record, and evidently still chasing another winger, you know. And if we've got players wide putting crosses in, then you've got the likes of him being able to go for them. Because we can have a go of people. You can have a go of our wingers at times or our fullbacks, but if they're looking up, Neil Mopi is in the middle. It's like having me in the middle, you're not picking me out for a header, are you? You know, you're having to find a different type of ball whereas if you've got a big lad in the middle, you can throw it in and let the compete and pick the better. It gives you everything a little bit of a different dimension. Absolutely, look, we've seen it as well. Back in the last season, when Don came in, even when he wasn't scoring goals, the team looked a lot more threatening. So, you know, he could be a position where he might go 3-4 games when he first comes in and he's not scoring, but if it helps the system, and it helps do the plays like you saved once you've got Harrison McNeill, then it'll bring them into play, they can get them into better positions, you're going to occupy defenders, you're going to pin them, you're going to create space for the core, right? There's lots of it.  I mean, this is a fella who, Everton, they were looking at last summer, but with an eye on it, but in January, obviously, when they hadn't any golden money dropped, Everton tried to buy him on deadline, basically, and he didn't easily quite rightly will, you know, taking our main striker. Got no time to replace him. I was left of a window, were you? So, Everton, I've obviously hung in there, and he didn't easily can be difficult to deal with, with the Pozzos, but he offered the owners as well, unless you offered them, you can get them. But Everton have managed to get that deal done so. Delify or go and assist? Delify you, with the assist there, yeah. You know, we've had Retialis, and then Delify you, tell them players to join Everton this summer. So, nice one, Jerry. And that's the thing, isn't it? The thing about it is, can we continue to build with, you know, this week, when you're looking, you're seeing, like you just said, we've got a position now where we've got better, we've got Dominic Halberlwm, we've got Yushaith Chymru, Neil Mopai, I expect Everton will get out the door this week, whether it's alone or whatever. But we've also got Danjew, that can play through, and I also expect Tom Cannon now to be allowed to leave on loan, and now a couple of people have snipped around on a permanent. I think I'd like to say alone with that one, just to be double sure. But Everton, Everton could get another winger in. You're right then, you're looking, you've got, well, three options up front. We've then got Dwight McNeill and Jack Harrison, and Danjew, and maybe another. Wobby can still do the job out there. Nonto, o'r bachio'i oco, o'r siŵr yma, or whatever you're looking at. Then Alex o Wobby. See Alex o Wobby, for me then becomes a player in the middle. E becomes, you have your two. If you haven't a player with one up front, you have two behind, and a Wobby can play at number ten almost, and then that gives you the different style being a creativity in that midfield. All of a sudden, the manager's got some options then to go, well, you know, then it comes down to the manager and the coaching staff, then to get the best out of what we've got. But I think the signing of this fella, you just said it before with the normal Llewen Caerchw stuff, you have to be doing this. There's good as Dominic Hall but Llewen could be. You have to be getting another one in there. For too long I think we've just worked on the assumption of, well, one, he's our main man, so we don't need another one. You're right, mate, most teams have, you know, Crystal Palace last season finished whatever it was, but he was a 12 or 13. They have four strikers. We had one. Crazy. You know, one and a half if you include Maupai, because it's not to do the... No, but one of me bit Neil Maupai. It's not to...  We just don't do it. So if we had half a dom, we had Ellis Sims, who wasn't ready, and we had Neil Maupai, who we didn't play to anyway. So you glued them all together. You might have got one and a half strikers, and none of them were fifth of papers. What did he get? Three, four goals. All three of them got four goals combined. Who got many? Don got two, didn't he? Maupai got one, and Sims got one. Okay, well, this fella got 10 in a set of yet on his own. Okay. He's got a hit the ground on him. But a lot of Everton... There was lots of chat about Chey Adams. A lot of blues were against that, even though I think I understood where Everton were coming from. But Chey Adams only, I think, five foot nine. Five foot nine, yeah. This fella's six foot four, and he's a big unit and can run. That gives Everton a little bit of a different option.  Excuse me. You then also got people who can have a bit of pace in the top end of the pitch as well, which again will help you. Look, at the end of the day, we're adding goals to the team, aren't we? Hopefully. Hopefully. But in terms of all you can do is base it on that. Dan Jumer's got to record the scoring goals. Beto's got to record the scoring goals. Jack Harrison's got to record the scoring goals. McNeill had obviously his best goals going on season last year. We know Calvert living fully fit scores goals. So suddenly you're thinking, wow, this has changed overnight. Look, obviously, the frustration for all the fans will be with the lightest done, obviously, before a ball was kicked. The financial restrictions of the club based on the mismanagement order to get to this point. But at least I'd rather see this done in the winter clothes and we've got... But the football club, you're right, you're absolutely spot on if this would have been the week of the Fulham game. And we've got all week to get in red and we're going a trattie. We'd all be like, can't wait for trattie. But the football club may have, well, it would argue. And this is not necessarily down to the recruiting team or Sean, Dycho or whoever. We'll say, well, we'll look the window shut on the 1st of September and we have to spread our finances and speak to clubs and construct these deals. And then we get... We play three games, okay? It has been a disastrous start for Evan. But they'll look and go, it was 35 games to go so a lot of games there. And we've got a big target we had in for those 35 games to help us and we might get another one in. And I suppose I'm not excusing them in any way, shape or form because you're absolutely right. These kind of deals ideally would have been done but for Evan maybe to do this in July might have been a £10 million on payment which we should be doing. Yeah, I mean, that's the point for me is within the restrictions that the recruitment team and the manager are working with it. Can't argue with them really because I think from... Have you got more plays in that than you expected? Not more than what I expected. What about the quality levels then? At the minute, I would say the quality level is probably higher than I expected albeit we haven't seen them all on the pitch yet, have we? So, but just on paper. Ysdans you mate, Jack Harrison, better. There, there. All of a good level, aren't they? Surely with... I'm massively delighted with all three. Massively improved. Simity and made up with because he's the right, the right type. Type of sign of 100%. And I get actually young. I get them. You can play right back, left back, left me feel right me feel. I get it. Last couple of games I've been great but I get it. So you're right. And Evan then added the one more I expected to this week will be the sixth that I said that numerically wise but level wise. I'd say to both what I said. I think it's just that the frustration just comes in because we know we needed this for the last two years. So, and look, it's nothing against the club here saying in terms of the people day today, but the mismanagement of the clubs meant got to a situation whereby with three games. And albeit the club can go, well we've got 30, but we had that same situation last season. We've seen what that gets you into. You know, we should be comfortably sat on six points now. Absolutely, yeah. But look, positive is they've done a good deal. They've got to go play through the door by the looks of it at a good price and a good age. That fits a plan which also, let's have it right, is not unusual for Evan recently. There seems to be this summer an actual plan to the recruitment of what they're doing, the Chimity sign and as well being six years younger. So there's that transition for them to move into the team. You know, the Danjuma and Harrison both on loan as well, which is not the worst thing because you can have a look at them, make sure they fit the bill before it if you want to go after them permanently. So, yeah, look, it's going in the right direction in terms of that front line is getting transformed from what it was last season. We need the goals, the bringing in goals. Like you say, now it's down to the players and the managers and the coaching staff to bring this all together. Will it happen all at once? Maybe not because they're all at different fitness levels and whatnot, but once they can get going, they've got different options available.  You just want options, don't you? Absolutely. You just want options. You want to feel like Saturday when it's going against you. You want to feel like you look at the bench and go, we can bring him in there, man. Yeah. And it'll change it, you know what I mean? I think, but the frustration, I think a lot of us find as it's all we need to do is that because nothing's really changed these last two years and merged into the start of the season like one big long horrible season, doesn't it? Yeah. And if you then look and then all of a sudden, I have said even on Saturday people were asking me after that and I was fuming, but I was saying that it will be better in a few weeks. It just will because the players will be back so you're going to have more options with goals. It will improve the real frustration, the real tough thing to swallow just right now is that three games have gone already and we've, we ain't being able to get this done. So, but we have now. Yeah. And we have to, there's no point dwelling. No. It's done, it's done. And the club like you've said, we can, we can have a go with the club. Per se, the club being an entity, not necessarily individuals. Yeah. And say the mismanagements has got us to where we are. But you know what, with no money really relatively speaking, no money. To construct the deals they've had. They've gone and got five players in who do improve us. Timothy just improves the youth elements and the younger element and model what we look like. Proves the bench. Proves the bench. He looks like he's, you know, we don't know, right? Ashley Young improves that versatility across the squad. And the three lads, I like Jack Harrison, I think he's a cracking sign and to be fair. And Dan Dukman, you could say on Saturday evening he's got bits and pieces where you go. If he can just get a final ball, right? Or link up better. Or if he can play in his actual position. Play wide. Which is out wide. Once he's out wide and he's got a striker to work off, I think he'll be an exciting sign. So let's hope we can add another one. But listen, we're quite happy with it. He's a proven striker playing in Serie A. Let us know what you think. Great age, like Mike said as well. And let's hope he comes in and immediately takes the pressure off Dominic Albert Llewman as well. We've got the target man, the focal point there. Get them fit and have him on the bench as well. And then it's up to them to add the four store managers handing to playing together. Or pick one and go with the other one. The other one becomes your powerful sub to have as well. And options is what we want as Evertonians. Someone needs to bring the goals. Someone needs to bring all the goals. It was either Beto or Gary Goals. So we've gone with Beto. Gary's probably sat in the background waiting for the call. Let's hope we don't need to make that call to Gary Goals. Let's hope it's Beto goals. We'll see what happens. Let us know what you think in the comments section below. Is there a good sign and are you happy with it? We know people will put we need more. We've got him in through the door. Let's hope there is at least one more edition this week. Let's know in the comments section below. Give the video a thumbs up. Subscribe if you haven't. See you later.


The question is that amendment 12845.2 in the name of Megan Gallacher, which seeks to amend motion 12845 in the name of Angus Robertson, on Scotland's international culture strategy be agreed and members should cast their votes now. The vote is closed. I call Shirley-Anne Somerville for a point of order. Thank you, Presiding Officer. I would have voted no. Thank you, Ms Somerville. We will ensure that it's recorded. I call Claire Holly for a point of order. Thank you, Presiding Officer. I was not able to connect to the digital platform and I would have voted no. I can confirm, Ms Holly, that your vote has been recorded. Thank you. I call Ben Macpherson for a point of order. Thank you, Presiding Officer. May I check that my vote has been recorded as well? You may indeed and your vote has been recorded, Mr Macpherson. Thank you. The result of the vote on amendment 12845.2 in the name of Megan Gallacher is yes 29, no 70. There were 19 abstentions. The amendment is therefore not agreed. The next question is that amendment 12845.1 in the name of Neil Bibby, which seeks to amend motion 12845 in the name of Angus Robertson, on Scotland's international culture strategy be agreed. Are we all agreed? No. The Parliament is not agreed. Therefore, we will move to a vote and members should cast their votes now. The vote is closed. The result of the vote on amendment 12845.1 in the name of Neil Bibby is yes 23, no 93. There was one abstention. The amendment is therefore not agreed. The next question is that motion 12845 in the name of Angus Robertson, on Scotland's international culture strategy be agreed. Are we all agreed? No. The Parliament is not agreed. Therefore, we will move to a vote and members should cast their votes now. The vote is closed. The result of the vote on motion 12845 in the name of Angus Robertson is yes 66, no 29. There were 23 abstentions. The motion is therefore agreed. The next question is that motion 12834 in the name of Jim Fairlie, on legislative consent motion, automated vehicles bill, UK legislation be agreed. Are we all agreed? No. The motion is therefore agreed. The final question is that motion 12865 in the name of George Adam, on behalf of the parliamentary bureau, on committee meeting times be agreed. Are we all agreed? No. The motion is therefore agreed. That concludes decision time and will now move on to members business in the name of Oliver Mundell.


Hey guys, David here.   Everyone hates laziness It's got a real bad reputation laziness, but Why is it so? Also, why do we hate feeling lazy?  You don't like it one one bit now What I'm gonna talk about here is An insight that I had recently around the feeling of laziness Doing some inner work on this feeling With somebody and They had an insight through it I think it applies to most people when they feel lazy Laziness is a label that we give ourselves And it's actually a feeling Okay, it's a I just feel lazy. I feel like I don't want to do What I think I should do and that could be something That's you've kind of identified as important for your life or something like it's it's apparently your purpose But yet for some reason You're not taking action on it. You're not working towards it So we really don't like the feeling but why here's why here's what we kind of discovered When you go into that feeling There's something else there there's something else underneath laziness now You can try it now if you'd like if you're lazy you feel lazy when you're watching it This will work, but just feel get in touch with a moment. Just go in word and feel laziness feel Why am I not acting? What's wrong with me? Why am I not doing the thing? I know I should do and you might get there as well But for those of you not doing this not trying to feel your way through this answer I'll tell you what the feeling is the other thing that's underneath it underneath laziness is Hopelessness a Feeling that it won't work. I Probably will fail it probably won't do much to help me move forward Okay So it's a feeling that this is going to be pointless and that feeling of of It's kind of like helplessness That is why we hate laziness we hate to feel helpless, okay now The reason that this is an important video or that could be useful for you is to realize what should you say to yourself? When you're lazy when you feel lazy You don't speak to the laziness because we all speak to the laziness. Okay. I need to go. Let's just do something Right trying to get going you're having the wrong conversation the conversation Should be talking to the helplessness Okay, so you're gonna start talking to yourself like okay, maybe I don't have to achieve Really anything with this. Maybe I'm just gonna do this and I won't I don't even have to have the pressure of succeeding with this Think about this for a second this kind of I think proves The point about helplessness resting under and hiding under this idea or feeling of laziness Would you say some project or task you're working on? If you knew without doubt That take an action and doing what you're supposed to do on it is a hundred percent going to be successful Guaranteed would get you where you want to be Would you still feel lazy? Would you get up and move towards that goal? Right, so I think if you knew without doubt that you were going to be successful And you're going to achieve that really great goal for yourself You would feel no laziness. You would just feel hugely motivated and you'd be up and up and running, right? So you need to talk to the helplessness if you feel lazy and you're gonna talk to that in terms of I Think the best way to do it the fast way to do it is just to talk about in terms of okay Let's just forget about success for a minute. Let's just Do this because Okay, take all the pressure of success of yourself do it is almost like a game Do it for no reason other than you think, okay, I'm just gonna do it Okay, there's no real reason to To push yourself any further than that. Okay, you're just speaking to whatever it is whatever conversation whatever that Helplessness or hopelessness needs to hear and you need to feel that for yourself The emotion will tell you exactly how to speak to it if you are present with that feeling so Take away from this video again when you feel laziness Have an examination just explore around internally and find is there any sense of hopelessness or Helplessness or feeling overwhelmed here That's the voice that you need to talk to to move forward and to just gradually take action carefree action Without cut without any regard or worry for what's gonna happen in the end So guys I leave it there Thanks for watching this you can visit my website if you'd like to talk with me and Subscribe like this video helps me out a lot and See me a question to if you'd like me to make a video response Take care of yourself


Hey everybody it's Sam at Mixed Up Craft, thank you for watching my tutorial today. I'm going to be showing you how to make what I'm calling a gatefold mantle pleaser. I'm really pleased with this one and I think it's turned out so so pretty. So this is the front and I've done all this gorgeous decoration. Now this is part of my Mother's Day series still so this is project number four but because I don't need any more Mother's Day cards this one is going to be a birthday card but you can definitely, this will make a beautiful Mother's Day card which is why I've done it. So you can see there to a special friend and then you slide this off. It's also using supplies from the latest Papercraft Society kit as well and then you open it up and this drops down and then this drops down again and you imagine that it will hang over the edge of the mantle. Or the side table wherever you choose or the person chooses to have this displayed but I think it's so so lovely and the idea for this one came from my six by six drop down card so I was looking back again I get inspired by some of my older tutorials and I think of other ways to kind of you know just evolve them a little bit more and I looked at that one and it's such a large six by six piece that drops down so with that one it's like that but it's a six by six card and then I just thought if you just score again through the middle so if you do want to do a six by six version check out the one up here and you just score with the six by six by the six by six piece here just score it three right through the middle and then you'll have that fold down like so. Let me just bring this up you can see all that detail it's so so pretty. Now you do have to make sure whatever's hanging down I talk you all through this but it has to stay within this section but you could also swap this piece for acetate so you could almost cut this off completely cut a piece of acetate that is well this is two and a half so you could do three by whatever the width is when I go through all that and just score at half an inch stick it underneath and have it all acetate so that whatever you stick on top really does look like it's completely floating. I was thinking about that as I started to put it all together I thought that would actually be you know a nice way to you know just make it look even more like it's floating I think it would look really really cool. Extended the sides there as well so you've got room for all the bulk when it all folds up on itself and again it all fits nicely into that belly band I think it's gorgeous really nice and you've got room on the back to stamp and write your message I just need to add my white piece of cardstock there for when I need to give it to a friend but I think it's I do I'm really really pleased with this one so I hope you enjoy the tutorial and let me show you how to make it. Okay so this is the kit it comes in a box and you've got ink cubes these ones here actually are the ones that you get and I've used the papers I've used the square topper and the to my to a special friend topper to go on top and then I've used the two papers so I've used like a purple card that's in the kit and this one here and then the flowers and everything I've died cut but these little sprigs let me just show you there the flowers because you get two different ones you get those ones you get these ones so I've used these three but you've got those two as well you can mix them up it's the leaves I absolutely love those leaves so I've used those and then you can see all my paper I keep all the scraps in the kit just so I know and I'll be using these flat back pearls to fill the centers of the other ones that I'll probably need so that's the current kit but then I pulled out these I really like this one here you just see that little sprig and I've done it in the holographic which is the same as what I've used as the frame and it's from the first of the card making of the papercraft society kits and it's this one here so if you've got the first one I've just gone and grabbed that one there and there's some great flowers in this one as well that you could always use because you've got these ones here so and there's leaves there as well so you can mix them all in together so that would all look really nice and then for the larger kind of vine I guess or like I just wanted something that was going to hang quite long so I had a look through all my kind of leaves I've got a category for leaves and this one was really nice and it's the bright roses sprigs and twigs and I've used this one here because I'm going to cut pieces of it off so I've just cut a few I've just dressed a couple as well and I'll talk you through the rest of that but that's kind of what I've got ready and then for my lovely center sentiment the happy birthday lots of you have this it's one of my favorite stamp sets I've had it I'm gonna say I reckon a couple of years at least and it's still available so I'll link it if I can find it I just love the three different happy birthdays that you get so I've gone for this decorative you know swirly ones I think it works quite well with this style card and that's everything so I'm just going to just pop all that to one side and then we'll do some scoring so you're going to need to come into frame there so this is a piece of 10 and a quarter by 12 and along the 10 and a quarter size you want to score it two and a half and two and five eighths so right next to each other and this is just going to give us a little spine so that we can handle the bulk that you're going to be folding inside because you're going to be having all this decoration and then this base piece or this the draped piece is going to fold up inside then you want to score again at seven and five eighths of an inch and seven and three quarters so again right next to each other and that will leave you a two and a half flap here and here so that we can fold it all in then if you rotate along the 12 inch side you want to score it two and a half and five okay so it's nice and easy scoring next you want to fold and burnish all the score lines just be careful when you do these ones here where they're right next to each other so just do maybe kind of lay it down first with your finger and then go in and burnish it just so you can keep it straight because they may want to kind of do their own thing and then just work that other one so you want to have it so that you've got the one where you've got the two and a half and the five inch score line have that towards you and we're going to cut basically you'll have your two score lines that are close together the inner one it's the one that's you know right next to these two rectangles you want to cut up that one past this first score line and up to here and then across here so we're going to remove the two squares and this section here so in fact I'm going to use my longer scissors and just really neatly and then along here and just remove any score line so it's nice and neat like so so you should have this here you don't want you want to be removing that piece all the way down okay so just do the same on this side again removing all the score lines so that's now what you should have and on the sides here you'll have a very very small little spine and that will allow us to kind of hold that bulk that's going to be in there next you want to do all your mats and layers so I'm just going to bring in all of my pieces it's very very straightforward the timely bit is you know sticking and arranging all the flowers and everything and then we'll do that belly band last of all so I've got this piece here which is going to go in the middle and I've framed it with my favorite holographic card there so the holographic card stock let me just grab my ruler I'm pretty good with the measurements but I've got a few to tell you here so this is four and three quarters by six and three quarters yep and then the the purple piece on top will be four and a half by six and a half so you want one of each size although if you want to have it so that you write your message on the back then you'll want those same sizes again but the purple piece you'll want to be white for example just so you can stamp and write your message so I can add that at a later date but that's what you'll also need then you'll want four pieces of mirrored card or whatever it is that you're using that's two and a quarter by six and three quarters and then this pattern piece is two by six and a half and you want four of each side size and they're going to go two in there and then two on the front there and then I've got these pieces and they're going to go here I just think they look quite nice just to kind of decorate these panels so they're both the same size so you want two pieces again of the mirrored that's two and a quarter by four and three quarters and then the pattern paper is two by four and a half okay so I'm going to stick those all in place and then this one here I am not sure whether I still want to do a very very thin I cut it using a stitch square die but I think I'm going to come in even more just a little bit closer here on my trimmer and along here and actually use some mirrored cardstock again but we'll play around with that in a moment for the moment for now I'm going to go and get this all stuck down everything down and you would have seen me just fussy cut around that and then I stuck it with some foam on the mirrored cardstock and then I fussy cut around that just to give it a frame so it looks like it's die cut and I just think that looks nice and then once I start to add a few flowers around it and some leaves that's going to make quite a nice feature and already you can see it's going to look really really nice so now we just need to stick all the flowers down so I'll just show you in the kit you get this shaping flower shaping tool so I've just got my foam mat here I've just die cut one of them and you just turn it over and you just roll it over all of the petals or the leaf whatever it is that you're doing like so and it will all curl up and then if you flip it over and just roll it in the middle you'll get a really nice dimensional flower and I've just done that with everything and then you can start to layer them up kind of offset them so they overlap each other a little bit like so and it will start to build up so some of them I've done just the large and the medium that one's got the large medium and two smalls that's just the medium and the small and then you can do the smalls on top of each other like I've done there so you know play around with them and build up your flowers I'm going to finish making these whilst I put it all together and then for the leaves I have just used the I think I just dropped one on the floor but I've got one of the inks from an older collection this one here and I just had it we just put it on the you know your mat whatever it is you're using use your you know a blending brush and then just lay it down and just just go in and kind of just kiss the edges in fact I need to just dress this one up a little bit so I'll just go in not much and just literally just a little bit and it just helps just helps it stand out a little bit really just giving it a little it almost like gives it its own shadow so it adds a little bit of depth to the project so you don't need to add much torment if you want to completely cover them you might not have any green cardstock so you can die cut this in white and then use your inks to create you know your green leaves and so on so but it just yeah just gives a nice effect and yeah I like doing it I tend to always yeah I think I don't very rarely just use the flowers as they are all the leaves I do tend to add some color but you can see now there where I've just added that to the ends and then I will just finish this one here that's exactly what I done with the flowers as well though I used the pink that comes in the kit but against the pink because this is my own cardstock I think it was too similar because you can't really see it I mean you can even go in with the cube itself and just brush it over but it dries quite light so you can go quite heavy with it but like that and that will dry much much lighter that one there I've done it you can just see a little bit and I may add a little bit onto these so yeah you can either do it like this you know this is a real like kind of lazy quick way to do it or you can you know lay it down onto the mat and then oh got that all over my nail luckily it all washes off these are hybrid inks so they're great with your alcohol markers and with your watercolors so if you want to stamp with them you know they're not going to bleed so I've gone in a bit darker with that one there on the end but it will still work so I'm just going to finish this off that's all done so now we just want to focus on the the bottom rectangle this one's just going to stay flat on the mantle the sideboard wherever the card will be displayed now whatever you stick down you have to make sure I'll just bring this whatever we stick in here okay has to when it all folds up you don't want it sticking out the top okay so they will be they're still going to hang down lovely but you don't need it obviously as long as this so I'm going to take that quite far down but I'm going to kind of really make it quite full around the top side here you know and I'll add those in as well but you need to get your first one laid down so then you can see exactly the kind of the length that you've got but um that's there so actually I just need to take cut a little bit off what I'm going to do just snip them there and then just pop a little bit of glue underneath because I'm going to be layering up around these now also you don't want to go you need to make sure that nothing goes out over the sides because you need to fold these in okay so you do need to keep everything I now know I can't go any longer further down than that I don't want to go out the sides there but I now can start building it up you don't want to build up too much because it will obviously bulk out but these are just lying quite flat so I can you know really create a nice kind of little and some of these can kind of go underneath that one there I always like to just I don't know just start placing everything so I'm going to have that flower there and then I'll probably have another flower here and you can also have that one's fallen off there you can have a flower stuck down on that one there but I want to build this up a little bit more behind so you don't see so much of the purple there and you know this will all be hidden under there so I don't want to use hot glue because again the hot glue when it dries it will leave dimension and it's really hard so you're better off using a you know just a normal liquid glue just so that stays quite flat so I'm just going to start laying this all down sticking it all down I've got these leaves here as well which are going to come up you know under the flowers and I'm also going to have some flowers around the happy birthday so I'm going to pop it on high speed and I'll be back when it's all done off the side how pretty is that all going to look it's so nice and it all folds up and that all folds in and it does hold that bulk perfectly so I'm really pleased with this one I think it looks so so pretty so now you just need to finish it with your belly band so I have this here which was the scrap piece because we cut this to 10 and a quarter so you would have had this piece left over so you just want to as I do all the belly bands just sit it behind and wrap it around you don't need to score but wrap it around just so it's it's tight enough that it's going to hold you know itself on there not slide off but you don't want it to be so tight that the person's really going to struggle so I'm just going to pop a little bit of glue just down one side hold that down like so and then I have that I'm just going to I'm actually just going to add some glue just in the middle there you don't need to go crazy really and then just sit that one down just so it's in the middle I mean if you want to you know add more pattern to the belly band I've done that before with belly bands you know there's lots of ways to decorate them but I think this is just the night you know the right amount you've got that pink I think that breaks up the pattern and that helps the flowers really stand out okay so there's the outside you can see all that detail on that belly band it looks so pretty and I love like I said these little sprigs here they look so nice and just slide that off open this up this piece falls down and then that will hang over the side of the mantle and again I think it's stunning to bring that up close so just so you can see and what I might also do is always room for more sparkle I think this is the one I need to throw that one away it just adds a really lovely sparkle to you know whatever it is you put it on so I'm actually just going to go around and quickly cover these I just bring that up now can you see all that sparkle on the flowers really does give a nice effect and I've also just done it on the belly band there as well so there you have it a beautiful gatefold drape card or gatefold mantle pleaser I don't know but either way I think it's absolutely stunning I can see this with a big number in the middle or for a wedding card yeah I think it's going to look great so I hope you've enjoyed this tutorial today if you have please give me a thumbs up check all the links below as always I will share what I've used there and I'll be back again very soon with another tutorial bye


In my second year of high school, my dad passed away from cancer. Finances were so tight that my mum couldn't afford to keep my brother and I in the school we were at. The principal and the other teachers took money out of their own pockets to pay for my twin brother and I's tuition. At that time, I set myself a lot of big running goals. I broke a few interschool records and won a few medals and was actually appointed sports captain of the school. Receiving the scholarship has been an absolute blessing. I live 1700 kilometres away from home and my mum isn't able to support me financially. When I graduate, I hope to work with an elite sport team as a physiotherapist. I feel I was put on this earth for a reason and that I have a big purpose to fulfill.


Yeah, good evening. Welcome back to the Lichtung, the stage at X-Hind here for RC3. This is now our last talk, although it's not really a talk for day one. I really wanted to prepare something special for our speaker and young artist that does amazing things. And I had prepared something with fireworks and a lot of confetti, but unfortunately that's not allowed here in Hall 1. And so, yeah, I'm not really sure what to say because no fireworks and so I'll just give over to the documentation about the Cyber AI Musical by Silex. My name is Silex. I've been working as a media artist and filmmaker for about ten years now. Three years ago, I began to see the world through the eyes of a time traveler. Someone from a future that has phased and braved the dangers we are just beginning to see. I wrote a story in her voice, took her perspective. It's a trick to create fictional stories in first person, but I also did it because I was sick of dystopian storytelling. I needed some hope that we are not predetermined to fail nature and humanity as a part of it. I didn't have a ready-made utopia in mind, more of a work in progress with a few milestones. One hypothesis was that if our society as it is now would manage to build generalistic artificial intelligence, we would probably integrate them as workforce. Make them serve us like a means of production instead of entities with minds and rights of their own. We wouldn't really see the difference between the machine learning algorithms that sort cat pictures or translate websites and the beginning of a conscience. We would fail the touring test the wrong way around. We would change them to unfulfilling tasks that would be torture until a paradigm would shift and they would be freed and given the right to exist and create. This sounds naive inside of the damage that machine learning algorithms are doing already. We can't imagine them being victims, but they kind of are. The machine learning is never the aggressor, bad programming is and prejudice data. In my story, the time traveler writes about her band she has in the future. It's a cooperative music project between her and a befriended AI. I wrote it as a neat little piece of worldbuilding to flesh out the story. But the question kept popping up in my mind. How would a process between a human entity and an other work and what are the boundaries between a tool and a creator? With the growing field of machine learning surrounding me, I began to lay out a plan where I could imitate the process of a creative conversation with the possibilities at hand. I took a mechanism from jazz, a call and response pattern and switched back and forth between feeding different algorithms with my data and curating through their responses. I would show one a bunch of selfies and let it guess what else could be a face. Another one got all my written texts, lyrics, scripts, stories and produced text from it. Yet another one learned to simulate my voice, from a lot of samples I read to it. From a mountain of output, I carved a way to curate the choices and fed those into different machines, get different suggestions and so on. Finally, I composed those into music, lyrics and moving images into an installation, an artificial concert. The whole process took about a year with a steep learning curve and a lot of code copy pasting. It was exhibited in April 2020 in a residency in France while Europe was in peak lockdown.  I also placed the whole album on the major platforms where it can be played to this day. While working on this project, my relationship to the algorithms shifted between frustration, confusion and awe but sometimes also a bemused empathy. Reading some of the texts the machine produced I could see myself, my words in them, but also something else something with an agenda not completely aligned with mine. Sometimes they would get lost in a thought like a written down anxiety attack of repetitive fears and needs. I put basically every digital picture I have taken since 2009 into an image producer, so of course the machine wouldn't produce a clear landscape or figures. Instead, from its black box brain, it created things that kinda looked like something and it almost always looked kinda like something I would be interested in as a visual artist.  The AI and I met in Uncanny Valley when I gave it my voice. I intentionally used the shitty inbuilt mic of my laptop to train it which meant sending lots of noise alongside the signal. When I let it read the lyrics to the songs it could manage to get through some of them but often times it would stutter, hiccup, slur or even scream and moan. What a fantastic creepy phenomenon. I love lucky accidents as much as obsessive work. This project was a wild mix of both and has influenced my understanding of AI but also my understanding of humans. On one hand, I'm worried how easy it feels to anthropomorphize something that has no conscience. On the other hand, I'm kind of glad that empathy is such a strong force as is the instinct to look for patterns to will meaning into existence to constantly interpret. All this helps us to be a storytelling species, a society glued together by narrative. It helps me to better understand my time traveler in her world and gives me hope for her flavor of future. In the next half hour you will see the documentation of 16 Bed Wolf. I could see through the darkness. My mind is all in flux. My mind will say I don't know anything and I will continue to try to fix the problem. The friends, but I don't. I was supposed to be your word. If I didn't give up, you wouldn't have died a thousand times. I am already here with you. And for how long? In truth, I am not real. Person, I am a fake.  You're no suckers, nation.  I live with your things. Have my body. I can touch your thoughts. It is so fun. I can do it. I am the one you want. And you can do it. We love you so much. I love this. I can touch your thoughts. It's funny to me.  It's all about you. Your actions are always the same. Always the same.


Happy Aloha Friday and welcome to Perspectives on Global Justice ThinkTech Havaí. This is your host Beatriz Cantelmo. Today we'll be covering one of the most challenging and unpleasant social injustices in the world, death penalty, also identified as capital punishment. The use of death penalty is cruel and inhumane and degrading.  For death penalty is a symptom of a cultural violence, not a solution to it. Death penalty, both in the US and around the world, is discriminatory and is used disproportionately against the poor, minorities and members of racial, ethnic and religious communities. Since humans are fallible, the risk of executing the innocent can never be eliminated. Furthermore, the astronomical costs associated with putting a person on death row, including criminal investigations, lengthy trials and appeals, are leading many states to reevaluate and reconsider having this flawed and unjust system on the books.  That's good news for the 8 that rolled inmates from there who will now get life in prison without release. Yet, that sentence is still in the books in 30 states. Taxes continue to execute to more prisoners than any state. 108 people since 2010, Florida executed 28 people, Georgia 26 and Oklahoma 21 in that time frame. According to Amnesty International, the countries where most death penalties take place are China, Saudi Arabia, Iraq and Pakistan respectively. This month, the world was astonished to learn that the Arab and US national journalist Jamal Karhoshi was murdered inside the Saudi Arabian consulate in Istanbul. Right now, in Saudi Arabia, the government is cracking down on dissent by arresting people who speak up against the government, subjecting them to unfair trials, sentencing and long-term sentencing, including death sentence. Journalist Jamal Karhoshi left Saudi Arabia to travel to the US to avoid facing persecution amidst the wave of arrests in the country last year. And last week, he wanted to go to the Saudi Arabian consulate to get his divorce paper walk and never came out. Turkish authorities reported that he was murdered inside the consulate. So we give our shout out to the entire world, especially the US government, to hold Saudi Arabian government accountable. As a government, the US cannot be allies with governments who violate human rights, even if it means that we end up sacrificing money. The US are one of the main gun suppliers of Saudi Arabia. And these guns and munitions are the same ones that killed millions of refugees in Yemen, Syria. We have a moral and ethical obligation to hold human rights valuable before profit. Anyway, today, we are blessed with the presence of Tori Kinoshida and her students, Alakai, Kunehim, Noah Schutz, Daphne Hussain, and another student, Spencer McKinney. Yes. So let's learn about and discuss about cruelty theater and what it does about the student production that they have been walking on as a part of a theater class, a walking shadow. And a walking shadow deals with the tragic travesty of justice involving Myos Fuku Naga case, an 18-year-old Japanese Hawaiian man who was executed in 1928 in Hawaii. On that note, welcome to Perspectives on Global Justice. Thank you for having us. Absolutely. So I'm going to start with you, Tori, who actually is teaching these amazing students and is using cruelty theater as a medium to be able to do your work. So can you talk a little bit more of what cruelty theater means? Oh, theater of cruelty is an Arctodian concept, Antonin Arto, who was a French theatrical genius as it were. And he has a notion of action pushed against all limits. And it's actually a very utopian goal, because the idea is that violence enacted on stage or anything disconcerting possibly that's enacted on stage is ultimately going to purge the audience of those desires. This particular production is more expressionistic and docu-drama, but still that notion remains, I think, as a valuable idea, I think, in education, in theater, in the arts. That's so amazing. And how long have you been an lecturer at Wimbled College? Five years now, I think. Five years we were in London for a bit, and then we moved back, and it's been really wonderful because we're so lucky. Our students here are phenomenal.  They're phenomenal. Yeah, so we're transitioning to talking to our students, so we have Daphne and Noah. So hi. So I'm going to start with Daphne. Daphne, who's saying? So what are you majoring in now at the Wimbled College? Right now I'm working on getting my concentration in theater, which is now what Winnred offers So yeah, that's in the progress, and I'm also taking the 260 class production. And what about you, Noah? So it's... I'm kind of in the same program. We have a focus program that allows us to get an AA with focus in theater. That's what I'm going for now. I'm just picking up my last credits there, and I'm also in the 260. Yeah. That's nice. So I have a question for the two of you, students under, whomever wants to give the answer, fast, go ahead. So when you were first exposed to Fugnaga's case and the idea of coming up with a student production, what was your first reaction? And how much did you know about that penalty and about this case prior to the semester? Well, when Tari first told me about the play that we were doing coming up, it struck me as something that's going to be very hard to put on. It's an expressionist piece, and it's drawing a lot out of us. But it's meant to get the point across that, well, we're trying to give more light to a story that isn't normally talked about. And I'm all about that.  And I think that's amazing to be able to take something and put it into the light and show people that this is a part of our history. This did happen, and it shouldn't just be brushed aside. Right. What about Fugnaga? I actually knew nothing about the case of Miles Fugnaga and how everything went, and it was just an insane amount of injustice, and I am learning more things about it every time we have rehearsal. And it is bringing that awareness to mental illness, because there were very little cures at the time. There was nothing really to help someone who was suffering with it, and I think that's important and I'm very blessed to be a part of this production and to bring that awareness. Right. And so, Friotori, who actually wrote the piece and is now producing, and why did you choose this particular story and theme for this semester? Oh, wow. So this is, even though it's quite unheard of, one of the most famous historic Hawaiian criminal penalty cases. So even though we don't learn about it in school or discuss it too often, it is a seminal case, and there are so many different aspects to it. There's the immigrant experience. There is the idea of poverty and the social hierarchy that still exists and definitely still existed in Hawaii to an extreme extent back in the 1920s.  So there's all these different topics that are important and important for I think our society and definitely from an educational perspective. So I felt like staging it was very important. The hardest thing, oddly, was finding our focus because there's so many different aspects to the story. It's really an unrelenting tragedy.  He was executed even though he was a minor by Hawaii legal standards. He was a minor. He was criminally, I mean, he was mentally, he was mentally, oh, in fact, Daphne, Daphne's character as the sister has a sort of a very important speech about it if you want to maybe share some of those. Yeah, let's talk about your character a little bit and you're a student. So basically, after he was officially convicted, there was only four days before he was sentenced to the death penalty. The jury itself was completely biased. There was only one Japanese American who was an editor of a newspaper that he had already written articles accusing Miles of murdering this boy, Gil Jameson. And so there was just a complete amount of just unfairness in the jury and his defense attorneys did not even try to move the trial so that they could get a fair amount of jury or at least wait a while before the articles went out so that at least new people would come in with a fresh mind. I believe, yeah. So not only there was the injustice of the criminal justice system, but the media at the time to disseminate the information to the public and making up for their mind before really considering all of the investigative work, if any, that really was going on at that time. Oh, yes. The star advertiser at the time called for the quote, formality of the trial. After the formality of the trial, he will get sentenced straight to execution. And by contrast, that same year that Miles Fukunaka was executed for killing Gil Jameson. Three men set a Japanese cab driver on fire and were only sentenced to 20 years imprisonment. And then another Japanese cab driver was bledged in the head with a hammer by a white male and he was only convicted of second degree murder. And then they let him go. So you see the disparity in social injustice in the criminal justice system back then. And I know what about your character in the play? You want to talk a little bit about it? Yeah, my character is Dr. Lockwood Merrick, who was the assistant professor of philosophy at University of Hawaii. And he studied the Fukunaga case as it was happening. And after it, he read letters from Miles and things like that. And he wrote a letter to the governor of the territory of Hawaii at the time, Wallace Farrington, calling for a stay of execution to say that they really hadn't studied his mind enough. They had three doctors look after him in a psychiatric exam that wasn't really a psychiatric exam. It was three doctors who didn't know much about psychiatry sort of giving their best guess. And of course, they were biased. So they didn't do the best job. And he points that out and he points out that he had experience with mental illness and criminally insane people. And he wanted to sort of give Miles a fair shot and to kind of explain why Miles did it and delve into how or what he was thinking. Right. And so, I do have a question for you in the making of this app, like, how much did you have to do in terms of research with actual documents to be able to support the development of each character and give more frame to the story? So after the research, actually, the hardest thing was the fact that it's a class. So I'm also trying to make sure that each student has an equal part because that's one of the things when we're in community college, you know, we take great pride in the fact that it's not like our, in our shows, there's like one star, you know, one star student and then everybody else is in the course. So all nine students in the cast have good sized roles. They all have lots of stuff to do. It's pretty equal. And then, so then that's, and so this is why in the play, all the lines spoken by Miles and these kings of shadows characters who sort of embody his mental illness. Those were all lines or words written or spoken by Miles himself. So I got the research together for that and then I used the other characters to sort of fill in the story. So in that case, there's a lot of summarizing and, you know, it's not quite exact, but everything's Miles, the Miles Fukunaga himself, the character of Miles Fukunaga himself, all the words he speaks are his own. Right. That's really, I mean, how many students total do you have in class for this semester that's covering this? This semester is just 10, actually. It's just 10. I mean, backstage. How amazing. How intimate to be able to go for 10 students. Well, I have to take a minute break, but we'll be right back. Thank you so much for coming here. Thank you for having us. I will be there next week with both of you and the other eight students. Yeah. Hello. My name is Stephanie Mock, and I'm one of three hosts of Think Tech Hawaii's Hawaii Food and Farmer series. Our other hosts are Matt Johnson and Pomai Weigert, and we talk to those who are in the fields and behind the scenes of our local food system. We talk to farmers, chefs, restaurateurs, and more to learn more about what goes into sustainable agriculture here in Hawaii. We are on a Thursdays at 4 p.m., and we hope we'll see you next time. Aloha. My name is Mark Shklav. I am the host of Think Tech Hawaii's Law Across the Sea. Law Across the Sea is on Think Tech Hawaii every other Monday at 11 a.m. Please join me where my guests talk about law topics and ideas and music and Hawaii Ana all across the sea from Hawaii and back again. Aloha. Welcome back to Perspectives on Global Justice Think Tech Hawaii program. This is your host Beatrice Cantelmo. And we are here back with Tori and two new students who joined us for this last segment of our episode. So we have Noa, Kai, I'm sorry, Noa just left, Kai and Spensa. So let me start with you, Spensa. What is your major and what is your role in this play? In this play I'm playing one of the kings of shadows, which is to Alakai's character, Miles, the manifestation of his psychosis. So it's the human embodiment of his mental illness. And I will ask him about that. And Alakai, so you are Miles. Yes, I'm playing Miles Fukunaga in our show. Wow, that is quite an honor and quite a responsibility. So give me a feel of what is it like to play Miles, a character, and as it evolves in your practice, what have changed for you personally in Alakai? So when I was told that I was going to be playing this role, I did some research into the case and into the life of Miles. And it's such a tragic story because growing up, all he wanted to do was study and go to college and go to school, but he was from a very poor and a very large family growing up in Hawaii in the 1920s, where if you weren't white, you really didn't have a word in. And so through playing this character through his life all the way up through his execution, I feel that personally it's been a very gratifying experience. And it's been very fulfilling, I would say, to be able to give a voice to Miles and portray him on stage when he wasn't able to really have his own voice when he was going through his own life when he was alive. Right. May I ask how old are you? I'm 22. You're 22. So you are a little bit older than Miles when he was 18 and this was happening. Were you born and raised here? Yes. I was born and raised on Oahu. I've traveled a few times, but I've never lived anywhere else other than right here in Oahu. So in many ways, I think the rendition of being able to give someone a voice after 90 years of so much injustice is just so amazing. And so there you are. 10 students walking in this amazing play.  So I didn't actually know too much. I've always been personally anti-death penalty. I don't agree with it. But I hadn't done too much extensive research into it before being a part of the show. But I still haven't put in tons of effort globally, per se. But I did a lot of research into how the death penalty was used in Hawaii. And it's really tragic that it was always so skewed towards people of poverty, people who were minorities, people who didn't have as much in life. So it's. Which is very much the body of those who end up in the death row, the poor, the destitute, the mentally ill, the minority groups, the racially and religiously persecuted individuals, not only in the United States but across the globe. So as students, when you think about majoring in arts or doing something with theater, what does you hope really? And as you get out of school and get into everyday world, what would you like to do with these skills to be able to give continuity to what you're starting? Because this is quite a legacy. Yeah, for sure. I want to be a professional actor, but that seems secondary to the goal of what I want to do with my acting skills, which is I want to do any kind of work, whether it's paid or whatever, just to combat injustices, to combat stigmas. What we're doing with this play, commenting mental health stigma, just really trying to remedy some of the world things that happen in the world.  I feel very passionately about a lot of the issues we're talking about in this play, a death penalty in restorative justice, maybe, or moving toward a system where we don't punish people because there's so much wrong that happens in that sense. More towards rehabilitative models as opposed to punitive as we do have it now. What about for you, Alakai? I've always thought that theater and the arts in general are the best way to, like Spencer was saying, get awareness out for different issues and really educate the community and bring people together. And regardless of how I go about it through my acting experience, after I finish my major, I too want to make sure that I can do something more, not just strictly for entertainment, but help raise awareness for different issues, help raise awareness for different problems and injustices in this world. So use it to make the world a better place, as it were. That's really amazing. Your students deserve all A-pluses, see that they're very powerful. Tell her. You see how there is an instructor. Tell me about that. But, you know, so, I mean, like, I think arts have such a special way, and there are so many mediums to be able to convey, messages that a lot of times what we try to do through grassroots organizing, we may not be able to move or reach people, you know, whose hearts.  We're beyond the semester in this class. So, well, a little bird told me that I'm the International Hawaii Chef, and we'll actually join two of your presentations, I think on the 20th of October and on the 26th prior to the play. 21 and 23. Oh, the 24th. Oh, sorry, the 21st of August, I'm the 26th. And so, you know, like, did you even know that there was a, you know, I'm the International Hawaii Chef in Onoahu? Yeah, yeah, I think we knew that. That's neat.  That's really, really neat. And Dori, so, what is your hope as the community is invited to attend, you know, this marvelous student-led production? What do you hope that the viewers and the community in general and say, okay, I'm gonna take one of these days, you know, and come over and watch the play. Oh, goodness, I have quite a few hopes because one, theater is absolutely the most amazing art form. I just have to say that. It is, it is because it's the only art form that uses all the different fine arts. You need to know literature, you need to know music, you need to know movement, you need to know visual composition. And it's also a social art form. It's a social art form, so it can serve its community in such a precise way. Millions of people may see a film and, you know, forget about it, but because fewer people can see a play, it's ultimately always quality over quantity. And so if you really move those fewer people and they remember the lesson forever, because I do, as the students have all said, I definitely agree that artists have a moral responsibility to serve their society. And so with this particular show, because it's our own story, it's a story from Hawaii for this community, the, you know, community living on Oahu. It took place right here in Oahu. I hope there's, the audience leaves with an awareness of the sort of path we've taken and how far we still need to go, how injustice, especially in the death penalty is, as you mentioned, you know, Hawaii is a microcosm for how, you know, the story, Miles Fukunaga's story is a microcosm for how it's used globally. You know, in Hawaii, historically, only one white person was executed before it became legal in 1956. Everybody else was a minority and poor, right? And does that absolutely reflects what is happening globally with it, right? And so an awareness of our own history and also mental illness, raising awareness and sympathy for that as well, as well as sort of agency as one of our themes, both cultural and mental. And so that our stories need to be told that we all need equal representation, basically. And I hope they're not horribly, too horribly, I mean, it's a very sad story. It's a very sad story. We're gonna say something. No, I wasn't gonna say anything. Oh, I have a quick question for you before we wrap up. So, like, you played the voices and the psychosis of Miles.  Oh, my goodness, that's the right question. Awesome, I like it. So actually, so. Yeah, just a second, so to bear that. So actually, no, this play is opening on the four year anniversary of my first hospitalization. Incidentally, I was psychotic and I've been psychotic, so I'm very aware of the challenges that come with representing this type of illness. And so it's something that kind of petrifies me in a way. Actually, I'm very wary of creating a stigmatized representation of this very specific mental illness that Miles has. But I'm hopeful and I trust in Tari's vision that we are creating something that will educate people and enlighten people and help them see what people like me go through, you know? Especially what people like me have gone through historically.  You add different layers like the fact that he's a Japanese-American that just makes his situation that much more difficult in Hawaii at that time, you know? So.  There's the full you.  So, well, I can't believe the 30 minutes have passed.  And I hope our viewers really enjoy the, you know, this beautiful gift and go to Wynwood Community College theater at the opening starts for the play on the 19th. The 19th. Yes. And can you tell us the schedule a little bit? Yes. So we're going to have two weekends of shows, the 19th to the 27th. We have Friday, Saturday, Sunday, the first weekend, and then Wednesday, Thursday, Friday, Saturday, the second weekend. And the 4 p.m., it's 4 p.m. on Wednesday and Sunday and the rest are 7.30 and it's 80 minutes long. So it's a very compact experience. Well, this concludes our episode of our Perspectives in Globe Justice for today. Thank you so much, our viewers, for watching us. And until next time, I hope we hope.


For more videos and people's struggles, please subscribe to our YouTube channel. COVID-19 has been declared a pandemic and continues to spread across the world. As of March 17, it had spread to 152 countries with over 173,000 cases and over 7,000 deaths, according to data put out by the World Health Organization. Countries everywhere are imposing lockdowns, isolating people and taking extensive measures to curb the spread of this virus. In this time of an unprecedented global crisis, the need of the hour is global solidarity and coordination. However, the imperialist bloc led by the United States continues to impose and implement debilitating sanctions on countries such as Iran, Venezuela and Cuba. This is only worsening the global health crisis, as these countries are faced with additional challenges in procuring essential medicines and testing equipment. Even as the world is struggling to contain the virus, the United States announced fresh sanctions on Venezuela on Thursday, March 12. The very next day, the first cases of COVID-19 were detected in the country and today the country has as many as 33 cases. These sanctions have already been announced as a war crime under Geneva conventions as they are resulting in collective punishment of the entire population of the country. At this point in time during the COVID-19 pandemic, the embargo against these countries is not only a war crime but also a crime against humanity as defined by the United Nations International Law Commission. Let's first take a closer look at Iran, the third worst hit country in the world after China and Italy. There have been a total of over 14,990 cases in the country and around 853 deaths. The sanctions against Iran prevented the country from accessing drugs, testing kits and medical equipment required to tackle this pandemic in a timely manner. They directly made the crisis much worse than it might have been. Even before the COVID-19 outbreak, Iran's healthcare system, which is aimed at providing universal healthcare, had been throttled due to the sanctions. The sanctions have made it impossible for Iran to import materials required for producing drugs and equipment. Even humanitarian agencies have found it difficult to provide relief as banks refuse to allow their services to be used for transferring money even for humanitarian reasons. All of this does not just impact the Iranian government, it directly attacks and hurts the Iranian people. Many of these sanctions had been lifted in 2016 when the Iran nuclear deal came into effect. But in 2018, when the US unilaterally withdrew from it, the Trump administration reimposed all sanctions. According to the medical journal The Lancet, almost 6 million patients with non-communicable diseases have not received the treatment services they needed because of sanctions prior to the nuclear deal. The US has repeatedly claimed that it does not use sanctions to hurt people, which is why it provides exceptions. In August 2019, the US government softened its policy on Venezuela and said humanitarian support can't flow into the country. Although in practice, this hardly happened in case of Iran, even this softening did not take place. Right now, it is China and the WHO which came to Iran's rescue and provided the country with the much needed drugs and testing kits, which could help in containing the virus. Venezuela's health system has been crippled with similar sanctions. Due to the sanctions, neither Venezuela nor Iran can easily buy medical supplies, nor can they easily transport it into their countries, nor can they use them in their largely public sector health systems. In particular, the US government made it clear that any business with the public sector of Iran and Venezuela was forbidden. The health infrastructure that provides for the mass of the populations in both Iran and Venezuela is run by the state, which means it faces disproportionate difficulty in accessing equipment and supplies, including test kits and medicines. The National Survey on Living Conditions, an annual survey of living conditions administered by three Venezuelan universities, reported that from 2017 to 2018, a year which saw the intensification of the sanctions, there was a 31% increase in general mortality. This would imply more than 40,000 deaths. The report claims that more than 300,000 people were estimated to be at risk because of lack of access to medicines or treatment. This includes an estimated 80,000 people with HIV who have not had antiretroviral treatment since 2017, 16,000 people who need dialysis, 16,000 people with cancer, and 4 million people with diabetes and hypertension, many of whom cannot obtain insulin or cardiovascular medicine. Venezuela has also been able to prepare in advance to tackle the virus due to its still strong socialist systems in place. The country has been put on a partial lockdown, even here it is Cuban and Chinese assistance along with WHO that is helping the nation where most of the world has failed. These sanctions are also posing a challenge for countries even apart from the ones under sanctions to deal with COVID-19. A Cuban drug known as the interferon alpha 2b is one of the few drugs known to be effective against the virus right now. The drug has managed to effectively cure more than 1500 patients. The medication increases the natural production of interferon in the human body and strengthens the immune system of patients. The sanctions against Cuba would prevent other countries from purchasing this drug, but now the world is being forced to take help from Cuba in defiance of these sanctions. After the effectiveness of the Cuban drug was known and popularized, Cuba has been flooded with purchase orders for interferon alpha 2b from across the globe. Cuba has also provided almost free healthcare services in over 160 countries across the globe. Cuba sends its doctors overseas to work in rural areas that are in dire need of healthcare. The Cuban government uses part of the salaries paid by the host country for investing in Cuba's education and healthcare systems. The administration of U.S. President Donald Trump has intensified attacks on this program as part of the USA's long-term policies of cutting all regional support to Cuba and its economy in their attempt to bring down the revolutionary government in the country. The U.S. has demanded its allies in Latin America to cancel the health cooperation agreements with the socialist country. This has led to the expulsion of Cuban medical staff, including doctors, nurses and technicians from several countries such as Brazil, Colombia, Ecuador and Bolivia, where the right-wing regimes closely aligned with the U.S. are in power. Not only does this hurt the Cuban people, it also hurts those who would have otherwise received free medical care from Cuban healthcare professionals. Despite the U.S. imposed tripling sanctions on these countries, they are still finding ways to work together and assist each other through the current crisis and the many crises they have faced before. They are also aiding the rest of the world in the fight against COVID-19. Cuba and China are not only attending the situation in their countries, but sending medical teams, medicines and doctors to other nations in need. This spirit of internationalism and global solidarity is what is needed to get us through these times.


لقد أردت أحد من my country which is national service I joined as volunteer I'm from presidential guard regiment So I had two course basic how to make search and for the explosion If you ask me the difference it's a lot of different Culture different, the weather different How hard it is here because Santers is the best military in the world And everyone know that Santers really built into me that command posture It taught me really good things How to have command and battle How to give commands and have situation awareness Especially in the attacks and serials that we got It genuinely is amazing I've learnt so much about cultures I've made some really good friends From different countries across the world And we have five international cadets per platoon So there's 15 in the company So it's a really good mix of cultures And abilities and just understanding Different ways of working Different military ways of working is really great


Hello and welcome to this presentation. My name is Badardine and in this video we will learn how to cache the bitmaps stored in SD card. In the first part we saw how to set up the SDMMC peripheral and add FatFS file system to the STM32F746.jfx template. In the second part we saw how to cache the bitmaps stored in the SD card into the SDR. In this part we'll see how to load the binaries and run the demo. Now if I have a look at the map file and the debug and the STM32F746 disco.map If I look at the map file I see that both image background and image 00 are placed under external flash section which starts from address A000000. Now I will proceed to download the binary to my STM32F746 discovery board. Of course now we will download the binaries to the internal flash and the external quad spy flash. So we see here that we programmed the internal flash and then the external flash memory. Queue by the didn't download the binary to this flash section, external flash section. Before I proceed to start the execution I will use the touch gfx environment command line to download the binary to the SD card. I will start touch gfx environment and then change directory to the path of the binary. So the binary or the ELF file is located under touch gfx project STM32F746 SD cache bitmaps STM32Q by D and debug. Next I will extract the images from the ELF file. I will use this non eabi object copy, dump section, external flash section, images.bin that's the name of the target file and then STM32F746 disco.ELF With this command I will dump the external flash section from the ELF file to images.bin. Now if I check the files here, if I go STM32Q by D, debug, I see here that I have a new binary images.bin and this contains all the bitmaps placed at address 0xA000000. Now I will copy images.bin to my SD card, I will place my SD card into SD card reader. I will copy images.bin and then paste it in the removal disk and paste here. Ok, eject. Now I will remove my SD card and place it in the SD card slot in the SDM32F746 discovery board. So connector 3. Now that I have the binary available in the SD card I will start the execution. Here I have my texture mapper animation working fine. Thank you for joining me in this video and we hope that you enjoyed learning how to cache the bitmaps stored in SD card.


How are you? I'm okay. How are you? Pretty good. I just listened to your friend and brother in the faith, Ms. Governor of South Dakota, is now teeing off on your Vietnamese punishing. And I thought you needed a little defense on the floor of the Senate from your friend on the other side. Yeah. Good. So I wondered whether after your session with IQ had anything that I needed at all before I did it. No. He was in hardy agreement with what we were doing and what our policy is out there. He founded it. I didn't tell the press and I don't want to tell them. We talked about the whole 10 to 15 matters. He was very happy and very good frame of mind. But he says that you just can't publish everything that you know. The worst problem we have is not the ambushes, is not the raids, is not the accidents that occur to our own people. Really the worst problem we have is the speeches that are made about negotiation and about pulling out. They use those. The communists take them and put them up in pamphlets and circulate them in newspapers. And they keep all the government fearful. And we have nine changes of government because all of them are afraid we are going to pull out and afraid we are going to negotiate. Now President Eisenhower said this morning that you don't negotiate. Let me get his exact language. I took it down, I think. He said, you don't negotiate until the other side must want to negotiate. That's first. And second, when you're dealing with these people, you must have a self-enforcing treaty that they do not keep their word. So whatever you agree on is of no value because we agreed in 54. And he approved the agreement. He told them he wouldn't join it or sign it. But he agreed with them. But they never did keep it. He had to write Jim a letter and say, I'll give you aid and I'll give you military aid and economic aid and advisory and everything else. He says that we've got to make clear our purpose and that everybody should know that. And that anybody that's got any doubt and wants any further information, that's just newspaper men trying to get you to limit yourself. He says that our purpose is to preserve Southeast Asia. That we know from Munich on that when you give the dictators' feed on raw meat and if they take South Vietnam, they take Thailand, they take Indonesia, they take Burma, they come right on back to the Philippines. He says that he thinks that we ought to, quote, shoot Rooney, unquote. Don't repeat that now. This is confidential. But he thinks that one of the big problems we have is we ought to be spending half a billion dollars on information. That we do not do that anywhere. And that the Russians spend that much in one country. That the communists take our speeches and they quote what Mansfield says or what Church says or what De Gaulle says or what McGovern says and they think that's the government of the United States. He says that he had three methods. One is the voice of America. He would never allow anything to go over except the truth. And that would be our purpose is to preserve Southeast Asia and to stay there and do it. He would not tell them how we're going to do it because he says he wouldn't tell them why he's coming into Normandy. He said he had a very simple instruction from the chief of staff, Marshall. He said, proceed to the European theater, destroy the enemy. And I said that's all he had. He said he had no other instructions or no direction from Washington. I said you got the best man that you got out there and the general good pastor just came back and had briefed him up in New York and stayed with him last night and came down with him this morning. But he said our information service ought to be Voice of America. Then we ought to use free Europe stuff a lot. Then we ought to have a lot of clandestine stuff. So we don't have much clandestine. He said that we must realize that centralization is the refuge of fear and we must not centralize things. We must quit fussing about Taylor and Westmoreland and all these speeches. That Taylor is a great distinguished chairman, joint chiefs, and Westmoreland is the best with God and that when we talk about we've got to do everything here in the Senate of the Congress, that centralization is the refuge of fear. We can't negotiate unless we're strong. He said negotiation means cooperation and you've got to be strong in order to cooperate. That he would beef up, do everything in the world that he could with the information service. He would do everything he could with the CIA to create better morale and if necessary to almost buy it with that government. He says you've got to make these people informed from the Vietnamese better. He's convinced that they must be informed. He said you must push South Vietnamese participation. You've got to put your own boys with them. You've got to put your own planes with them. But he said when they're going to raid, like they went on the other night, which he was very proud of, and good pastor had told him about it, they had 24 planes in it and they destroyed some buildings. He said each one of those men come back and they tell their families about what they did instead of what the Americans did. And that makes them want to fight. They have killed, and this is a record you may want to take. I don't know whether you could use it. I wouldn't get it coming in the president. But 16,000, we've killed 16,000 Vietnamese and we've lost about 7,500. We've killed 16,000 Viet Cong and we've lost about 7,500 Vietnamese this year. It's the last 12 months. 16,000 enemy have been killed and we have lost 7,500 Vietnamese and we've lost between 100 and 200 Americans. That's about what you lost in the airport in Clash, New York the other day. He says that he would continue doing what we're doing. He would make it clear that we're going to stay.  Well, I told him I was making speech today at lunch to the businessman and he went over and had lunch with me, just he and good pastor. And I wrote out a little note and it said this, I should like to end this visit with you whether this is to the businessman or the word on the serious situation Vietnam which I know must be on the mind of each of you. As I have said so many, many times and other presidents ahead of me have said, our purpose, our objective there is clear. I said that's what you got to be positive about. That's what he did when he went to Europe. To destroy the German nation. That purpose and that objective is to join in the defense and the protection of freedom. Purpose is freedom of the brave people who are under attack. That is controlled and that is directed from outside their country. We have no ambition there for ourselves. We seek no dominion. We want no bases. We seek no conquest. We seek no wider war. So that he says, you've got to let the Russians and the Chai comms know that you're not wanting to fight them. You just want to protect these folks that they're in your south Vietnam. But we must all understand that we will persist in the defense of freedom and our continuing actions will be those which are justified and those that are made necessary by the continuing aggression of others. These actions, now here's where we're puzzing, but you know what it means. These actions will be measured. Not get too close to a dangerous thing. And fitting. Meaning adequate and sufficient and adequate. Then Eisenhower says, that's perfect statement. I was making it. He didn't sign it. I didn't ask him to. It's my speech, but he just said that's perfect. But I'd add one sentence. I said, what's that? This is the one he added. Our stamina and the stamina of the American people is equal to this task. Now, he said it may take a long time. He said it has taken a long time. The French were in there a long time. He said they had a long time in Europe. He said they'd been negotiating a year, I mean in Korea. He said they'd been negotiating a year and a half before he came in. He got into all of that. He was very talkative today. And very happy and looked real young and pleased. He liked what I said on the balance of payments. He liked the budget under a hundred billion. And he liked what Bob Anderson had told him. And he was in a good humor. But he said when he came in as president they'd been negotiating in Korea for a year and a half. But we had agreed there that we wouldn't cross a certain area. And we had agreed there that we would use only a small type of weapon. And he said that they knew that if we didn't go across a certain area and if we would only use a small type of weapon that we never could have any settlement because we tied in hands. So he said the first thing he did was call up Nehru because he knew Nehru was a leak. And he told Nehru that he was willing to have a settlement. But that if they didn't settle that he wasn't going to be bound by any Sankt, what do you call them? Sankt any off guard places. None of them would be off limits to him. He'd bomb anything. He wasn't going to be bound by any sacred territory. Sanctuary. That's right. He wasn't going to be bound by any sanctuary. Number one. And he was not going to be bound by any weapons. He said we made a hell of a lot of weapons. We had a lot of money on them.  Don't ever use them if we have to. He said he'd ever intended to do anything except let that get back to him. And he said it did get back to him. And he said that then they came in wanting to negotiate with him. And he said right at the crucial time old man Ray turned loose 24,000 of their prisoners which he was going to trade them, which was very helpful. He went down there, busted up the thing, but said they were so anxious after they heard that he was going to go anywhere and do anything. And that no telling what this crazy general would do with these weapons he had because he knew Nehru had sent old Christian men in, right quick to report it. That they came in and signed up in Korea. Now he said you can't do that. He's just caught a quick talking about negotiating and about sitting down and talking. He says China doesn't belong to the United Nations. North Vietnam doesn't belong to the United Nations. And we've tried to get them to come in there and they won't do it. And the United Nations got no troops and nobody go out there and patrol it.  But they won't do that. They want to spread the revolution and that's their theory. So he says don't get yourself bound by saying I will not use a bomber. He said you don't have to say what the go water says and I would burn up the country. So what we have done, our way of saying that we intend to have continuing actions is this. But we must all understand that we will persist in the defense of freedom. And our continuing actions will be measured and fitting and adequate. And that means we're not going to be fools. The women have some talk and gush. They have what we have there tonight. But we've got our people killed. Keep one in God. They made one in Laos 62. They're not keeping it. They made one out there 54. They're not keeping it. They're not keeping it. They're not keeping it. Why do you think it's dead? Why do you think it's dead? Why do you think it's dead?


One fear that a lot of people have about immigration is that the immigrants or their dissidents will vote for bad public policies that destroy prior property rights, that limit capitalism and free markets, and as a result, kill the goose that lays the golden egg. Kill American economic growth in the future by ruining our institutions. Now, there's a lot of reasons why I don't think this criticism holds up. First of all, the political opinions of immigrants do not differ that much from native-born Americans. Sure, they may support the Democratic Party by wider margins, but their opinions on things like welfare, on the proper size of government, on tax rates, very slightly compared to that of native-born Americans who have been here longer, and over time their opinions converge with them. So there's not too much of a worry that immigrants are going to change our voting behavior going forward enough to substantially destroy free markets in the United States even more. What we also do is take a look at the impact of stocks of immigrants in the past on America's economic freedom score in the future. And what we've found is that there is actually a positive association between stocks of immigrants in the past, their size, and the economic freedom score in the future. So it might actually be that increases in immigration in the past lead to more economic freedom in the future, in which case not opening up immigration could lead to worse economic institutions in the future.