Oh hi! I didn't see you there. I was just working. Yeah, this is how working as a youtuber looks like. So I was checking a few comments and I noticed that in my whimsical video I have a lot of comments. Three comments. Yes, a lot. Saying that I could be on a Spotify. And then I asked myself, do you want to be on a Spotify?  Why should I? Why would you even ask something like that? Wait, I'm sorry. Let me question things. Let me ask you things. Well, you shouldn't ask those things. You should know what you want. No I shouldn't know what I want. Life is all about possibilities.  And then I just stopped talking to myself because it was not a very constructive thing to do. So how am I supposed to be on Spotify if I procrastinate 90% of my life? So instead of doing something about it, I have decided only go to a Genie to ask for a wish, to ask the Genie to be on Spotify. That would make it much easier. Let's hope. Okay, come with me. Let's see what happens. Hi, am I interrupting? Hi. Thank you for using a lot of battle services. For making your dreams come true. I'm Patricia, right? I'm Antonietta. How can I help you? Okay, Antonietta. That was rude. Let people finish talking. I'm sorry. Okay. Do I know you? Yeah, I was here a few months ago. Alright, the girl who couldn't ask for a new wish. Do you know how to speak now, honey? Yes, I want Whimsical to be on a Spotify. Alright, she wants Whimsical on a Spotify, everyone. What is Whimsical? Give me a context? It is a song I wrote.  Who's being rude now? Alright. Look, because I'm clearly a genius, I'm gonna link your wish to the wish a guy made a few years ago. He asked for more wishes.  Kinda weird, special.  I TPP. I don't pee. I drink tea. I NTP. Yeah, that. I'm gonna give him a call. He's technically forced to do this because of the wish he asked for. I love my job. It's gonna take a while. Okay. Couldn't you just text him? What do you need? Why is everyone so rude today? I'm not rude. It's like you're always calling if you need something, like a wish. Don't blame me for that. You were the one who asked for more wishes a year ago. I'm just following the guidelines of the company. You're laughing now, but I'm sort of a genie myself and already found some loopholes in your company guidelines. So one of these days, one of your requests will backfire. Stop crying gravity. I will give you a solution while we eat. What is that? What are you doing? I'm obviously talking on the phone with you right now. No, not you. The girl who's asking for a wish.  What's your name honey? Lily. Lily. Like the YouTuber. Are you the YouTuber? Yes. Yeah. I'm not an owl. So what is her wish then? She wants her song on Spotify. Hold on. Why are you asking for something you could do yourself? I have a hard time getting things done. You got that? All right. I'll do it. Great. Thank you. Can this conversation be over now? Yeah. Cool. Bye. Look at me getting things done at work like a business woman. I definitely need a promotion. Bye. Why does she always look like that? So this is where it all starts. I have no idea where. Introducing the plan. What's the plan now? This video is probably going to be a mess. I have my wish now. What do I do now? I guess I could record my singing, right? I will record my singing because I recorded it once for my previous YouTube video, but I deleted it because I do those kind of things. Those self sabotage things. I will record my singing, but in order to do that I have to take care of some things. I have to somehow treat the sound so it sounds more professional, right? Okay. I can think about something. Hello. I need to send full tracks of my voice and I have towels in there, towels in there and my cat and I'm going to use them as acoustic treatment. I'm going to make a box with towel walls and I'm going to put my microphone inside the box so I can record myself with no background noise because I have a lot of background noise, especially coming from my computer and the street and everything. So I will try to show you as much as possible. Bye. So I am trying to make like square things of towel and I'm sticking them with this to put them inside there, in there. I mean using a box to, I don't know, I'm not sure what I'm doing. Maybe my cat knows more. He's also helping to see what's the best option, right? Of course you are. Okay, so now I am making layers of towels and I have so far three walls ready for the inside of the box. This is the fourth one and then I'm gonna have to make the fifth one and there I'm gonna be ready to rock and roll. And I have such a mess in the background. I told my mom that I needed to make acoustic treatment to record the song properly, like without background noise. So she told me like why don't you ask our neighbor to help you record this? He has waterproof soundproof walls. He will ask for money because that's what he does. He provides the space for you to record and I was like mom do you really think I'm gonna ask for help? No, I don't need help especially if I it's not even help, it's like a service. Honestly I prefer to have this myself and to have the freedom of recording in my own room the way I want it, the time I want it and not feeling pressure, not feeling the pressure of someone that is not just gonna ask for money afterwards but they're gonna be there watching you do something and I don't need that. I don't trust him. Okay, he finished. So that one and that one go here and here while the blue ones are in the bottom and there and in there. No worries. You don't need nobody in your life. You don't need your neighbors to help you even if it's not help but a service. You don't need service from nobody because you're an independent woman. That's everything I need except for this part that it's like no I have to fix that. So this is my box and if we put in here I sound different. That's how you look from the inside if you're inside the box. Yeah, I'm pretty how it would hold this turn out. I actually show this I'm not sponsored by this brand. I don't know if you didn't think I was sponsored. So now that we have the box ready we record the voice. But don't live a mess with the costume. I quickly noticed when something's out of place. You want to solve an issue stop crying, gravity issue. I will give you a solution while we ate tiramisu. I like to do things in a systematic order. So before we start telling me you have sleeping disorders. I'm not that serious don't get me wrong. I have a sense of humor when I get along. I remember you. Okay, so it is recorded. Besides recording the main voice I decided to add a voice that says pretty you know 10 out of 10 visuals pretty. That's it. I'm gonna show you how I send them. I guess it's that exciting. What I have to send are the main voice, the same main voice after second voice, third voice and background noise. So I have two main voices because it depends on what sounds better for the song. So yeah they have something to choose from. But I think main voice after is way cooler. So now all I have to do is send that. Welcome behind the scenes of the production. This song deserved a custom made instrumental track. So the first thing I did was to transcribe the verse chorus order of Lily's vocal arrangement. I asked my friend Paul to record new drums for us. Drums that would better emphasize the structure of the song. Although he nailed that on the first try I still asked him to make a second version with more of his own personality and a few crazy breaks. And that's the version we ended up using. The original instrumental was written in Dorian. That's a version of the minor scale with more optimism. It's playful and confident without sounding naive. This fit the lyrics really well. So I definitely wanted to keep that. I experimented on my Fender Roads electric piano until I found a good set of chords that worked. I also found a really unusual progression that I liked and that I wanted to use as a break and to lead from one part into the next. I have a rack mount version of the original Minimoog and I used that for the bass. To make it fat and even I ran it through a tube preamp and an optical compressor with extreme settings. I added two pads. A very textured one with a 70 string machine emulator called Streichfett and a more clean and melancholic one with a massive software synth. Most tracks got subtle distortion for texture and overtones and rework for depth. Using EQs and compressors I placed everything into its respective pockets in the mix alongside the vocals from Lily and the percussion loops I got from Tobias. The last step was sending the mix to a mastering studio to give it the final coating and make sure it sounds right on all listening devices and not just mine. And when I got it back, Wimsicle was ready to be shared with the world. You guys have the same expression that I have after watching that video. That was incredible. Okay, so now I'm no longer storyteller Lily, I'm just Lily. So I'm like in this serious mood but chill. After all this, my song Wimsicle will be released on Spotify on August 25th. I'm very excited. I just don't know how to show it. I don't know how to express excitement. But thank you so much for following this process. And it was not just about recording but we also worked on pictures. On the Spotify canvas, on the song picture, on the album picture. So those pictures will also be released on the 25th. Six days from now on. Unless you don't watch this video today. Or unless I don't upload it today. You just do the math. Thank you so much to Winnie and Paul and Tobias for participating in this video. You guys are amazing actors and musicians and cameramen and apparently documentary producers. Thank you for watching and I hope you are there for this Spotify release. And now I will finish this video as a professional YouTuber. And I have to turn it off with the same hands. I ruined the magic. I'm sorry. There is a man outside of my house working. So this is embarrassing. But not that embarrassing because I have to work doing this. Okay? This is my job. Patience, Phillips. When are you here? When did you get here? Don't blame me for that. You were the one who asked for more wishes a year ago. You know what? My heart started beating so fast because I really thought I called someone by accident. Oh my god. That is a nightmare. Okay, I'm gonna keep working. Don't blame me for that. You were the one who asked for more wishes a year ago.


But on now though with the action our main match is the fourth division game between Bradford City and Bournemouth Bradford's third in the table Bournemouth force the cameras of Yorkshire television. We're at Valley Parade the commentator is John Helm The biggest day in Bradford City's recent history They know that just one point today will be enough to take them up to the third division after four years in the fall Commentator Huh? Commentator John Helm Yeah, I saw him by the way John Helm He was at the game, wasn't he? Yeah, he was at the game Yeah, I saw him, I saw him regular job He goes back, haven't you? Yeah, does he? He goes 12, doesn't he? Yeah, he goes 12 He goes 12 He goes 12 He goes 12 He goes 12 I don't know Let's see One sub then One sub Dave Stanefuss The best champion The best champion I was in I was in I was in I was in I was in You see what I got? I was in Yeah, see what I'd have ordered It's where golf's down I'd have kept Say what, some after all that, Joe? Can we see that? Are you going to edit that out? Frank Cannon Yeah, yeah, yeah, yeah Call it You should have trained him as now He sold cars, didn't he? Or in blackboards Yeah, yeah, he did He did, yeah He did Look at him He's a spatman I don't know if I can recognize that That's a spatman He's only 19 there There you go, keep up How old were you when you met your debut, Jackal? It looks a bit I'm not sure 16 14 16 I was in first team then, weren't I? Yeah, you were in first team You were in first team Did you meet yours before I met Jackal? I mean, I know you were younger I'd been mine at 16 Yeah 16 How many days? I was a count member But I was 16 You met Plymouth before me Plymouth Plymouth away Plymouth away Lost 6-0 Never played again Great performance 6-0 I'm under eye impression That is some experience in making your debut I remember mine was against Chesterfield travelling on the board What year were that, mate?  Yeah I don't want you to be away 3-1 We've got points You're looking now at that You know, Kicks We had them kicked off season, didn't we? Yeah Kicks If we ripped it off Shorts or anything They got down Mary Mary We were away Kicks down at the bottom We were away Kicks What about away Kicks, then? What would that be? Our away Kicks then Were we still playing in that strike? Sure You know, you've played on, actually But not in that strike Can you remember when we had Lily White over the top there? Lily White I remember that Of course I never forget it I wasn't running out with Lily White All over my deck I remember Toy City as well Yeah I think that might have been What were you there, I think Toy City Do you remember when we first got Sponsored Boots? Stylos Stylos, yeah After it rained They were like It was like a banana, wasn't it? The banana was good You know what I'm thinking I'm there, the pigs don't look too bad, does it? Not You know what I mean? The last game of season, yeah Remember, we had a We had a Chitty to go down To Carter's to get the boots Yeah So then What was it? What was it? What was it? But one of the lads got these Really brightly coloured boots And Bobby Kennedy Get them Blah, blah I remember me You only got one pair of boots One of the only two pair of boots to see If you were black If you were black So this was on TV, weren't it?  It was Joe, me, though I was best looking on me there Oh, it must be me Any lessons? Has anybody seen him In a ramp spot? No Have you seen him on TV? No I've seen him for years For years Who's he calling my dad? No, so I like it We were on there in 2017 That time Yeah, we were kids Joe, you should have stopped buying that What are you doing there, Joe? What are you doing there, Joe? Yeah Just hold that one What's he... Is that your fault, Joe? He was I know What a kidding, Joe Hello What was the important thing? What was the important thing? Could we afford to draw this? Yeah We could afford to draw a coin We just needed a coin Did they go up as well, Bournemouth at that time? I think they did, man I think they did, you know Yeah, I think they did go up as well He's got the control in his legs Bournemouth goalkeeper Ian Lee, I played out with him in Malta Did you? That's the last time I saw him, yeah I got in Malta a lot I love Malta, it's great, isn't it? Yeah, it's great Yeah, go there England played England played there How are you? How are we doing that, Rick? How are we doing that? How are we doing that? How are we doing that? How are we doing that? How are we doing that? I hated it There you go, we're excellent I went there for about three and a half years I went back to lockdown But Buzz, Buzz You should have played there, yeah I'll tell you what, then free kick You're the first one I knew Whenever we got a free kick there was a 50-50 chance of a score Yeah, it's good Honestly Yeah, you were brilliant with free kick Crazy, wasn't it? Did you have that confidence? Did you know that you were on the score? Yeah, I always thought I would I thought you were training No, no, no If it had been now, you'd have been That's it, oh I would have gone to your home I remember we went to Sheffield United and we were losing 1-0 And that's the first time I got caught Cam and McNivin playing up from And 26, 30,000 I don't know how many were there Bram all in And we were losing 1-0 Got a penalty And I thought, Campbell will take this I don't have no chance You should have given it Anyway, Campbell shouted me Gallagher, Gallagher! I thought, what were you taking about here? What were you going to do? When we used to do a shooting game When Matt Lennon signed after you He was sent a fold He went, last pick, can you shoot him? Yeah Oh, Matt Lennon Yeah, I didn't say much, did I?  Did you use the practice card there? Can't go We never practiced anything in the game I know, we were saying that Yeah, unbelievable You know, some of the training sessions We never did anything Just have a side, have a side Have a run with this Have a side There were champions to take us through Over at Water in Kerala We did, didn't we? We didn't do any set pieces or anything What about when Bobby Campbell Used to take us on the ring So, how's it gone from that? Through the gaffer's car door Out on the side I thought it was 2-1 or 1-8, not 1-8 Yeah, it was 2-1 Yeah, I'm thinking it was 1-1 2-2 Because I think they're going front again That's a really good goal Yeah, it was Look at how he positions himself there Yeah, opens his body at the end There's me Come on there Yeah, you come on Yeah, come on, yeah Mick Diney, Mick Jones Yeah, Jones is dead as well I'm Billy, Billy Ingham Billy's died as well Yeah, Billy's dead Remember that goal, Billy's got that knowledge Yes, unbelievable Billy Ingham Yeah, we're a nice guy, aren't we? That's still poor animal That's nasty, that, isn't it?  Yeah The tackles they used to go on then used to be playing now Easy But some injuries I used to play with But I used to be in the first team to pick up my appearance money and pick up my bonuses to pay me more because you had to do Swapping up and getting on And remember, I had my teeth all smashed out and following week I played at York 20 stitches in my mouth but I had to play five days later to give me money, yeah But if you watch the style of play now as well See how we're playing there, right? Everything was long ball, weren't they? Well, you look at keepers now Keepers like midfield players, aren't they? This game, it's a death this some of these If they could play football they'd be out They'd be outfield players, wouldn't they? But some of them think they can play If we look at the style of everything's long It doesn't look right to say It's just a bit bob When you left, what was your first move, Joe? A piece with Peter Brown It's a piece of it, isn't it? Then we got you back No, no, no, I went to Peter Brown in Oxford You came on loan first, didn't you? Well, I went to Oxford I went to Oxford for the first three years What basically were you at, Joe? See, T, I've got to say, haven't I? No, honestly No, no, no, I mean, as a family unit, yeah That's T, because... Because I were there? No, because... Because you made it worse to live so it's kind of an inspiration Yeah, he did as well, he used to come to get some food That's why he used to come and get No, but everybody was local Whereas the other teams Everybody came from everywhere Over the place What's that? Oh, yeah Remember when we went on that course at Oxford today, yeah How we were in the pubs How to be in the pub I can't remember The last ten of us went just for this about Remember that, Joe? What's happening there? Joe? No Remember when you went to Rocksdale? You moved to Rocksdale, didn't you? I went to watch I went to Rocksdale I went to see a friend The announcement Number nine, Joe Cooke Never lived it down with me Joe Cooke Your name, Ches, you didn't spell it Like that Well, that's how they speak in Lancashire, isn't it? Joe Cooke Who's that you, man? Yeah, yeah, yeah Culture, history, the club My god She's speaking well, isn't she? It's possible Where did you... I went to Halifax And then Neil Warner called me To go to Scarborough Oh, how funny was he? He says to me on the phone, I was on holiday, he says I've just taken over a club called Scarborough He said I've got a great team together All I need is a captain, a fullback And a coach I said, Neil, I've retired Don't retire Come and see me So I went to see him And he got me on his couch He started peeling my toenail And he says, you've got ingrowing toenails What is it? And he says, if you sign for me You'll never have ingrowing toenails again That was in his NT I went to Scarborough as well You were there, weren't you? I was his assistant That's what he does Great manager We got promotion that year Yeah, that's when I went tomorrow That's when I got full off tomorrow Did you have to be in there? Yeah, I went straight away Is there at least the same as ours? Is it the same season as here? Pretty much, yeah 10 days Yeah, it's pretty much The letter, isn't it? The letter, the captain The letter is here It's been there a few years, wasn't it? About three and a half, four years Paul Mariner came out there Paul Mariner came out there Legendary model John Barnes, he went out there He was all John Barnes What's this throw again? Look at that, it's hardly any I don't know What's this launch? It's ridiculously long, isn't it? Bob Scott said it Yeah, it does Do we score from one of these? No, I don't think it was a long kick It was a long kick And you helped it on there Yeah, I think that's right Yeah, because I went up front That's him Peter Parker He's not a city now, is he? No, I don't know I went up on a big trophy I saw him on a pitch A few years ago I saw him down in Rootsfield Six months ago I've never seen water What did he used to do? He did He still got shot down Roads He did all of my plays Yeah, he did all of my plays Everyone changed But he's like I saw him here about a month ago With his new gulf and his waft I didn't know I would have raced with it I would have raced with it I would have raced with it He used to go with water He used to go golfing with water Yeah, he used to go golfing with water I should have done better He's a little flake He's not what he's left for There you go, Seth Yeah, pitch is nice, isn't it? Looks all right Yeah It's tragic, isn't it? What a player though Do you know what it's really good at? It's movement off the wall It's triggered It's so many through balls off you He could hold it over He just used to say Nobody's getting past that Nobody did How many games have you played for Bradford? I have no idea No idea Yeah, that's the moment you come to me Is that you, Barry? What happened to your post? Crossbar What effort, though? Who was that? That was a brilliant free kick Was it you, Barry? Of course Outstanding, that's hard What's your point? How it works? They did Where? We'll play To be honest, I should have really done That was nice I have no idea I should have I don't remember I should have I mean, I like Brian Mega, get off your phone To answer These youngsters know Ciro does my editing Look what Oh, Cess Do you see the way he did there? He laid What were you doing then? He'd been sitting up for that Tackling He was a good looking man What are you thinking about? What It's the haste The photo Look at your That colour When you were young Same colour Same colour as it was Here's the guy You brought that with you? Even the brunt of it Where's Dez?  I'm going to try Joe Cook What's going on? Our hero Mega You went on a Mercedes I think so, yeah I remember watching it I remember watching it, yeah, yeah He didn't know what to do with it See, see, I'm going to tell you something about you now, Mega You probably didn't even realise Every time we got you 1v1 Almost guaranteed that You're going to go past him It's to try and do it Every time I got the balls, I forget it Mega 1v1 against his full back And we bobby making them runs You know it was coming in because you were going to beat him There he goes, look Mega watches Why do we call you Mega? Silly me, don't make us laugh I was chatting with Mega I remember on Beach, I remember on Mega Love Obviously easy When you're doing all sorts of fun Well met you Well met you Yeah Long throw Joe Oh, you've got a mention man I was going to say that Next It was great having him behind You didn't have to run back When I was deceptive I always got past me But they didn't get past them Which was great Again, this particular season When Roy arrived as manager That season I was in and out of the side Really, because he used to play Me and Joe used to play Yeah, then Joe and Robin I finally used to play So when he didn't fancy it I used to play But he was some player Even him He really was one of the managers I remember doing coaching I think you learnt a lot from him Yeah, he is Playing with him On the left foot Mick Jones was a good coach Yeah, both of them I probably learnt more that season Than I did in previous four or five Exactly Just by playing with him Positioning Talking Because his start position Was faultless He always knew where the ball was coming next And how he was going to close down Space and stuff And he'd be talking to you all time Almost finished This is it, innit? No, it's from a goal kick I'm sure it's from a goal kick Joe flicks it off Joe flicks it off It comes first Cam just sticks it first half It flies it This is it Speaking Big Joe now heads it off First time now What a celebration What a celebration I'm cheating I remember this It's the most unattractive celebration I've ever seen He didn't go sliding on his knees He's got them I didn't show it It's a great goal, innit? Everything's one touch here One touch flick, one touch strike Bang, go Keep shooting He'll look at that We both went up Do you know what I remember most about playing against Bournemouth? The trip home after How funny was that? When did you get tied up on? That was Ipswich I'm not going to mention it I was telling Bobby out of my car I was telling Bobby out of my car I remember David Mark and come back I remember David Mark and come back I was trying to wonder Who would sit down On your necks Mega, mega, amazing Nice finish That was fun I tried to feel you Honestly, I was trying to He used to do microwave oven He got microwave oven in back at Buster, didn't he? Roy Brownsman Roy Wyatt He's tired, isn't he? He's quite young, isn't he? Yeah Glad to hear about it When he passed away with Grausman Yeah He used to make his divot pick I remember that We used to play all sorts of games I remember throwing it on to Lyon Near East at Lyon We used to throw up Falk Near East at Lyon Got the Grauschains up Right of it Prentices don't do that nowadays Prentices now Don't do all of them I was at Lincoln's I said to one of the kids Can you go and try and go over there We're not allowed to do that now I've been safe there Crackers, isn't it? Absolutely Yes, yes We haven't seen each other for how long I don't know how to say something 30 years, 40 years We haven't seen each other We haven't seen each other all the way We've seen each other quite a bit But haven't seen each other successful For years and years and years Three years ago But we've made no part with Cess Definitely I'd better ring you up with you It's false It's false Right, what are we doing now I was going to film that Brought back some memories


Hey everyone welcome back to figure fantasy so today we're going over Lubu's build and strategy let's start off with his skills. I think Lubu is one of the most underrated figures that I have you know I have ever seen. There's a lot to this guy in terms of what he can do so without further ado let's start with his basic attacks so attacks an enemy from the first enemy in the same line so his attack is attack speed is fast his upgrade effect from level one grants a 30% chance of dealing extra damage this will be adjusted by Lubu's accuracy bonus so make sure that you have at least substats that give him accuracy bonus so level three also has a chance to restore five energy so that is what this is what I like about him he does a he does a lot of fast attacks high damage and also he pushes himself to do a lot more often his ultimate attack so let's take a look at his ultimate. Heather Halberd initial energy is 20 attacks the target and its surrounding enemies energy regenerate is at six per second upgrade effect of this ultimate is boost all damage by 20% also boosts attack speed by 10% for five seconds for each enemy hit so stacking up two three times okay so what this does is when you hit a single unit the surrounding adjacent also get hit so for each enemy hit the stack piles up so it's going to be up to three here so 10% I'm still just 30% but at level three you're gonna go up at 60% so the same the rest are the same 2020 only the stack difference is going to be the difference from level two to three so attack speed definitely gonna be maximized for this guy for his basic attack and every time an ally initials the ultimate deals damage to all enemies this is also one of the things that I think he really is sometimes missed does a lot of AoE damage not only for his basic but also for his ultimate and also for his passive which is Tiger's Valor upgrade effect restores five energy when the effect is triggered and at level three also triggers when figuring unleashes the ultimate restores five energy for itself and attacker so this he also functions as an energy battery in a ways so again very underrated figure I do hope you guys try to use him in the future then for his special skill Mighty General boost damage by 15% when there is no surrounding enemies this is usually the usual default for all militarists upgrade effect level two boost basic attack power by 10% at attack by five and at level three boost damage by 25% when there is no surrounding enemy so again a very fast paced attacker which has a good complement of ultimate which gives you know which supports his basic attack it also does AoE and you know everything this if you haven't understood what Lubu does I hope now you know what he can do okay so as far as his strengths and weaknesses are concerned so of course he has attack his attack should be at S his health is already good at A but his health is really is his weakness he doesn't have self regen he relies on other healers to give him health so as much as possible please do put extra extra health to this guy so let's go to his gear okay so far for the recommended gear so far these are it so my recommendation is still attack speed give him more attack speed over attack at first my first build with Lubu was built on attacks or attack is also a four piece attack set but I replaced it with attack speed and also you will have to put him on this one so we have to put basic attack power plus 18 this is going to be your skill set and take note guys substats ideally would be if you if you enhance a specific gear or yeah if you enhance a specific gear ideally you should get accuracy or HP for these so if you don't want to use the skill set you might want to opt for an HP set for him just remember I suggested that you increase his HP but again I'm going all out with damage for this guy definitely he has a lot of firepower within his kit alone so for his badge this is the only badge that is recommended for him azure realm so with restores health equal to 188 percent so this is the only way he can gain HP attack restores health equal to 188 percent attack and boost attack speed again by 10 percent for 28 seconds after unleashing the ultimate so this is the only way again that he can regain health for himself he usually relies on healers to do that for him the other options that you can get to you if you don't have that set is also this one this one has a purple variation so accuracy bonus for him and also this one boost all damage by 5 percent so those I think are the best if you don't have um eternal phantom badge then definitely you go with these other badges okay guys so definitely for his team comp he will be better off with galatea galatea needs a real really a little more love in terms of additional figures but but what I will say with lubu is he can be you know he can be brought with any team is very versatile he doesn't need a specific synergy with galatea itself but just in case if you want synergy this is going to be your synergy so you're gonna be bringing zhaoyun definitely these two are going to be your your damage dealers for um galatea so they're they're they're your one and two punch that is why they're here for me definitely you should bring erixia to the team and also you should bring this guy zhaoyu okay your compliment would be zhuliang for that team that I just mentioned okay so as far as uh content goes uh ideally he is going to be excelling here and code v and also excelling here as well in as a zeal but I'm going to show you guys a match for the big three also the big three does need him he deals a lot of damage um really really good in terms of um compensating for the lack of defense for this team so let's uh do 28th floor of galatea for the big three okay so far this is the lineup that I did um ideally for this lineup you should place lubu here because this is a special zone so increases basic attack power and attack speed by 35 percent until it leaves the zone and also zhao you should attack towards here the reason why I put these guys on the side because these two need to go these two these two may gain girl have to go while you're attacking this boss um so far I think this team is performing well especially that you have zhuliang here and you have uh erixia in this team and also this guy up here will be providing you with your heal so let's check this out and see how it goes okay so this is the first time that I brought a team for galatea which I don't have yuki at this point I don't want to bring her because at this point as you're going up you uh she's she's becoming a liability because she can't be leveled up beyond 160 so so far so good for this lineup I'm actually surviving with the help of erixia with the help of zhao yun up there for the healer so far um done with the first girl down below so we only have one left that is why they're there because their their task is to take that girl out with basic attack so far life or hp is holding up hopefully I'm not speaking too soon um so far so good so far so good I am at times two hopefully we can clear this round with everybody intact so down to times one or yeah x1 then we're down to four and nearing the end for this boss so far so good a good run for this team lubu actually helped a lot in terms of the damage there again both zhao yu and lubu will be your heavy dps for galatea so anyway guys that is my um guide for lubu hopefully you you know you you took you were able to take something away from this guide and guys don't forget to subscribe to my channel because this helps me a lot thank you guys take care stay safe this is the warden and I'm out of here


Hi, in this video, we're going to look at how we begin editing a podcast. Now, we're going to use the logics in this podcast. This is a Mac application. Maybe you're using Audacity for PC or maybe you're using GarageBand. In any case, it all works about the same, but this is the system I use. So this is what I'm going to show you on, knowing that you might have to make some allowances based upon what you're doing. The first thing we need to do is we need to get our audio files. Now, you should have recorded using Zoom and you should have saved your recordings in the cloud, not locally. So what you need to do first is log on to Zoom, and that's uhd.zoom.us. And then you'll find your Zoom account and then you'll log into your Zoom account. Once you're in there, click on the recordings link on the left hand side of the menu. And then you're going to find the session that you recorded that you want to use the audio files from. So in this case, we're going to use 19th century gun laws. And this is TTH Talking Texas History. And we recorded this on February 29th of 2024. So I'm going to click on that link and then I'm going to go down and find the audio files for each participant. Now, what Zoom does is it records all of the audio files on separate tracks. That's very helpful. If your some person coughs, you can edit that cough out. If somebody gets up to go somewhere else and there's noise in the background, you can edit all that out if you have the different tracks. And I'll show you a little bit of that as we get into the video itself of how I edit. So once I select each individual audio file, I'll get, in this case, three files. My co-host Scott Sosby and then our guest Brennan Rivas. And so I'm going to download those. What you'll see is that in each of the files, there are three options. You can download it or create a link or trash it. So I'm going to download each of these files and you'll see that it's saving them.  So let me open up Logix. What I'm going to do here is go to the last tab that I ordered. Now, if you're using Audacity, if you're using Audition, or if you're using GarageBand, for example, these are other software types that are available for you and they're very good for editing. You can do it in this. I just choose Logix Pro because I have a Mac. And GarageBand is also the free Mac software, but I have this as an updated version. So I'm going to open this project, which is already existing, because I'm going to add some other things into the program. So first of all, I'm going to choose this. I'm going to skip it's going to open up a blank version. Well, actually, this is a populated version. So what I want to do is show you how I do this. Let me zoom this down so you can see the shows are about 30 minutes. Give or take a few minutes. I have some intro material up here. I have an intro material up here. And then I have a music bid at the beginning and then at the end. And in between here are three different files. So I'm going to highlight these because I'm going to delete these. And what I'm going to do is I'm going to import the first one was Brennan. So I'm going to change the name on the screen. And then I'm going to import her file. And this is going to take a little bit of time to translate it from one format to another. So I've got Scott on there. I've got myself and I've got Brennan. So what we're going to do now is I'm going to this is the beauty of the digital. Expand this screen out because this is what I want to focus on. I don't want too many windows open because that's going to impinge upon my computer's performance. But what I do want to do is I want to line these up so I know that they're accurate. So what I'm going to do is I'm just going to expand this as much as I can. And what we're going to see here is that although if you do a close up, it looks like I had set them all very close together. If we do a zoom in, a real deep zoom in, we're going to find out that what happened is that they're not really nested up together. So I want to line them up so that they are as close to being accurate as and on the mark with one another as I can. And you're not going to have any. Noticeable difference now. In the synchronization of these three together. So now what you can do is you can see. That there is the given take, the conversation is much more aligned as it really was when we were doing it. So what I'm going to do now is go to the beginning of our recorded interview. I put a three, two, one countdown so I know where we start and I know where I'm going to cut. I don't really want anything before that. So I'm going to delete that. So here's. All right, you guys ready? So I'm about to start the actual show. So I'm going to find out where that three, two, one is. And I'm going to cut it there. I mean, all right, three, two, one. Now you heard me start a little bit.  There's the three, two, one, one. And I'm going to cut it right here. What I'm highlighting is what I'm going to do an action on. And in this case, I'm going to delete them. So I'm deleting that. Again, I have these somewhat lined up. I'm going to scrunch down so I can move this over to where the music begins because I want this to come in over the music. So here's my music bed and I've got an introduction. You notice the music bed, the volume goes down for a while. Then it comes up. This is where I'm doing the introduction. So here is what people are going to hear when they start the tape or the whenever they start the program. This podcast is not sponsored by does not reflect the views of the institutions that employ us is solely our thoughts and ideas based upon our professional training and study of the past. The music comes up. Welcome to Talking Texas History, the podcast that explores Texas history before and beyond the Alamo. Not only will we talk Texas history, we'll visit with folks who teach it, write it, support it and with some who made it. And of course, all of us who live it and love it. Now, that's about that. So there's my intro. And then you see that the music starts papering down. What I want to do is I want to drag these so that it starts somewhere in the intro after the music kind of goes up and comes down again. So here's what it's going to sound like. And of course, all of us who live it and love it. Welcome to another edition of Talking Texas History. I'm Gene Royce. I'm Scott Salisman. Gene, we've got a lot of people on for a lot of time. And we're in Texas and we're talking about Texas history and how have we never had anybody on to talk about guts? How did that happen? Isn't it part of the Texas mystique? That's what I've been told. So we better find out more about it then. So why don't you introduce our guest? Well, we have Brennan Rivas. And Brennan, tell us a little bit about yourself. Hi, Gene and Scott, I'm glad. So I've got a little bit of a gap there and I want to get rid of that gap. So I'm going to again expand so I can see it a little bit clearer. And I want to I've got a kind of a there's oh, one, oh, six from when I ask her and there's oh, one, oh, eight when before she responds, I want to cut out some of that. So I'm going to come to about right there. I'm going to click split and right before she answers again, I want to give it a little bit so people will allow her to take a breath. I'm going to split it again. Oops, I'm going to take out this. I'm going to highlight this and I'm going to scoot that over. Now, I'm going to continue to do this throughout the show. Then about yourself. Hi, Gene and Scott, I'm glad to be here. All right, thanks so much. Yeah, thank you. Bye bye. OK, so what I'm going to do is I'm going to end it here. There's a goodbye there. And I notice that at the end of the show. We talked for a while after, but at the end of the show, we didn't really say goodbye. Scott had to leave early thing. So I'm going to close the edit there. And then this part in the middle is just where there's general talking. So I'm going to delete that. And I'm going to bring where people say goodbye and move these over here. Let me zoom in to make sure that I'm closing in this gap. These right there. And so here's what you're going to hear at the end. Let's do it again sometime. All right, thanks so much. Yeah, thank you. Bye bye. And so there's there's an ending now. It's still at thirty five. There's some other things that I want to cut out. And I'll do that separately. But you kind of get the idea of how the editing is done at the end. What I'm going to do, I can move my music over here. And you can see that I've got a volume set here. I want our talking to end in this up ramp before it gets to the end. So I'm going to do this about right there. Here's what it's going to sound like. The new ideas on perspectives that that are historical. But we we really don't hear the music gradually building towards the end. You're absolutely. Thank you very much. This has been one of our better ones. Well, thanks. I'm I'm very glad to have participated. I'd love to do it again sometime. All right, thanks so much. Yeah, thank you. Bye bye. And then it goes to the end and drops off. That's where I'm going to stop it.  But for the sake of this, I want to show you how I close this out. So I go to file. I'm going to go down here to a menu item called bounce. Now, bounce, I don't know where this term comes from, but it's where you bounce all of the information into a finished product. And so I'm going to bounce this over. I'm going to bounce everything, the project of the section. I've got these presets to what my podcast host asked me to set it to. So this is their format that I've already preset in there. And I'm going to start this at the beginning. Now, this isn't exactly one of the things I'm not sure I don't like about this is that the I've got to reset the time each time. And that's kind of a pain in the neck. So I'm starting it at zero, zero, zero, and I'm ending it at thirty five, twenty seven. So here it is, the thirty five, twenty eight, twenty one. OK, I'm going to change this to twenty seven. Oops, you get the right the right field here. Twenty seven point oh one. Let's just say point oh two or point three. Just I can just say oh two and there they will have that's where it ends. So now that I've got everything set up, I've got the proper time. I click OK. And what happens? I'm going to make sure I change the name and this is guns. That's actually not the name. It's probably going to be gun laws. I'll probably change that later on. But what it's doing now is it's compressing it all this into a single file. OK, so now that that's finished, here's what I'm going to find. I'm going to find that I've got a WAV file. W. A. V. The WAV file. This is what I need to upload to my bus sprouts. So what I can do is go to my bus sprouts, log in. I would upload a new episode, drag it and drop it here. It's going to upload it and it's going to take a little bit to upload it. OK, and so now it's processing and it'll take a while to do it. I'm not going to bother you with that. But that's essentially what I do to get my podcast going. I'll show you more about it later on in the next video. OK, thanks.


Good morning! Big day is here. Big day meaning today is the mooger premiere. I'm probably going to be the only person going in flip-flops and toothpaste in the backpack. You know for some reason my Uber driver looks a little familiar. Ladies and gentlemen, Lukas! Hello, thank you for the ride. We're going to go get a sandwich over the vintage grocers. It's a Malibu hotspot. I'm not going to look like a paparazzi there with my camera, so I'll see you guys in a sec. Looking over to a premiere. Let's go check out the action. Let's meet Ari, the guy who made the film. Long time friends from San Diego asked me to be in the film. I was super honoured to. It is going to be amazing. I've already seen some clips of it. I can't show you guys because that would be copyright unless he gives me a thumbs up. No, no, no, no thumbs up on that. It's pre-festival screening, so we can't release anything yet. Yeah, there you go. But go to the website. Go check it out. Check out the social media. And look around the movie. There we go. So we got some goodies. What is your favourite snacks? Because mine is sour patch kids. These guys got star buzzers, raisin eggs, nachos, and water, of course. Okay, just like that, we're back. Today's going to be a short video. I can just sense it. Seeing myself on the big screen, I was a little bit nervous before seeing myself. But I'm actually pretty proud of the job that I did. And I really like the story that is told in this movie. It's kind of like an empowering story for women. And it's super relevant right now because of the whole Harvey Weinstein thing going on in LA and all the stuff surfacing up, and people coming forward, and especially the entertainment industry, the music industry. All the stuff is going on, and this film is actually really relatable for current events, even though it was filmed four years ago. And also it's EDM. I know there's a ton of people who are into that kind of stuff. So I'm hoping it turns into a cult classic. And people find it and take something great away from the meaning of the story. You just have to watch it. It's cool. And I have no idea where it's going as far as the festival circuit, but it's going to go out there someplace. Hopefully it comes to some kind of digital thing in the future. I don't know. Those are... I just showed up and said some lines. That's beyond my knowledge or expertise. Anyways, thanks for watching. Tomorrow I don't know what I'm doing, so but I might go for a bike ride or something. And then I'll be out of here like in a couple of days. I'm hoping to meet up with Sawyer Hartman this weekend, which would be in a couple days. So that being said, I'll see you guys in the next episode.


Welcome everybody back here to Segal Talk and the great news is it's the beginning of the Prelude Festival, the very first conversation which we are having here in the Prelude 23 Festival, a festival dedicated to work in progress, celebrating the work of New York Theatre artists and ensembles, places that host artists and it's a great honor for us to be back after three years of Prelude online. It is a larger one. We are celebrating our 20th anniversary. We have over 60 presentations with over 120 artists and 17 locations outside the Segal Center. So it's a big event for us in our history. Also, I don't think we did anything larger than that here in New York. It's a great work and we also want to give out 14 awards, Prelude awards for people who we feel made a great contribution to experimental theater, theater at the forefront of performance and the art. And today we have two great workers in the field of contemporary theater in New York City and in America, in the Americas with us. Our airwaves are here on the Nappy land so we want to acknowledge that they might also be out there in PS 21 where we have Elena with us and Steve from the civilians. First of all, how are you both Elena, where are you and and how is life up in Chatham. Hi Frank. Hi everybody. Hello Steve. I am speaking from New York Hudson Valley. And it's a gorgeous full day leaves already began to change two weeks ago. It's a sunny weather and just a good mood all around. Fantastic and you are in in your farmhouse where you live. I'm in a barn outside of my outside of a barn that I'm renting in the Hudson Valley where I spent half of the time and full time during the season, the heavy season at PS 21 is normally during the summer may through middle of October. And that's where I am and I am very happy to see you. Thank you Elena. We come back shortly to a PS 21 who you are and what it's all about. So hi Steve, where are you. I am in the upper west side where I live in New York City and though I also live part of the time in the Hudson Valley not too far away from where Elena is right now. But now yeah here I'm here in the city in the midst of rehearsing a show which means I'm in New York, full time. No, no trips upstate, but yeah very happy to be here and thanks for thanks for including us in the program. Why we both have with us is because PS 21 is hosting a work in progress. So they will show workshops up at PS 21 we will talk with Steve about it but Steve for all of those who don't know and we are with the civilians. Tell us a little bit about the company the idea and your your vision for theater. Sure. So the civilians were at a New York based theater company. We've been around since 2001. So, I guess that makes us 22. Very exciting. We are a company that is dedicated to creating new work from creative inquiries into real life. And that can mean any number of different things. We don't describe the work that we do as documentary because I think it's it's actually almost always some combination of an artistic creative process with a research documentary side so it's so it's, it's both what we do. We describe as investigative theater. So for me that means that the center of the work, whatever it is, is some kind of inquiry.  And when we get to it, I will talk about how our project sex variance falls into this mission of investigative theater. Because it's a more historical piece but happy to talk about that. I should, I should say that we are, you know, I guess, best described as like an independent theater company you know we are a community of artists and a staff that, you know, manages our organizations but we don't, we don't have a theater, we don't program a season, we're primarily generative artists so we, we are involved in making the work. And sometimes we produce it ourselves sometimes we produce it in collaboration with arts presenters and a kind of touring setup. And sometimes we partner with regional theaters, or off Broadway theaters to actually produce the work so we're, we're curious. And that makes it being in some senses are relatively, you know, we have we're we're a small staff and a nimble operation, but our, you know, our shows have been, you know, all over the US, Europe at some of the, you know, the leading, the leading theaters in the in the English speaking world so we're small but we get around. Yeah, really in such interesting work, work that is somehow democratic in its course explores reality real life the connections neighborhoods and, and it's not a commercially based art you know which is about a successful show but it's really an engagement of artists with the art form and investigation on human life and the meaning of life. And, and it's also done by an artist for for the love of the work and the belief that theater has a place in society that is contributes to change change we want to see that is part of a progressive justice and it mirrors I think important movements in our society. Next to great artists and companies of course we do need places who present the work. And actually, there are many places that do present work in New York, which complications are more or some less, but there are also places that develop work places that had they hold and create and house residencies, as we say, next to presenting. And when it comes to residencies, it's becomes more complicated it doesn't really generate money it really does not have a show at the end you can pay for, but doing it is the essential work it's like studio time for a painter it's a time to compose for a musician before, you know, preparing for a rehearsal and one of the places I think that are great examples of this we have with us here in the prelude festival we have Robert Wilson's panel center we have the mercury store in Brooklyn and and many others and one of the great ones I think is PS 21, and it comes a little bit out of the mastermind of Elena who is with us. So Elena, tell us a little bit who are you, and what is PS 21. Steve thanks both, and Frank thanks for the generous introduction and for inviting us. PS 21 is a relatively new venue. It's a state of the art incredible theater on 100 acres of unspoiled meadows and so grounds in Chatham, which is a small town about 15 minutes east of Hudson. So it's within relatively easy reach from New York City because many of the artists that come to work with us are still based in either Brooklyn or Manhattan. Mostly who PS 21 works with besides a few international residences. We host short and long term residences, we sponsor those residences. We, we don't have funding the way many other institutions that also have residences part of the mission we are still trying to develop this kind of robust infrastructure that allows us to support artists. PS 21 started with a new building in 2018 and I am the first executive and artistic director I joined PS 21 and 2019 and pretty much from zero we developed not only audiences but the donor base and of course and a stream of programming with very much innovative multidisciplinary work. And that's the kind of work that we also are incredibly interested in fostering in encouraging we have both the pavilion theater the black box, the incredible dance barn with the sprung floor. Two artists residents houses on site and so anybody who is here can have access 24 seven to our spaces. Stay with us on our rambling grounds that's a 11 bedroom guest house and win one building and then a small cottage was two apartments in in another building. And of course, artists are very much attracted by the flexibility of space experiment that really encourages this openness and experimentation with the pretty unique setup that we have technologically including something like state of the art LED lighting sophisticated sound system. And this incredible comfort to be in this rural but also amazing cosmopolitan area where there are a lot of collaborators artists visual artists sound designers. Well, a lot of people live here just like what Steve mentioned he he also now has a place in clover I can many many artists also now move to this area. We never stopped residencies or programming even during the pandemic and 2020 in fact we encouraged artists to join us and we ended up in August of 2020 inviting along will sound with a residency and workshopping of new music pieces by the Sean sorry, and Anna Ismael in November 2020 we hosted for a week a recording residency with a wonderful sandbox percussion they recorded and the incredible work of seven pillars by Andy OK, a key hoe. And then later on we moved on to host larger companies and residencies including Camille a brown and dancers for instance. And just if we speak post pandemic world. The residences are really year round, you know Steve and the civilians are coming to be with us this December in a few weeks but the residences are not limited just off season, but also during the summer. Last summer we had several residences one of them a lab, a week long lab with Susie Ibarra and many guest artists that she invited. She workshopped for the ensemble version of the wonderful piece for meditations on impermanence in PS 21 is very much a lab, not only with different theater spaces but also of course the grounds and the landscape and so quite a lot of work that we invite to our grounds also has quite a bit to do with its relation to the landscape and the kind of work, the kind of ideas that artists develop. So that's very much the mission of PS 21 it connects us to the ever evolving national and international landscape and the civilians, especially the, you know, they occupy a particularly important place, I think in American independence theater. It's not the first project in theater per se that we are developing to other residences again during the pandemic included director Pascal Rambeer staging the art of theater, and with my own hand with actors Jim Fletcher and Ishmael Conner. And so that's probably one of the more wonderful things that we look forward to because there is always an exchange with artists. They're not secluded in only also in the although we understand and respect the time and focus that is required but very much every single residency that we have is always connected to our work with communities, and especially under the initiative called Residences at PS 21 pathways to ourselves to each other to our bodies our landscape. So that's pretty much in a nutshell where we are with residences at PS 21. And again, it's a, it's a particularly challenging time in the United States we funding for residences and yet just the upkeep of this incredible property and the state of the art theater and to keep the lights on is close to $100,000 a year and I apologize at time. In this wonderful conversation also go and mention the numbers but that's the that's the reality. And our team is just for full time. That's on our team for full time members including myself and we run a season of performance from May through October plus residency so it's quite a lot of work. And happy to to be collaborating with Steve, especially amazing it's really an extraordinary place the programming money some people say it's the most interesting global programming on the east coast of the of North America and it's really worth to check out the upcoming program also but as Steve independent now from PS 21 what does a residency mean to you a work in progress showing Well, I think I've been a residency can mean can mean many things. Most residences are for a single artist so I certainly benefited from doing a number of residences places like McDowell, etc to go away and concentrate and and work on a script. What's more challenging to find is a place where you can actually go with your collaborators and develop a show that is a work in process where you don't, you don't necessarily, you know, have a you don't necessarily come in with like a finished script but you have a lot of ideas and maybe very rough draft and, you know, for the, for the civilians were, you know, we're a very collaborative company, you know, every, every project we've done involves, you know, some requires really like some kind of creative workshop time in order for the show to come into into being and, you know, and I think that's it's very challenging to find those opportunities. We've, you know, we've certainly done a lot of developmental workshops at off Broadway theaters and regional theaters. We've done some with presenters, like, like ps 21. And, you know, we also, you know, typically we do not have money in our budget, typically to support a residency, but sometimes we can we find funding or a grant comes through. There's this really, really wonderful new program that nisco the New York State Council for the Arts launched, I think we are recipients for its first year, and the grant supports residency time to develop new work outside of New York City, with the one requirement being that the artists have some kind of engagement with the local community so I think it's, you know, a program that is, that is trying to connect the artistic culture of New York City to the rest of the state and all of all of the many, many other people that live in in other parts of New York State so that's, that's really the, the reason we are able to do these, these weeks with with Elena and it's Yeah, having, I guess it kind of goes without saying but having, having money to support what you're doing, you know, is is essential and is, you know, and is a game changer is for you know really makes the difference of, you know, whether show is going to actually happen, you know, or, or it's just an, it's just an idea waiting, waiting for a home. So, so we're very glad that we're on the path of making a show that will actually happen. And in fact, Steve, it's, it's at the core of creation, you know, we need in this country and network of residences of creation places to foster the new to foster artistic life and to have the environment where companies like yours don't have to scramble, you know, every year figuring out where is the grant is going to come from. What grant are we applying can we apply for the same grant if we were recipients last year I'm almost surmising that who knows whether you will receive it next year, but this kind of funding system and support should be foundational. Definitely.  Steve, when is a residency a good residency. Well, I mean, most, most of them see if I have done, and we have done many have have all been good residencies I think, you know, first and foremost, is there, is there time and space and and freedom to go into the studio. Without, without any expectations or pressure of we're going to deliver a certain kind of product by the end of these two weeks even because sometimes you can have a work in progress, showing at the end of a residency time. And, yeah, I would say, in many cases, especially working with a producing theater that there's, there's a couple things in play there's the like, yeah, here's your time to figure out your show experiment, work with actors. It's a very open ended, but at the end of the residency, we are going to look at it and decide whether we're going to keep going, whether we're going to keep supporting your show, or, or not. So, yes, you don't we've done many residencies where there's that added pressure of, you know, are we going to get produced. Are they not interested in what we're doing and getting cut off. So, you know, the programs that I find really most most helpful or, and most most artistically satisfying really are the ones where there, there isn't that, you know, will we do your show or not question at the very end. Certainly PS 21 is that type of program. The Sundance Theater Lab was that kind of program and we were in residence with them. Many times and I think the loss, the loss of that is a is a serious blow to the American Theater. So much so much work came out of the many different programs that Sundance supported. And I guess the last thing I would say is, I, I believe in dramaturgs. So I've always worked closely with with dramaturgs and sometimes there's the capacity to bring one for your workshop and sometimes not. Some programs like Sundance had its, its own dramaturgical staff so you were, you were given, you know, one of the best dramaturgs in the country, to be your partner for that one week or that two weeks, or whatever is and I think it's so beneficial for theater to have somebody in the room that knows what you're trying to do and tells you honestly, every day, you're going in the right direction, or you've taken a wrong turn, and I don't know, I don't know where you're going. You maybe you shouldn't consider that. And they, they, yeah, really do do so much to bring new works life. Yeah, it's, it is so, it is so foundational. There is the biologists say sperm's ideas are cheap but nests, eggs, building something that's expensive and complicated and dangerous. Why don't you do what everybody else does you know if you have some money you have a show you book a show you pay artists and you go them in on. Why do you do residencies. In our case it's very much fostering the kind of landscape which we believe is essential for maintaining artistic life. It's also very much a focus on the kind of work that is outside of the, you know, commercial realm and mainstream and recognize names because we think that this ecosystem of small ensembles, small independent theater groups like the arts, that is what creates this ecology of the healthy landscape and vibrant artistic life. And the third is our very much focus on innovation and multi disciplinarity of the kind of artists that work. specific boundaries in their respective discipline that combine different disciplines that's the kind of work we are very much interested in in in music we don't separate disciplines in fact I only do it, even with our normal season when we have this the busy summer season we I don't even like to write, oh this is dance this is music because the kind of project that we bring and really make an effort to bring and a lot of international work, you know, a good example of it is the work let down by just the young that is coming to us. It's in its North American, a premiere of the English version of let down was Julie Shanahan and Adele and L Anima from France, also the kind of project that that reflects that completely lack of demarcation between performance or performance art and visual art, combining in the most incredible unusual way. You know, in the case of let down the disciplines that I have not ever seen combined before. That was the work that we ended our summer season with. So that that is very much the focus on the mindset. But we really think that support of the artist that's something that is so powerfully lacking. A group of beloved artists and everybody starts with a commissioning the work, but there are so many other important ideas, and we think that that that fostering the work of many small ensembles. Probably a very difficult and challenging pattern, but essential one, we don't tie the residency as Steve said to the to the presentation and I think that that kind of free willing landscape of work is the most nurturing and the most productive for us. And you don't know what the play might be whether you will ever produce it or not just for artists as a as a as a research and some of them you say we give you the residency and you will then definitely perform. Well, you know, some some yes and I think eventually, besides what Steve brought up by the role of the drama to work I think that also the role of the producer and in the ideal world we would have wide network of creation places for creation, we would have those networks and places of creation that come with it with artists support, including tech support including salaries and travel but also including, of course the opportunity to then disseminate the work. The role of the drama to plus the role of the producer, who would also help this, this work, not to be seen or shown once or twice. In the case of some of the residences we just wanted to give a kind of enabling a trial for somebody very young like Katiana wrangle the Brazilian theater artist she was with us, working on blasted. Yes, we don't put any conditions and when we had a work in process showing some of the people absolutely hated it and and wrote us letters how much they hate it to the work. But you know we don't really audience members wrote you yeah. As an artistic director do you interfere you say this is good that is not I like that do you are you also geometrically do you have some connection, or do you step back and don't look at all. Well, first of all I'm always interested in what our artists do, and as much as possible we, because we are very much connected to the international landscape. The first 21 brings huge number of international projects every year. And as much as we can, our involvement is is pretty much giving any connections. We can any connections in the field connections with our presenting partners with other presenters, not just in the United States but internationally, and anything we can help, but also the kind of support. There are so many fantastic theater, you know lighting designers sound designers. All the people that that create work, and those who are known to us so if somebody is looking for a collaborator, a producer we normally recommend and share our resources as much as possible in this way. Of course, we do have discussions with artists about their own work, but to say that we have some kind of an imprint, or we, we drive it in any way that is, that's not really the case. Steve, now let's come to what this talk is all about. You will come with the help of Niska of that great grant I think to, you know, encourage also community work which you have always done without grants actually I would like to point that out. So one of the early companies that actively work with non actors community members.  And tell us a little bit about this project. Why is that interesting to you what are you going to do it. Sure, sure. So, you know, this, this is an idea that let me do the math, I can't sometime in the 1990s, when I was living in London, I found a copy of sex variance in a used bookstore. It's this great big medical book that contained within it 80 case studies of what they considered variance and clarify the using the term sex to mean gender.  And then a third category that they called narcissists, which contain a lot of different term, colorful, colorful individuals and the, you know, the book the book just captivated me and, you know, there, there is there's as a gay person, you know, it's very very hard to have any sense of our, our history, because it's mostly invisible. And it's not documented. And particularly when it comes to everyday life. You know, sexuality relationships. You know, so much of so much of that content was just was never was never documented, or. Yeah, yeah, so start starting there. You know, as soon as I read it I thought this somehow needs to be a theater piece. And then I just kind of kept it in my back pocket for, you know, another 1520 years. And then it's the first iteration of the project we did at Joe's pub. As it's a one night event and I asked a bunch of songwriters to pick a pick a case study and make, make music from it. I edited many of them down to monologues. And we did an evening at Joe's pub that was a big hit. And I think, I think audiences felt the same way I did about this material. And actually one thing that's very important just to say about the source material is it's it's it's very much a mixed bag, as it were. So there there are all of these, you know, first person interviews with queer people talking about all aspects of their their life, you know, which I think is just an incredible resource. And at the same time, it's all in the context of medical study. It's all in the context of, you know, what has made these people wrong. And, you know, in a 1930s context, they really they threw everything, they threw every suit of science that they could at the problem of queer people. So they're, you know, the dimensions of their heads were measured. They were many of them are photographed naked to see if there was something about the torso to leg ratio that might be causing these these variations for most all of the many of the women had their genitals drawn and measured. And those are in the back of the book, labeled where there might be, you know, abnormalities of the of the genitals the the genetic side was it was had its moments so for each case study there was a family tree, you know, and it's marked, it's marked like who is an alcoholic, who is musical turned out to be one of one of the categories, who, you know, who was divorced, etc. And, you know, and again, all that said like within the context of the 1930s, and the doctors who were behind this medical book, thought that they were doing something progressive, because they were advocating for the idea that queer people are sick and well adjusted in terms of their gender, and therefore potentially rehabilitated.  You know, the American writer, George Henry, you bought the book in London but it's Americans were interviewed in the 30s. Yeah, their life histories. Yeah. Yeah, all, all, all Americans. And then, you know, as we've, as I've learned more about the project and dug into it a bit deeper, the backstory of the book and the study is really quite fascinating and I think says a lot. I think it's about just sort of, you know, the, how, how queer people exist, you know, even in contemporary times because the, the origin of the whole project actually was initiated by a lesbian journalist named Jan Gay. And she had been in touch with Dr. Herstfeld and Farmer Erich Germany, who is a real, Magnus Herstfeld and from that she got, she got a copy of his sexuality questionnaire. And then she interviewed something like 200 or 300 lesbians all over Europe and in the US. And then she wanted to get it published.  And I think Jan wanted to put that in print to then share that with the world and, and in a sense make a case for equality and liberation and, you know, whatever, whatever other positive things might have come from that book. But she quickly found out that you could not, you could not publish a book in the 1930s. That was just, she was told that she didn't have the right credentials. Like as a journalist, she could never get this thing published. The only way that she could get it out there was to do it in the context of a medical study. And Jan herself actually recruited the doctors who eventually became the committee for the study of sex variants. And many of the interviews we think were done by Jan. And another, there was a gay guy named Thomas Painter, who similarly, I think had more, more sort of a kind of contemporary or positive intention. He brought a lot of men into the study. And, and then when the study was eventually published, you know, Jan, Jan, I think gets like one or two sentences of, of mention. And Dr. Henry really presents himself as the, as the authoritative voice on, you know, what, what a person's life history means, what might have caused their, their maladjustment.  How, how will you connect it if I understand the grand is to connect to community also say how what's your idea. Well, I think when we're, when we're up in, in Chatham, I will, you know, leave it to Elena to make some introductions. And, you know, I imagine we'll, you know, meet, meet some audience members and supporters of PS 21 at, at dinner or whatever that might be and, and we will do a public sharing would we will we will share the work in progress with a small audience and then, and then have a, have a discussion but it will be really more like a work in progress presentation, as opposed to, you know, showtime. And our specific Frank our specific interest is not just the more conventional model of a work in progress showing to the general audience and because we, we don't want, I don't like that word of community, as if it's us and them, we are the community. And this initiative I mentioned in my introduction first pathways. It's very much our initiative of also working with community groups and regional organizations and since we launched this initiative in 2020 our partnerships grew to 26 and so in the resilience of this project. We are specifically thinking of adding a couple of events or conversations with our community partners in Hudson, specifically the 10th magazine it's a magazine for queer use in Hudson mostly use of color and there are a number of practitioners in Hudson that we have been working with over the years. And so there are also other. I would say a more meaningful conversations that we can develop with with smaller groups, not just the general audience which and I think this project is fascinating and, and, and our audiences should know about it, we are very excited about it but it's also about students and Steve sharing, sharing their, their work with with young people, especially. Will you also do interviews with people up there, Steve. Probably, probably not we are, we're very much kind of sticking to the source of our, of our interviews being these, these historical transcripts, I mean I will talk to people and I talk to people all the time to get to get ideas to, especially if someone has a piece of the work, I, you know, will have many, many conversations with all sorts of people that that can then, you know, help help my path on the work. You're also going to collaborate with Jessica Mitrani and at our Westfall. Tell us a little bit who are the collaborators you're bringing in. Yeah, so there's, there's a few for the first part of the residency. It'll be some of the primary collaborators. So, in addition to me, Jessica Mitrani is a Colombian artist based in New York. She works in performance, but she describes herself as a multimedia artist so she works in many media but particularly video which I think will be an important part of this show. Ada Westfall is a performer, musician and music director and we will have a number of songs in the show, written by various composers and, you know, Ada will eventually be the music director but she's involved at this, at this early age, we're really figuring out what the project is. And I've also brought on a young playwright named James Lubella who I, I gave him the job of writing, writing various scenes about all about the story of the sex variance study. So, you know, trying, trying to imagine Jan Gaye with her various, the various meetings that we know that she had, attempts that she had to try to get to get the work done. And his work is really delightful. I asked him to write every scene in a different genre of a 1930s movie. So there's, like, there's the screwball scene. There's a, you know, universal horror classic. There's the sort of, you know, fast talking, kind of like his girl Friday, Rosalind Russell type movie. And, you know, it's all still very much an experiment and I'm really sure how, how it will all work in the end but it's a, yeah, it's a very important part of the residency to just, you know, have, have that group of collaborators there to work together, but to also hang out afterwards and to talk about what we learned what we're going to do next. And then in our final week, we will be joined by, you know, some number of actors so we can, we can start reading and having some of the songs performed. And then I can, I can start figuring out how it all, how it all fits together. Amazing. Yeah, James LaBella, who actually also is in prelude with a piece of its own with us. I think the great Martha Graham said, sometimes I create movements but sometimes also movements come to me she says I create a space. I have a rehearsal and things happen. You know, and it's not planned. And it's not written out, you know, it would be horrible when if artists had to work like business people where you have to make a three year plan and then you have to stick to it. You know, this is not how artistic life works and artwork and great art on the on the opposite you don't know how it's going to look like you regroup things don't work out as you thought you make mistakes or failures. But then you redo it it changes the minute before openings. But this is also I think what we can learn from artists we should live work in that ways, institutions should work in that way and take risks and openings, but the space that we live for this rooms where encounters take place and as Michelangelo said everything is movement, you know everything is encounter. And I think this is why I feel this is so great so fundamental and so close to nature in a way sense. And I think Elena is right when she says you know the community if you say you pretend as if you're not part of it or just say nature that you're not nature. This is the I think so so great the the chaotic creation of art that mimics the nature who we are. Elena why do you think this project fits so well into your programming is very different from what you. Is it very different from what you know we present or is it in is there a red thread that goes through it. There is really not the that's not how we think whether it fits it in that box of how we imagine, because we may imagine our own space ideas in one way but ultimately you know it's a God instinct but also this is such a fascinating material that the civilians are developing.  And so as soon as I read about the project from Steve, I immediately without thinking said yes, so it wasn't even about how it relates or not relates to our work. It's more whether these ideas have to be supported and these artists have to be supported. And it's a very serious project and that's pretty much the only determinant in how we think about the resonances also in general. So you sit in this beautiful big space at the moment, and your door behind you is open is an open door. And, as you said it's not something that's be put in an existing box so it's quite fascinating place you run well how the way you do it. And people can really discover that I think jewel hopefully also pray that will contribute a little bit towards that the work of the civilians of Steve but also to the mission idea and vision of PS they call themselves the performing space of a 21st century So it's interesting to what what does he think what does the organization we should be doing what's the meaning of it how does it relates to our life and what is worth our time and energy and yes. Also, the money because art is worth something after all, and we spent for it. We should not end the conversation we are closer to the end before touching that we will see you soon in New York City with artificial flavors tell us a little bit what is that. And how did that start was that a residency. I was also born from a residency, kind of different residency because it was local in New York but last spring we were artists and residents at the WNYC's green space, which if you're not familiar with it is a theater that's in the WNYC building that has all kinds of programming. And we did, we did three shows over the course of our residency and then the, the first one, it had a different title and what we call it now but it was a show born just from my experiments with with writing plays using artificial intelligence. And we shared, you know, a bit of excerpts from various conversations with robots that I've been having. And, and then we figured out how to use chat GPT to actually generate what we did then is like a 20 minute musical. The actors were getting their lyrics right when it was time for them to sing the, the music director had established some chords like the kind of new more or less where a song might go, but all the actors had to improvise the melodies on the spot and do duets and sing the voices together. And it was, it was just really a wonderful and electrifying event. And as soon as, as soon as we had that night at WNYC, I said we must we must make a, like a full regular length run show in New York, as soon as humanly possible. So that's, that's what's happening, starting October 22 at 59 East 59 theaters. The show is called artificial flavors and yes we are, I'm here because it's our one day off so we are in rehearsal for it right now. And yeah, and we are, we are learning all sorts of things of how to get algorithms to, to write musicals. And yeah, I think you kind of just have to see it to really know what all that, what all that might mean. Yeah, incredible investigation into contemporary new media technology the great once here the philosopher said when traditional art forms like theater meet a new technology, then it gets interesting, you know, and both on their own often struggle. But that's, and that moment when there's hot or cold or windows continental plates of new, what is about to come and that's what we have, or we have in the past collide something, something happens and Elena what's happening what are your plans the upcoming plans for PS 21 what do you do what's happening the next year. And what do you dream about what would you love to do. Well, I think I really intimated what our dream may be for the residences it's really fostering and pressing to kind of, I don't know who funders the government the importance of places of creation and the importance of this kind of no strings attached support, but also almost utilizing the places of creation is Steve described was a dramaturgical support. It's absolutely essential as far as our plans we after a very busy summer season that we launched in May and we are continuing with the fall and also pretty robust lineup of what we are presenting besides reserve young. And let down the next weekend, we move and just now. Even yesterday we had a wonderful artist one G Rook Amuia in residency with us she stayed for a week. And focused in only on her own work she used our dance barn, our stage. And it was wonderful to have anybody who stays with us for a week. The fact that we can get to know the artists their creative process they share the sense of camaraderie and community artistic community, but also with one zero for instance we fantastic workshops with our partner organization. It's a youth serving organization and Hudson called kites nest and so for our wonderful young audience members young participants it was great to get to know when zero and they said can she come to be with us every day. And then we move on with another residency by the French choreographer on color, who will be kind of exploring ideas of the past work of pioneers like Anna Halpern and Simone 40 and Trisha Brown to develop new relationships with surroundings and her choreography with three performers will unfold in our landscape. It's very much landscape related work and then finally in November, we are presenting also a new piece by with Claire chase and win some brown. And finally we conclude with Steve's residency by the civilians, and then a solstice concert by Talia and some of the other artists. And it's a piece about Claire's grandmother, and it's combined with the dramatic piece it's a story dramatized by actor very charming eccentric story about Vincent Brown's mother. We conclude with Steve's residency by the civilians, and then a solstice concert by Talia ensemble, we present quite a lot of contemporary music that's all another notable kind of programmatic intentions of ps 21 and working on I will, since I mentioned money once, perhaps you'll allow me to mention it again but our budget is less than million dollars. There are only four of us, and we do very extensive almost year round programming plus residences. And you do the fundraising tool next to the artistic work it's a miracle you got this done you got it running and flying on that beautiful high altitude. Amazing. We have a couple of minutes last one or two Steve what are your what are upcoming projects of the civilians because what we talk about is in the works or will come. What else is on the radar. Well, we are developing a lot of new work. We, we just launched a major initiative that we've been working on for several years, called the next forever initiative, and it's a partnership between us Princeton and the city's high Meadows environmental Institute, and Princeton's Lewis Art Center, and the ideas that we will do a number of different facets, really dig in to explore the question of like how, how can dramatic narrative storytelling change the complex environmental stories or climate stories, or, you know, those, those issues that are so incredibly important and honestly very difficult to tell stories about them to kind of dig in to, you know, a subject like climate change and figure out, you know what, how to make a 90 minute show that's going to, you know, effectively do something to move the conversation forward is is tricky so we are we've launched the first two writers. They are my knocks and Karim Fami and they will be working throughout this year Princeton will offer them access to faculty members who might have expertise in aspects of the work that they're writing, and then we were teach I'm teaching you guys at Princeton on the subject of, of environmental storytelling. And we have, we have a commitment to do this for at least three years, and, and hopefully we'll keep going and, and we are working to expand and grow the program. The big phases I think racing the money to produce some of these shows because I, I think it's, you know, it is the biggest existential issue facing all people in the world right now. Amazing. Yeah, how great also that art and theater and universities come together that we have places out in a farm. It's important to decentralize American theater should not only happen in the metropolis is that people think it's not in downtown or Brooklyn is not worth anything completely wrong we have to rethink everything we question everything have communities world communities engage. And this is all part of our mission as artists and presenters, and I think you both are excellent examples, you know, other 21st century engagement in the art in a meaningful, a powerful and also engagement that has an impact, and makes a difference and as we now learn in physics that perhaps even our universe is participatory that is changes and the way it's being observed. If I understand these new ideas right you know we need to participate we need to engage. We have to go in the houses of people and the stories of people instead, you know, going to the palaces, you know, the French castles of you know monarchistic regimes I feel even when we go in the big theaters, we still go into castles and we do not go into the minds and houses of people and ask them to participate in what is the great democratic project that art is a part of the enlightenment so you both are great workers for that thank you all for taking the time especially you Steve in the middle of the preparation I can believe you have the opening soon on your free day you even have to do a lunch, a zoom call and don't get to eat right away and in peace so we really thank you it means the world to us thanks to how around for hosting us and to everybody listening please to join prelude it's on the seattle center.org its live stream on how around a lot of it not everything but it's a great investigation showing of a work in progress of over 60 artists on ensembles just from New York City thank you all and have a great day. Thank you so much thanks for having us. Thanks for having us.


One of the key things in my book is this Phenominal called the mega shifts and the mega shifts are really the large shifts that are all flowing together to create an entirely different world and The obvious ones of course digitization that everything is going digital Mobilization screenification as I say everything is becoming a screen not being printed Automation if things becoming automated Datafication so what used to be conversation or thoughts become data like doctors medical records for example Virtualization what used to be real in the room is now in the cloud like like a Switching network or a database, right? So the mega shift come together and they have an exponential slope all of them and they interact So then you have entirely new ways of doing things because you have automation Digitization virtualization for example media is completely different now because we're in the cloud. We're connected. We're virtual. We're interactive We're mobile And the price goes down changes everything so for example for Humanity purposes if we're looking at medicine medical records and all of a sudden the possibilities of making health care available remotely through telepresence through telemedicine Through all these telematics things and all these things that we're talking about the internet of things and connecting Going beyond the pill all of a sudden we're realizing wow these mega shirts have really hit home now And they're all happening in the next five years You have a tidal wave of change that becomes possible in a good and a bad way because clearly Some things will be so disrupted that we won't even understand them