Mechanics of lesson planning, we will look at some of the mechanics, some of the essential, some of the constituents of planning an efficient and effective lesson for writing, how to teach writing or how to design syllabus for L2 writing. In this regard, there are different ways available to us. For example, we can use lesson plans with the help of computers. So there can be lesson, of course, can be written or and we can print it out or it can be scribed out. Or we can use the PowerPoints. It depends whatever technology we have, what facility we have. So the lesson should list its objectives first. And apart from objectives, what students did in the last classroom, how we can create a logical sequence between the last class and this class. And then we need to make balance between reading and writing. It's seen that most of the writing courses are based on reading activities. So how we can use those reading activities for writing purposes is important. How we train our students, analyze those texts for writing purposes and then time management. It's usually seen that observed that some writing lessons are deviated from the main course because there is a lot of discussion, there is a lot of group work, there is a lot of out of the way questions which may affect the overall classroom or the class environment. And it may be challenging when you are teaching big classrooms, right? So a plan should have a logical sequence. We should begin with course objectives, lesson objectives. And there should be a link between the work which was done previously and the work which was completed previously.  And then how to manage the classroom in an effective way. By management of the classroom means I mean the group work, the pair work, and to create opportunities for each type of student and then the lesson sequence. It's not like that you teach difficult things first and then come to the simpler one. So designing the sequence is important and then you should pay attention to the contingency plans. For example, if the lesson is not completed or if something untoward happens or you might have to wind it up earlier, what would happen? And then reflection as I emphasized in the previous module how it can help you become better and polished teacher. A key to lesson planning is how you activate the previous knowledge of the student. The knowledge that they have and they should be warm up activities. For example, if you are teaching them about writing a paragraph on comparison and contrast. So you can warm them up by knowing what they know the devices to compare two objects, to contrast two objects. So that will actually reshape your teaching methodology and then you can create opportunities for follow up and next lesson questions. So this kind of scheme actually helps give teachers what they can do in the classroom effectively and efficiently. And as discussed earlier that many composition courses are reading courses, but how to maximize those reading courses for writing purposes is important. So I would suggest you dedicate enough time to analyze those texts, discuss those texts and write about those texts and genres. And it has been observed that what the literature on L2 writing suggests is that teacher talk more and there are less opportunities for student talk. So there should be a balance between teacher talk and student talk and this balance can be reached through offering group work, peer work or class discussion.


Now, if you look at Desperate Housewives or whatever, reality TV, it's the same stuff over and over again in what we're facing is trauma. Black community and white community.  And I would say that white folks are dealing with a post-oppressor stress disorder. And that's one that we don't talk about hardly at all.  I'll pick up a little lesson. Actually, Jimmy, thank you for being here. I want to pick up on the trauma piece. I'm a psychologist, and that's something that's black psychologists at their different organizations that talk a lot about trauma. We now know from scientific data there's been studies that have looked at, if you look at the experiences of people who are of the ethnic Jewish background, we know that there are now studies that they're saying that trauma has an effect over generations. We know that, I think, as an artifact, I think in terms of anecdotally that trauma is a fact very real and can pass down through generations. But we now have scientific data. So I want to pick up on that, because the emotional trauma of being a person who identifies as black, who has that experience, is very real. I want to add into there the other layers, of course, of gender and class and intersectionality, because those are very real. When we're talking about, I can't just answer the question about race, because I can present as an African-American woman. And that's always, I'm not black here and no one here. And that's very real. So my experience and other women of color's experience, it's not just through race, it's through that gender.  And they don't make the news. And there's something that we have to deal with. So when we're talking about trauma, when we're talking about the experiences of women of color, we have to understand that they are rooted, in fact, of us being viewed as property. We can thank the 1705 slave codes of my home state of Virginia, right, for defining rightness, for saying that, in fact, if you are not a Christian, if you're not from an area where Christian was practiced, you were seen as someone who could be enslaved. We know that, in fact, it was a law and it was perpetuated throughout this country in the foundation of slavery. And if we understand, if you look at the civil rights movement, what people don't talk about, is that a lot of times they were black men standing up for the rape of black women and who were being lynched for it. So when we talk about the history of race and that intersection of gender and class and all the other isms that we can think of, we have to understand that it's rooted in trauma and we have things in black psychology which we call emotional emancipation circles, where people need to take time and heal and understand and name it and call it and work together and create change that way. But we have to recognize that we're all dealing with this trauma and it's not just one group or another. One person's trauma isn't more than another's, but that they're all unique in different ways and the only way we're going to heal as a country is to recognize that trauma, but also recognize who perpetuates the perpetrators of the actual trauma and to hold that accountable. So everywhere in the developing world you've got populations that are labeled as black and populations that are labeled as not black.  Everywhere. Doesn't matter what type of economy it has, doesn't matter how the state is doing. Everywhere. But here's the thing. If you focus on that in the United States at every point in time, you've got black people at the bottom. Every social indicator you can imagine. But if you track it over time, there's barriers.  If you look at it cross-section, that is you stop tracking it across time, you look at it across space, Baltimore, to Gross Point, to St. Louis, to El Segundo, you see that there are some places where black people do better and some places where black people do worse. Now, if we understand white supremacy as being something that exists the same way in all spaces and across all times, what we lose is the ability to understand what produces that variance. We lose the ability to talk about that. So as we can talk about how race is kind of a technology that renders some populations human and some populations less than human, a technology that makes a common sense that some humans get stuff and some humans don't. We have to maintain that sense. We have to wrestle with that variance because for me as a political scientist, what I tend to think about is the role of political institutions, of law, and of a range of political actors in actually increasing and decreasing variance. In as much as what the folks at center stage are trying to do is to prod us not to think, not just to think, but to a certain extent act, we have to keep that in mind because what we're talking about when we're talking about institutional change is not just about dealing with people's psyche, not just about, for example, making police see us. We're talking about changing institutions. So I'll just leave you with a Ferguson example and then I'll pass the mic back. Ferguson is in a place where 21% of their municipal revenue comes from policing its citizens. 21%, it's the second highest revenue generator of yet in Ferguson, it's policing. Now if you've got a dynamic where the police basically are policing black folk to make money for the city, then it doesn't quite matter whether they like black people or not, whether they've been trained as a sensitivity training or not. None of that stuff matters. What matters is they need to get that loop. So I'm gonna be consistently going back to variants, to politics and the institutions because while I like these plays and what's happening here is really powerful, there's a way to use art that gets at some aspects of race and how it functions, but really ignores that institution stuff. Well, all of us here have picked up on this. I mean, if you understand, I think we want to go as a bit more loud about the death of racism or what it does every institution, every one of us, so we accept that and then we have to figure out how to deal with it institutionally and where we go. So we're the 21st century, the 21st century, and this century began with the treatment and then Barack Obama happened and then videos sort of happened across the country, the police brutalizing black people across America and it pushed the envelope further and reaction came back in waves and bells from the last few quarters of the party's signature present. So there is, see if you can be my argument, and then and us, scary way to think about it, but then and us, we're the 21st century. Where do we go? How does it change? What do we do here? Segregation ended, but integrating into what? So what do we change? How do we get, we have some false man, some ideas, could be the audience members too. And how? Who wants to go out of this first? Where do we go? What is it again, sir? My name's Brad, how was your last night? I'm much more balanced next to the night than the last night. I can see the audience change from that. But as far as the rest of your questions specifically, I just have to point to my son and say, that's why it's here. That's why I came in last night. And I made sure, even though he was tired, he was also at the camp, we had to come here and see this tonight period. So that's what has to happen. And he, one thing I want to say is he has changed some of the more white-breeding friends of his through his rhetoric of stepping into the bay, dropping him off, even like that. So that's not to happen. It was everybody who was white and this much used to do what he does, which is not let any of that stuff go by. Ever. Not once, not for a second. Can't let it go by. Can't. How do we change this much? Other other other that we've helped? So I think white people need to own their privilege. I think men need to own their privilege. I think able-bodied people need to own their privilege. I think people who are sexual need to own their privilege. We need to own our privilege. I think it is problematic to ask somebody who's been raped to figure out how to change the world. I think it's problematic to ask people who've been traumatized to figure out that should change the world. is about institutions, as someone in the work that I do with, it's with communities. But it's institutions that play a role. And institutions are made of people. And it's that thinking, changing our thinking. But it's just making it into something that we can all come together and agree upon a new system, a new way, and a new approach to doing things. But I think fundamentally what I will go back to is that we all need to own our privilege and do something about it. And not to sit back and say, oh, someone else will say that, or someone else will correct them. But to do something about it, I think that's our first step. So there's this African symbol, and a deeper symbol, called the Sankofa verb. There's a name for it. In the common language, it means the word Sankofa is not taboo to go back and fetch what it is that you forgot. And I think that there are some lessons and some questions that need to be asked of the past. We talk about the use of the rights, but what happened? What were the failures of the first movement? So the integration is, and I talk to my elders all the time, I'm a cracker, I'm 32 years old. So I do not know the heels of that community. But my mother does. She's in her late sister's. And when I talk to them, they talk about a black community that was of diverse socioeconomic, where you are a working class person or a poor person, or someone with social services, you have a house next to a doctor or next to a teacher. And that community was very different than the one that I grew up in, when we were taught how to gas bullets at the age of five years old because of gang wars. After integration, so we fight, and we fight, and we fight for a place at the table, and we get an aggression. So then, busing happens, and that starts to move with different people from neighborhoods, right now they're going to different schools, and then folks redlining ends, and the black affluent folks need to leave the neighborhood.  What was it that we were missing as a moral imperative that we needed to stay a collective, that there was power in our unity and in our community? And what I would say is that we weren't asking the right questions. We were wanting the American dream, but we should have asked, is the American dream actually something to want? Is it individualism? Is it materialism? Is that something, or maybe what we want is the South African idea of whom we're to. I am because we are. Maybe if we adopted that as a people, we wouldn't have succumbed to the American dream, which I would say for black folks seems to be a nightmare. And I would say for white folks too. So that's one question that I'm asking myself as we move forward, that we need to be fighting, this is something, or they minister, from the book of Nehemiah, the walls of the city of Jerusalem were broken into pieces. And he, Nehemiah, commanded everyone to build and fight. We must build institutions. I was really upset when something happened at Missouri with the school and I was also excited because I was so happy to see student movement.  So we'll fight to sit at tables and not build our own table. And a lot of the other racial, ethnic, cultural groups in America build their own tables and they end up way better than us. Carter G. Woodson said something I thought that was very, very powerful about a hundred years ago. He said that black people are taught in education systems, learn about British authors and Latin and Hebrew and all this other stuff. And people from foreigners, it's plain jeeps, they come to America and while we're studying Europeans, they're studying us. And they know exactly what to sell to us in our communities, they know exactly what to do. We saw that in the play with Mr. Chen, right? There's a lot of tension between, I don't know if they said he was the most Cambodian, right, but we know in our community, in my community, I don't know what's going on. They're Korean, right? There's a ton of tension. But one of the issues is, is not that the Koreans are building our community, but is that we have swallowed this black inferiority complex where we don't even want to build in our communities, we don't want to spend money in black businesses, we don't, and so to me, for black folks, we need to ask some serious questions about ourselves because this has been going on for 500, 600 years. I don't know if racial injustice, structure there, systemically or in institutions of America will ever change. I don't know, but I do know that we can rise when Kwame asked me to do this. I've met Kwame once who just lived in the same space with me. So I get an email from him and my Gmail is like 96% full. I didn't even know who to do that. So I get an email and I just click it and I'm thinking it's like a, I'm thinking Kwame is, I'm thinking somebody from seven states asking for loot and I'm broke, right? But for some reason I look at this and it says, hey, last, it's like a form, hey, left, and I'm right. Then I realize it really was to me, right? It really was to me. I'm like, hey, my name is not really good. So once I, I got here, I said, okay, I'm gonna do this. I had to decide what role that I wanted to do, right? So I'm a teacher, that's what I did. So this is the role I'm gonna play. I'm going to be the loving critic, right? I'm gonna be a loving critic and I'm gonna tell you what the loving critic looks like. And if I'm not being sufficiently loving, I want you all to tell me, for real, right? So we need white brothers and sisters to raise kids that are anti-racists because racism is indivisible. So we need to be free. But here's the challenge, thinking about that institutional dynamic again, right? It's not that difficult to imagine a circumstance in which whites raise anti-racist kids who are for real, for real anti-racists why they still live in red-blind neighborhoods where they tend to, not always, but they tend to get more stuff, right? So that's maybe necessary, but it's not sufficient, right? So what you're doing is wonderful, but what we have to do is think beyond the individual, which gets back to the privilege concept, right? So, yeah, I think it would be absolutely wonderful if men took more advantage, took more responsibility for the privileges they have. But cities like Detroit, tens of thousands of white kids that have gone untested because the cities don't have line items to test them. Maybe important, but it's not sufficient, right? That's that individualized component, right? That we have to kind of really dig down and talk about what politics is.  Black people's problem is not inferior to complex. Black people's problem is the lack of material, right? And that struggle, what we have to do consistently in black communities is acknowledge a couple of things. One is that as taxpayers, I lived in Missouri, right?  Missouri is theirs, right? Those kids, I'm teaching Hopkins. One of the things I have to tell kids all the time, black Latino kids, it's like, I like this university, it's yours. You pay your money, right? So there's a challenge in articulating this concept and it takes us towards a problematic, kind of conservative politics if we're focusing on black spaces as if those spaces aren't structured up and down by political institutions and economic decisions that affect all of us but hurt us disproportionately. Do you know what I mean? And I want to take off the theme that just came up here and get your ideas. Mike Ball treated it as a reforming institution that reinforced the fact that segregation seems critical. How? Which in some ways is like a follow up versus a purpose of what, I want to give you the other thing for a moment. What do you do, how do you begin to change it? I got back when I was in Cuba, one of the great Cuban scholar said to me, African Cuban man said, in Cuba we can give an institutional racism a very deep way, over the last six years, a long way to go.   So it's a complex question. So how do you be around the end of the United States? How do you be around the end? Where do we start? What happens? Open your pockets, run your life, ask a question. Hi. So I just moved to Baltimore about a month ago from Louisiana and trying to learn more about the city which is local. But in Louisiana for the last six years, I worked in state government at an executive level. And I think one of the things that I thought about every day when I went to work and my colleagues, not all of them, but some of them dotted out every day when we went to work was, what institutional changes do we have to make from the inside and wake up every day to focus on from how we structure income taxes to how do we design institutional programs that support people in a meaningful way and how do we provide supports that are really meaningful and supportive of families. But that requires waking up every day and doing that and getting involved in government, showing up and voting, going to work for the government even when we disagree with them. I was probably very politically apart from my employers in Louisiana. But sometimes it helps to be the voice of, I don't want to say the voice of everyone, the voice who is saying the opposite. But everybody else at the table in government is saying, we need to eliminate this program. We need to restructure and impose drug testing, things like that, people who see benefits. We have to show up and want to get part of government so we can change from the inside. And that takes all of us. The speaker, I'm like you said, I'm an ex-federal employee. I worked at different later this time, government and nonprofits and stuff. And I agree, and I go back to what my colleague here was talking about. I think it is an institutional issue, but I've seen it done, that people use their privilege to create situations, to cut through the red tape. And so I think it's not an either or situations that they all have places and spaces in which they operate. And when you recognize that, I've seen things get done because people recognize there was a need to get done. The fact that we have so many black women, you heard about, you know, officer holds fault with that case that happened recently, but nobody heard about it. How come the media as an institution didn't talk about that last year? I knew it, my students knew it. And my students have been exhibiting a lot of agency and voice, if you pay attention morally in the news. And so what I think is important is that we recognize that it's, you know, I think privilege and intersectionality has become these terms that people say the talking heads say. But I think when people understand that, when you're dealing with these issues and writing policy and creating programs at each level in government, that it fundamentally comes down to, who is a decision maker and what are the reasons for them making one decision or another? And that's what we need to do, is to have a critical mass of people who understand how to create change that way and how to exert some type of agency for themselves and exhibiting that voice and putting that to use. And I think that's part of what needs to happen. I thought it was a point back then, but I also have a lot of people who will be. So, I think what you just said, and I think about in this country, some of the polls and studies have said that there are about 30% of white people in America who think that racism is a problem. It's a deep problem around about 25% of all, 25%. That's a minority of that majority. And so, that does beg the question. So, at least when you said earlier, let's try to say, I have to jump up my head, so I say, that this is not a problem that black people have to solve. You said, it's not a problem black people have to solve. It's a problem that the rest of society has to solve. And that's what makes it change. So, that is a huge, huge question here. How do we get there? And how we get us there? We get us there. Talk about me. White boy here. White folks. How do we get it there? How do we get it there? We'll come right back to you in a minute. So, it's a kind of followed question. I'm gonna tell a short story first. So, I have a girlfriend who's white, who's dating a black man.  They only date black men and that's not me. And I actually have black female friends and most white women date black men don't have black female friends. I grew up in this community and I'm an advocate and a teacher in all these things and I wanna tell these women when they're looking at me and my partner that I'm not one of those women. And I shared with her, I was like, well then you understand the black experience because that's what we share, the struggle of I'm not who you think I am. And most, I'm just gonna say white, but others who aren't black or others, this place of privilege is more so than asking someone to share in that struggle and that's what's difficult. It's even the conversation of moving neighborhood if you can afford to live in a better neighborhood, a bigger house, how do you ask someone to make the choice to not do that? How do you ask someone to make the choice to be judged or to have less of it? I guess I was thinking about this for a while I was watching the plays that I have been thinking about this a lot over the past year of that I think confronting masculinity is completely intertwined with confronting racism. So I was watching this over the course of the first board plays where we saw pairs of men talking to each other. And it's a theater artist himself and as a woman in theater, constantly in that conversation of where are the visible women in theater where are stories being told. So I do think that confronting masculinity in all of its forms not just have to do with men and women but masculinity in sexuality and masculinity in feminism in which divides feminists from each other where in which there are a lot of racism and feminism and I think that also has to do with masculinity. So I do think that masculinity, confronting questions about that within lots of different communities is a conversation that no one wants to have. And I do think that it has to come to the forefront about that I've been reading a lot. I guess I always have my students read the revolutionary co-conversation between Audrey Lorde and James Baldwin where Audrey Lorde just keeps, she won't let it go. And a couple of my students were dissecting that I, one of my arts classes at UTB and they were differentiating Audrey Lorde and James Baldwin and saying that Audrey Lorde was being really aggressive and that James Baldwin was winning the argument because he wasn't being aggressive and she was being really aggressive. And so that really spoke to me is that like this is really the root. I think it's this masculinity, the way what it has become in America is intricately tied to everything that we've been talking about. I'm gonna start writing on this. I'm gonna stop talking about it. But I do think that it's really important. You talked about the idea of structural and institutional racism and how we shift those things. Again, if you look into the past, what do you look right now? What got the attention of Baltimore City? It wasn't the kind of norm, I can tell you that much. It was the kind of norm that looked worse, pre-right than it does now. That's true. So what was it? It was Cammy Yard. It was downtown because it messed with this city's money. Dr. Martin King did what in my government? He messed with those folks' money. That was a year-long wake-up. Why is it that gun owners, Jewish folks, and I believe also LGBTQ community have lobbies, but black folks don't? We had $1 trillion spending power and there was no black to move politicians to do something because campaigns are paid for. People think it's votes, it's not votes, it's money. And we have money. This is, I think, one of the issues that I had when it comes to without the money being brought into it and without the use of money, the use of politics and the use of strategy to move these things aggressively is this, if I don't talk about money and how we can collectively always talk about black folks, when I say black folks' money, I mean, you need white folks' money, right? To put with black folks' money tax to make that thing strong. But here's the thing. If we don't talk about that, then I'm talking about the altruistic nature of white folks, their benevolence, that they will be morally good enough to let go of power. And when you're in a system that's made, it doesn't come to men, why don't men want to give up power? Because we have power. And I can use what? I can use my power for influence and money. And if I believe in American dream, I'm getting it. So why would I get that up? So there's a few motivating factors. Now me and somebody who's spiritual, I would love if that was the motivating factor. What's love? Who's peace? But that's not how things work in the world. It's fear. You see that with Trump right now. This xenophobia. You fear more of that, right? And money more of that.  Everybody would be friends, kissing each other, love. You know, everybody would be bipartisan to you. And that's because our country's God is money. This is, we worship it. When you start to deal with the God, the idol, when you start to speak to it, the people will shift. And I feel like there was a black pack which can be created to talk in the campaign for black issues. What democratic nominee right now is running on it. Is running on it. Is even attempting to run Black Lives Matter type talk conversation, Bernie Sanders. He's the only one that's even attempting to move in that circle. Why is it on every single candidate, Republican, and Democrat, why is it on everybody's campaign trail? Because of what we just saw. We just saw the whole country get turned up. They never saw the cynicism. All of them tired, we had people up in like Oregon, Reagan, Trader Joe's. It was nuts what we saw. This passion. Why is it on everybody's ticket? Because we did not bring finances to the table saying, here's our trillion dollars, this is what will go back. And if you don't line up with these things, we're not gonna give you support. And we gotta swing ball. So we'll swing this election, we'll check away with one. As long as we're in the Democrats' pocket, and we're not in our own building something, we're not gonna have a place in the table to be able to shift politically the conversation in a way where we can eradicate the oppression of justice from struggle. I've been laid off in here for four or five months. It's Sunday night. Is it Sunday night? Is it Sunday night? We've tried. So I do want to kind of find you on where we are, take this conversation, and where we can take it. Then when we talk about altruism, when I talk about it, altruism is probably not worth a lot of those conversations, and then it's a struggle. It's a little struggle to push them to the end below, constantly pushing them to the end below. But pushing them where are we going? And I think that's the point. I'll come back to this question for what we do, and what we can say to our society now, because we, I think, for a long period of time, all these next, whatever those years are, 10 or 50 years, this is gonna be part of the forefront and crucial mass of where America's going to get about where it's going, is race. And the depth of racism, as I've put it, the lead lead boy said, the problem of the 21st century is gonna be race. I'm pausing this problem, but the problem of the 21st century is us understanding that the bottom of the depth of racism in our society, the depth of it, and where that takes us, and how we fight that, and how we change that. Dr. Spetz. A lot of the answers you have. What are you trying to say? I'm not gonna say anything. Thank you very much. So one of the blessings of living in a city like Baltimore is, I think, it's small enough to matter what's kind of big enough to win. A second blessing about living in Baltimore is that, to a certain extent, because it's a predominantly black city, that idea of being the minority, we don't really have to wrestle with when we think about Baltimore. And that allows us to have certain conversations. And in fact, it's interesting, because if you think about it, one of the good things about that for whites is whites can actually learn to live in a city where they're not the majority. And that actually can have certain types of defense. But bringing it back to what we're here for, as far as the what can radical theater do in a moment like this? To keep the moment we have open wider. So instead of talking about what we can do broadly, what can radical theater do? And then what can radical theater do in Baltimore? So we've got cases now, the case with the first police officer. Yeah, just about to wrap up. What if people had plays in different sections of the city, every time one of these cases came up, to actually try and try to take, to actually radical to get people to think about the government, about the role of government. What would that look like?  Like black people have different interests than one another. What if we created the sites where black people in neighborhoods like San Antonio, Winchester could routinely talk about their political interests and think about what that might look like. What we're talking about, because if we scale it up too big, if we talk about change in the United States, you're gonna lose everybody, right? Because nobody, you know, one of the things that Hassek culture trying to point to, culture trying to make in that book is change, changing a damn city, a country that's very difficult for a single person to do. But if we talk instead about Baltimore, right? If we talk instead about institutions, like center stage, right? Like the Center for Emerging Media, what can they do? Then we can have another conversation because otherwise what we're gonna end up talking about is individual level change because people's heads just can't wrestle with anything above that. And because we're not talking about the relationship between institutions and political and economic power within a space, it just ends up being, you know, I wanna make sure that I'm not calling people neighbors. I'm sorry, use my white accent. I'm not calling people neighbors. I think it's time now, I'm gonna have between the other two weeks take us all over this. Oh, good. All right. We're not even supposed to try anymore. I dream with my colleague here, I also wanna add, you know, we have a, there's a history of art within every social movement. And we look at early 1900s and the civil rights movement. I mean, even in other places in the world, there's a history of art creating social change. And I'm personally passionate about that. So one, just put it on center stage for doing this because this was an amazing experience. And as someone who was an English major in college, I loved the narrative. And I think the personal narrative, particularly being in the women's studies department, personal narrative is what's needed as we're talking about healing communities. I think it's personal stories. It's what's needed for people to find some kind of relationship. And then you just supposed to add using metaphors in different settings. I think that's brilliant. And I would love to see that being portrayed in different ways. I think we have a moment here when we look at Black Lives Matter and what they've done and it was like Twitter. When you talk about agency, especially women of color, and I go back to the boys, love the boys, and race is an issue. That was a man saying race is an issue. And I think that in itself is just so problematic. I think race is an issue. But for me, it's more than race. And for a lot of people who aren't males, it's more than race. And I think that's important to recognize as intersections that the founders of Black Lives Matter, they are women who represent different sexual identities. And that gets missed when we talk about this struggle. I think it's something that we're all connected in different ways. And that Twitter and social media has served as an opportunity for some people to have been silenced to have a voice. People have issues with that type of activism, but I think it's very real. It's here and we should recognize that. So when I think about just what I've experienced today as someone who loves the arts and as someone who teaches to students, and this was a welcome break from grading in the semester, what I do wanna say is that I'm very hopeful. When I have a student email me and say that she's to believe in reverse racism and now taking my class, she no longer does. For students to start to understand and hopefully they'll go off and create good policy. And that maybe in 100 years, we will dismantle some of these structured pieces but that we have a lot of people working together individually and collectively to create institutional as well as relational change. So thank you. That was that one second, almost done, not done yet. I wanna say I really appreciate this. And it's been very good and it falls into really great things. And I certainly agree with the human justice that I wanna say we live in democracy and every time this room does not vote, nothing will change. And I think the problems that we're having, many of them are because, like he says, there's no pact for African-Americans but there are other pacts. And one of the problems today is that the facts are overrunnous and if we don't get out there and vote, we will not have any say. And that's happened in the last election. Before people voted and voted in many other elections. And if you don't get out there and I mean, lots of people have all kinds of reasons because it's raining, or my vote doesn't count or anything, we've gotta believe or vote. Let's do it and use it. I appreciate you working me out and calling for this and talking together to this. Appreciate you're asking me this, whether it's the problem in the of the federal state tonight, it's flying safe. And thank you all for coming out and part of the votes. So we vote, we vote. Thank you all.


This study examined the effectiveness of an educational intervention on hand hygiene behavior among staff members of Tehran Dentistry clinics. The results showed that the intervention improved hand hygiene behavior among participants. This suggests that the health belief model, HBM, can be used as a framework for designing educational interventions to improve hand hygiene behavior to control infection in health centers. This article was authored by Reza Kuhi, Raman Panahi, Ali Ramazankini, and others.


from Galvanize, San Francisco, extracting signal from the noise. It's theCUBE covering the Apache Spark community event brought to you by IBM. Now your hosts, John Furrier and George Gilman. Okay, welcome back everyone. Thanks for watching. This is theCUBE special presentation here live in San Francisco for IBM's Spark community event live at Galvanize in San Francisco. Big day of announcements for IBM. Certainly changed in the game. Just go search IBM and see the news out there. It's just all over the place, the global impact around their commitment to Spark, and this is actually going to accelerate the industry and the ecosystem around big data. I'm John Furrier, my co-host Jeff Frick, our next guest, David Townsend, chief designer, analytics platform at IBM. Welcome to theCUBE. Hey thanks, thanks for having me. So one of the things that's happened today here in San Francisco, the center of the data science and algorithms, machine learning, it's got Berkeley, it's got Stanford, all the smart coders out here is the data, right? The data, fast data, Spark is a new engine. You have to use the automotive and just say I knew, I didn't sell them, they're a new turbo, a new feature of the engine. It's going to make things really, really impressive for developers. So data analytics is now going to be changed and IBM's commitment there. So I want to just get your take as in the design side, what's that mean for a designer? In the old days, hey, mobile, be web responsive to native mobile, different design challenges, take advantage of the handset. Now data is going to be big part of the design of the user experience. What's your take on that? How do you view that market? For me, it covers a lot. The question covers a lot right there. What I'm most excited about today is being involved at the upfront phase of this whole initiative for IBM. So design is right there at the very beginning. So we can do it right. It's not a matter of trying to get caught up with the developers a year from now, two years from now, but we're right there at the very beginning of the beginning of this, putting the design center together with the tech center and working together on how we're going to figure this out and how we're going to visualize and make it usable. Tell us about the timetable from a design standpoint. You're in a design field that's shrinking every day. It's like the iteration of software is providing great benefits. What's the challenge for a designer out there to take on not only just this mobile revolution, but now you got data. New things are going to be popping up, notifications and things of that nature. What's the challenge for the designer? It's a lot more challenging working in companies like IBM versus IntelliCom. IntelliCom, you're working on yearly cycles. I have a product release. We're releasing, let's say, the new Galaxy S7 or eight or nine. I know when that product's going to come out. I know from a physical standpoint, along with a software, a digital standpoint, when we have to be ready, when everything's going to be locked in and we're going to ship. With companies like IBM, it's always ongoing. It's always iterative. You've got constant updates, constant deadlines that are the next day, the next couple hours. It could be a week. So the biggest challenge we have is looking long-term, looking at trying to solve these problems from an end-to-end solution. What are the big obstacles that users are going to have? What are going to be the design trends from a year from now, two years from now? How are we going to be using that interface and mapping that out and making sure that we have a team of people of designers working on a long-term roadmap and, like I said, an end-to-end solution versus that quick, you know, we need to fix this right now. Let's get this updated. So it's a balancing act between the two. And then now you've got the data element, right? So it's no longer, Fred led us to joke, you know, we go from round buttons to bezel buttons to square buttons to round bezels to bezels and et cetera. But now you've got a data-driven application that not only are you going to use best practices and try to test for that interactive experience for people to engage with the app, but then based on the user behavior, based on who they are, what they do, now you add a whole another level of dynamic interaction in real-time with that UI that's completely separated from your release cycles and your kind of ongoing improvements. Very different challenge. It's a lot of challenges to take in at one time. A lot of opportunity as well, right? A lot of opportunity. That's why, again, going back to what I said at the beginning, it's a great opportunity for design and for our design organization to step up and be there at the very beginning, to do it right from the onset. And that's what we're really looking forward to right now. Harriet Freiman said earlier when we were chatting from that she's IBM marketing, she's awesome. She's in old data warehouse days and talking about comparing and contrasting this new world. And she said it used to be old and slow, now it's sexy and fast and it's kind of changed the game. So I mean, for the young people out there, what's your take on and your advice to give to someone who's breaking into the business? Because this whole announcement with IBM is about training, people are getting into the business and there is an art and a science behind the design piece. When you look at the data, it used to be all tech, even the algorithms, get the reports. Now it's much more tied into the artistic piece of it. And a lot of young people are coming into this business. What would you share with them for advice? It's an incredible opportunity, it's very difficult. Every day is a learning experience. So for a certain standpoint, what we're doing, maybe not be the flashiest application out there or the fancy thing that you wanna go work on versus your friends getting recruited by Facebook or Google or LinkedIn. But what we're doing is the hardcore underpinnings of the internet, of the apps themselves. And if you can understand this and get your head around what we're trying to do and get a handle on that, everything else in your career is gonna be very easy. And that's what I love the most about this space is the challenges that we're up against. It's very, very difficult. It's dealing with data scientists all day that's not the easiest crowd to interact with, little alone trying to understand what they're talking about. Take us through the day and the life of what you do and when you're not doing the administrative, big company thing, but when you're in the trenches with customers and the engineers, what are you working on? Because the slogan here is to start of something big in data and design, which is trying to weave in this active data piece. So take us through the day and the life of some of the cool things that you're working on. It's a lot of questioning, a lot of what can you explain that again, can you go a little bit slower for us? I'll retug a real slow, how about it? No, seriously, it's a whole new area. Seriously, that's what it is. It's, we're designers, so I've been designing products and software and hardware for 20 something years now and when I move from industry, whether it's automotive or doing phone design or watch designs, that the underlying, the process doesn't change, how you put these together, how you release a product is still the same no matter what industry you're in and what it boils down to is just being really curious and understanding the end user, having empathy for them, what is it we're trying to solve for them? So what I love is coming in and meeting with these guys and really understanding what is Spark, what is R, what is Python, what is Apache?  I mean, doing things with missing not a lot of information is a good decision. With 100% information, it's no brainer, right? So you're kind of working in an area where you're trying to get out in front, let's say watches for instance, where that user experience is going to be. So in a way, you're trying to get out in front on the user experience and let's take wearables, right?  Is it what's the user experience? How do you do that? I mean, so what do you, how do you see that for folks doing it in the field of professional design?  Is it just doing surveys, market research? How do you make those bets? It's all that, it's making bets on all those aspects of it. So part of it is working directly with our architects, with our data scientists within IBM, on what the technology can do, what's the future, what's the roadmap, and then getting out with our customers and spending time with them on site, whether it's at a Merrill Lynch or a US double A or American Airlines, spending time with their users and how they interact with a product and putting this together. And then mapping that against not only, quick term fixes and releases, but your long term goals and what we were talking about earlier, end to end solutions. Everyone wants to be like Apple. Since the iPhone, it's always like, hey, let's make things simple and elegant, which just sounds easy on paper, right?  So with the whole Apple thing, it's like, I want to make things like Apple-esque. How does a company and enterprise do that? I mean, if you were brought in kind of as a consultant, like, hey, tell me about how do I become Apple-like? I mean, from a user standpoint, how much work is involved, organization? What does someone need to do to transform? It's so hard to see you can do. The easier the product is, the more intuitive it becomes, the more harder the design challenges. And so a lot of it, for my role as chief designer, is eliminating the chaos, eliminating the randomness for designers. You know, when I came back on board to IBM, the first thing I did with my design staff is sit down as a one-to-one. I say, let me see your calendar. They wouldn't understand what I'm talking about. I go, no, seriously, let me see your calendar. And they pull it up. I go, let me see this for the week. And it'd be a series of meetings, meetings, meetings, design reviews. And I go through and I go, when do you have time to do any design work here? Your entire day is taken up with meetings or reviews or trying to track down the right person to get an answer. But there's no time set aside to actual do design and work this out. And so what I do is create an environment where you can spend your day working on design, working together as a team, design team, working with the scientists and such and figuring this out. And it's not this quick fix every day. You know, you gotta fix this icon. We gotta change the color here. What's a font gonna be? But having more long-term goals, what's the direction we really wanna take IBM? Yeah, talk, David, a little bit about, you know, contrasting kind of best practices from design. You've been in a long time. You've done cars and phones and all kinds of things versus software, especially software now where there's an opportunity to get so much data back in the process, so much different than we were talking before we went on air. You said, you know, doing an interior of a car takes a long time to ship and you don't get to change it very often. Contrasting that not only in a regular kind of software environment, but now in the age of big data and the streams of what people are doing and exterior data and how that impacts your ability to change a design, more for design, is it a distraction, is it goodness? How does that really change the balance of kind of sticking to best practices? It's creating an overall design language that we have for IBM. So we have a team of people back in Austin that are responsible for that, taking an overall holistic look and feel to the IBM design language and we build upon that. So that helps us in terms of long-term goals, helps my design team at least. You know, here's where we wanna be in a year from now. Here are the fonts, here's the color palette. Here's how we're gonna block out each page and make it simple and such and more interactive and more intuitive. And then for, you get down to our level, working with the product itself is again, going back and making sure we're working on the end-to-end solution. Not trying to keep working on these quick fixes every day. So it's just always a balancing act. You'd like to, what I tell my design managers is when we show up on Monday, let's try to make sure that this is the same thing that those designers start Monday morning is what they're working on Friday afternoon. And then when they go home and come back, the following Monday it's the same thing again. So it's not this constant chaos and randomness and all of a sudden you need to fix this or you've gotta go fly to this client right now and see what the problem is or someone needs a PowerPoint presentation by the end of the day. So it's trying to eliminate the firefights. Yeah, so they can see things through and stay on track with the creative design. Exactly. Yes. So what's the coolest thing you're working on now? Can you share some insight into the community here and some cool things you're working on? Today right now is a really, really big day for us. Again, to open up a brand new design center, a tech center to be there at the very beginning. Today we just brought some analysts and pressed people into 425 Market Street. It's the first time we showed it off. We literally moved in this weekend. So having an opportunity to come in and set something up from scratch and hopefully do it right with all the resources that IBM provides for us and the design staff that we have back in Austin building upon that, this is, to me, this is as good as it gets. And what about the customers? What's the opportunity to customers? As you look at the community of R and visualization, some cool things going on visually and shifting ground, but what are some of the things that they should be looking at from the enterprise customer or telecom customer? I think just overall, just making it intuitive and making it where anyone can use our products. And what I say, ultimate goal would be that in a couple years from now that kids in fifth grade are able to take our analytic platforms, our products, and actually use them. And that's the direction I want to take it. Right. And they probably already can. It's their dad's that had the problem with it. But it's funny that you talk about the 421 market and the investment in the new design center. I mean, we've covered forward open up a design center. A lot of automotive companies have design centers in Silicon Valley and GE has a huge software development presence out in Pleasanton. IBM already has a big established presence in the Bay Area. So for them to take the extra step of creating a new place in San Francisco around this design is pretty unique and obviously very special because they could have easily put those people in a number of campuses all over the Bay Area. We do have designers scattered throughout the Bay Area and that's probably going to be the situation going forward. But with this launch, it's a matter, it's an opportunity to take a group of designers and to continue hiring out here and embed them with the developers themselves. They're more cohesive there. Exactly. They can still work remotely. Remotely work is collaborative work. It really shows a focus to take the extra step to create the new place. I mean, IBM's a new company, but San Francisco, the actions here, it's really, it is a testament to recognizing that this is where there's some shifting waters here. They get right in there. Yeah, yeah. All right, well, David, thanks for coming on theCUBE. Really appreciate it. I'll give you the final word of this segment. Share with the folks out there who are watching. What's the big aha for this announcement from IBM? What does it mean? This whole support, the community around Spark, what's your take on it for the folks watching who aren't here at the event or attending Spark Summit? What's the Spark insight? What's going on? I think for us, from a design standpoint, is our ultimate goal is to make data available for everyone. And going back to what I talked about before, about a goal of, in a couple years, you're taking these very complicated enterprise software platforms and people within a fifth grade, fourth grade organization, school can use it. And the old enterprise had legacy, right? So getting out of that trap of supporting legacy, kind of coming to a new world. Exactly. All right, David Townsend, chief designer, analytics platform at IBM here. And so I think we'll be right back with more coverage after this short break.


Hi everybody it's Sam at Mixed Up Craft, thank you for watching my tutorial today. I'm going to be showing you how to stamp using bleach. So something I never ever thought was wow yeah I just, something that never crossed my mind but I caught a tiny bit of France Martin she'd done alive recently and I saw in the comments it said I've never thought about using bleach before so I went back up again and there she was stamping with bleach and I just thought wow this is amazing so I went on to YouTube and I put stamping with bleach and there's tons of tutorials. The oldest one I've seen is by Gina K so that was the one I went to because I figured if Gina K can do it and she says it's okay to do then I'll go with that I'll believe it so I watched her tutorial and it is it's just stamping with bleach. So I'm going to just go through a few dos and dos and kind of safety measures for my own peace of mind. First of all this is an adult only crafting so if any of you are young children watching because I know some of the the younger people do watch my tutorials or a minor I don't want to sound patronizing but do not do this and if you've never used bleach before please do it with somebody else. Wear protective clothing wear gloves it's a chemical and it will burn your skin if you do not wash it off and yeah it's just not very nice and the smell can be overpowering as well. Make sure you got your window open make sure you've got a fan on so I've had my air conditioning on and my window open and you don't want to do it for a long amount of time okay so yeah just take those kind of things into account wear your old clothes don't wear your vest obviously in case anything does splash anywhere it shouldn't but just be careful. Make sure you've got a good I've got a self-healing mat here use a glass mat but don't do it directly onto your table you need to make sure you've got something between your table and what you're working with just so it doesn't obviously damage any of your nice wooden tables for example. Also when you're using the bleach you want to use a thin bleach so don't use the thick glupy bleaches which I know are very very common in the UK and mum I know you're going to love this tutorial because you're probably going clean afterwards with the rag that she uses so she's the bleach queen we called her so anyway so I'm going to get to that bit in a minute but first of all I just want to show you the effects that you get now every body's will be different every card is different that people use the time that you leave it for it will carry on developing so the something you stamped on one day when you go back to it in the next morning it could be very very different again if you dry it with a heat tool you'll get a different effect if you let it dry naturally there's so many different things so do play around with it because I've had a real you know I've enjoyed doing this and you'll see that in the tutorial a couple of things I've made so I've made a little gift bag here this was just me stamping onto some black card and you can see the different kind of effects that you get there now I use the heat tool and you can see what's gone really really almost much much lighter there that's because I dried it with a heat tool I imagine if that was left then it would be more consistent I like drop some droplets of bleach on it as well but yeah I just done that little fold flat gift bag there with some little die cuts and a little note there so that was just something I done then I've got these these Nuva drops are still drying but I've done this background here so this was on orange card that stamped in bleach these do not smell either so if you're worried and thinking oh I don't want to give someone a card with bleach on it obviously don't give it to them maybe like half an hour after you've done it but it doesn't smell I can't smell any bleach at all so I've done that little thank you card once those Nuva drops they're dry clear but that looks really quite nice I talk you through that in a minute but also the stamp you choose you want something that's quite a block stamp you don't want something that's really detailed because the detail would just get lost so again just play around also with the stamp you want to use a rubber stamp and not a photopolymer that's not to say you can't use photopolymer and some people have said they would but the problem is you're not when people aren't sure on the longevity of the photopolymer once the bleach has gone in if it's seeped any further into it even though you rinse them straight after eventually it just may end up just completely making them turn to mush and break apart basically whereas the rubber ones they are so durable and the rubber I mean rubber's used in our day to day you know chairs and all sorts of things that we have around the house and they go through a lot of tension and wear and we clean them with chemicals and all sorts of stuff so the rubber is okay you do just need to make sure you rinse it straight away that's another card I've done there so you can see this is almost got like a blue yet that was stamped on this green so again very very different this one I stamped a sentiment so this is stamped in bleach with much love and thanks and then I stamped these two you can see that one there's gone a bit more it's kind of like bled into each other but it still looks nice and I've just finished with some dried flowers on that one and then that's the same stamp again there now I have got other stamps but I was just this is me testing it this is me playing around so I'm certainly going to be trying it some more I haven't finished this card but it was just to show you there how good that looks so you want a block image I would say something that's not got a lot of detail in it okay so I think I've gone through all the safety measures and yeah let me show you what I've done okay so I've got a Tupperware container here with a microfiber cloth which already does have it on there because I have been playing but basically I've just folded up the microfiber cloth just so I can lift a little bit up here you can see how it's all folded there just to create like an ink pad and then you just want to saturate the bleach over the microfiber cloth or the kitchen roll if you're using kitchen roll I maybe suggest about six sheets folded up to a similar kind of size like this just so you've got quite a pad okay and then you just want to cover and I do top this up as I go okay I found when it's at its most really wet and saturated that's when I get the best effect so make sure I've got my window open so apologies if it is a bit loud and I've got the air conditioning on as well because I don't want these fumes I don't want to be inhaling it constantly I've got my heat gun here just to speed up the process if you need to just to show you different ways and I've got wet wipes to quickly wipe my stamps just to get off the initial bleach and then I will rinse them and clean them afterwards so I'm just going to pop that to one side and I'm going to bring in some dark card so I've got some dark navy here I find that you get the best result from darker cardstock however there are some lovely effects that the lighter cardstock gives you as well so play around it's really really fun and I do enjoy I have enjoyed doing this so excuse me I'm just going to bring in this stamp here so you want a stamp that's quite a what's the word bold surfaced image a wide surface image with not too much detail if you've got too much detail what will happen is it the bleach will just keep bleeding and you'll lose all that detail whereas if you've got a block image that's the word I was looking for then they these come out this has been coming out really well so basically I'm just going to pop it in my pad and just ink it up that's what you're doing just imagine it is an ink pad and what you want to make sure you're doing is not pushing the the the stamp into the bleach so that it's going over your rubber and into your actual foam because that's obviously where it's glued and the bleach could obviously that's the the worst thing that will happen so it's all linked up and I'm just going to come down here and some results are instant and the color really is unusual so that one's going to take a bit while you can see it's starting so mine are pretty saturated but like I said I find with a with a image like this you get a really good effect and everyone is different every card stock is different just bleach different bleachers believe it or not as well you know some of the things that I've researched you and from the way it looks now you could come into it tomorrow morning and it looked completely different so yeah it's um it's pretty pretty cool so I'm just gonna fill this piece here because I can use this then to make a nice card I'm overlapping as well because I've got my self-healing mat there so I've got a safe surface you can see how much it's changed from the bottom one there which they've now gone actually quite brown now they may well stay like that but like I said a lot of them do change significantly and that one there we go I think that's about right so now I'm going to just wipe off the excess with my cloth and I'm going to go rinse this now under the sink okay so that's now all completely cleaned off all right um what I'm going to do now is use the heat tool on it just to heat so I'm just going to rub away some of the bleach I am giving my mat a good clean though so and then afterwards with this I'll go and give the bathroom a clean okay so just grab your heat gun and you can see where it needs to dry because it will obviously get quite light in the see where it's darker in the middle there and then when I've just applied the heat so you don't need the heat tool you can just let it dry naturally I'm just doing it for the video just to see if it is going to change even more I think that's it for the minute but that's not to say that it's going to develop more overnight but how cool is that that was a plain piece of a navy card stock now completely transformed so let's try this pink card stock here and I'm going to use a different um stamp so let's try this one I don't want a big block let's take this one off and use that one there okay again bring it up put one right in the middle there I like to hold it for a couple of seconds and already I can see so again this is a block image and they're the best ones for this it's unusual because it's bringing out the detail in the I've used this on another piece of card stock which I'll show you in a minute and it was completely different whereas this one has it has still shown the detail when I bring it up closer to the camera and you'll know when you need to apply more bleach to your kitchen roll or your cloth because your images will start to become a bit see there they've got some gaps in them see actually now this is probably too full although it's still it is still a nice effect because as it's developing more and more it's now losing that detail can you see it's just starting to turn into a bit of a blob but it's a nice shaped blob so I'll just finish down here so that's why it's worth just playing around with the stamps because everyone is going to give you a different effect so again take the excess off and then I'm going to go in rinse that okay so if I just bring that up there you can see it still does look nice it's you know it's just such a cool effect so that's that one and then I want to try on some red try on this one here and I'm going to use this stamp here so again I'm just going to pop more bleach like I said before make sure it's liquid bleach not a thick bleach has to be a liquid bleach so this hasn't gone white like the other ones so this might be more of a faded look so now it's starting to turn can you see the edges there I think my cloths are a bit too wet now so it's just finding that balance each time some of them are a bit too splodgy work from the edge there a bit more so I'd say this on the red is a bit more subtle again I'm just going to get that dried off okay I've just put my heat tool on it a bit but you can see there the different stages of it developing and again very very different look so it's a lot more ready orange that one's just gone really cream really bright this one is changing again so it was quite brown but now it's going quite an orangey colour so I'm sure that's going to change up again and then some other ones that I've done so that flower one here so you can see it was quite a splodgy but look how it's come out on the craft card all it looks like is that it's just a wet it looks almost like it's got versa mark on it like the you know the watermark that's what it looks like and I really really like that it just looks like a patterned craft card so I'm really pleased with that one that's there the turquoise you can see again how that looks the orange is nice because it stayed orange so against the the orange card yeah I like the way that that's worked and this one was really unusual got lots of different it actually came out really blue at the beginning there's a real vibrant blue you can kind of see some of the blue colours there and then slowly it's changed but again like I said these are all still developing because it's that is that chemical so I want to create a little scene and I really like the purple so let me bring this one in and I used a sentiment on this one and I love how that sentiments come out I wasn't so keen on these particular stamps but I'm going to do these this wording here and then I'm going to combine some of these stamps but I'm going to do it on the lilac card here so let's get that all ready okay I've just inked that up I'm going to come up a bit here because I want to put ribbon along the bottom and this is to fit on a five by seven card base so let's see how that develops I just bring that up there you can slowly should start to reveal in front of you just take that off there don't want to leave that sitting you see more and more it's coming through let me just use my heat gun there we go with much love and thanks and I really yeah I really like that so I'm just going to rinse that quickly okay so then I'm going to use this one again and just ink that one up I want too much on like I said I have saturated mine I'm going to try and do some kind of I'm going to do a couple because I intend to pop some die cuts over the front of this maybe just do the two like so again just going to rinse this one okay I've just been practicing with the sentiment and what I find is if you stamp off from it as well it it really does work so that was the initial stamp then I stamped off again there and it didn't come out very well and then this one was the initial one and now this one just developing seems to come through quite nicely although I really like the first one that I done there but again if you just stamp and then stamp you can start to see now all the different stages of it developing I'm just going to bring in that one again look how much it's changing again it's still it's still lifting but it's so gradual and it's really nicely blended again it's just and these are my fussy cut and do some cool cards with again that one's not changing too much I think I might just stamp on this side of this one because it doesn't bleed through I just want you to see just how vibrant the blue comes out initially so if I just ink that up ready it's instant look at that and then you can see it straight away starts to change and you get the the other colors starting to come through because when it first done that I thought wow I love that color and I wanted it to stay and I don't not like that effect at all I think it's great but the blue against that green look really good but you can see if I just speed it up a minute see now it's dried you've got bits of white in the middle there's still a bit damp in the middle still bits of that blue but yeah that's what that one would look like but I want to try the sentiment stamp on this craft card so let's ink that one up probably put too much on there actually let's do that one there and then I'm going to stamp off and stamp it again because all this does is just stay that deep brown color it doesn't change color at all it doesn't go white or orange nothing I'll just show you there what kind of happens with the craft card is it disappears and then comes back in the in the dark brown so you stamp it and it's like this then it disappears a bit can you see this here it's currently disappearing and but this one here is is coming back again and you can you can make it out there with much love and thanks so yeah again I really like it I just like playing around I'm grabbing my scraps of card I'm grabbing all different white core card um color core card black let me try some black so I think the black is going to go orange that's what I think but whether it will or not so each time I'm just stamping and then stamping off again yeah I was right it's kind of starting to go in orange color do you know what this would look really cool for Halloween cards so I'm going to again just use my heat gun just speed this up a little bit okay so I've just quickly dried that look at that cool effect look at all the different tones now this will probably change again one thing I would say is is do the paper one day and then make the cards the next don't do it all in one day because you could use your normal you know inks to stamp other parts and stuff and think it all matches at that moment and then the next day it could change so but I think that's a really cool effect for autumnal cards for Halloween cards really like that that's really fun I just want to show you I've just done it on another piece of black card this is a piece of A3 that I've got and look at the completely different I've done some splot splotches as well of um of bleach be careful when you do that don't flick it um over yourself but yeah it's more of a gray kind of finished again I really like them and they're called a fussy cut because they're quite simple images to kind of cut around um but yeah so it just shows from one piece of black to another the difference that you get there it's really quite different this is my favorite still though so let's try one more and then I'm gonna probably stop there and just make cards so I'm gonna use this one and this is this really deep purple color I've just stamped that off three times there so just remember everybody's card will be different so if you've got a deep purple don't expect it to be the same as what I'm doing now yours might be a white core card um a color core card you know the different weights of the card they're all gonna fairy wow can you see that one now what that one's doing that one's really changing and also letting it dry naturally to heat drying will give different looks as well so can you just see what that's doing there looks awful at the minute don't like that at all let's just see well that's something completely new can you see the whole image is stamped but it's only really started to discolor where there was obviously quite a lot of bleach so I imagine if I had a very thin amount of bleach you would just get kind of a silhouette but that if anything that's not worked on this card and this card here yeah this is a cheap card can you see this is just a um oh I forget the name of this this card um it's just your color dyed on the fronts you just see there so that's probably why so that one's that one's a scrap but that's fine because I haven't got a lot of that whatever the card is anyway that I really like this is I think this is this is a favorite of mine I just love that image that would look really nice in the gift bag so watch this space and see what I make which you'll see at the beginning of the tutorial anyway but I really really like that I love this this is going to become more of a better card once that's all finished and then I'm going to make lots and lots of cards from all this paper that one I love I'm going to do something really nice for that one so yeah so hopefully I've shared a few tips there check out Gina K that's who I saw and again if Gina says it's okay to do and use your stamps then I believe her so I think they're going to be okay that one I love as well I think that's really really nice that's going to make a nice autumnal looks like the autumn leaves that are dropping so yeah there you go so I hope you've enjoyed this um stamping with bleach tutorial and um go and give it a go take extra extra care wear an old top don't wear your best jeans and make sure you've got your surface well protected and um yeah if you've enjoyed it please hit the thumbs up and subscribe to my channel to see more thanks for watching bye


Hey coach, what's up? My name is Ben neighbors and welcome back to our channel This is the first time you've ever watched one of my videos. Make sure and hit that subscribe button I'm here to help you start and grow your private training business and in today's video It's 100% about how to get more clients. So pay close attention I want you to comment below ask me any questions after this video is done And when I go back when I think about back in 2009 when I started training players I know my number one weakness was communication. I had Terrible communication skills with parents. I did not know how to sell my program. I was really shy I was really introverted, but I put myself in a box and I always told myself. Well, I'm really shy So I'm not gonna be able to reach out to parents. I'm really shy So I'm not gonna be able to go out to the field every Saturday And I kept telling myself this and what happened was I wasn't getting clients because I had these self-limiting beliefs in my head and that really dictated the first couple months of my business and I quickly realized you know what if Parents don't know who I am. There's no way their kids are gonna train with me And I know that sounds very simple But the more parents you know the more kids you will train which means the more clients you will have Right and one thing that I did very simple any coach out there can do this is Every Saturday, I'm a soccer coach so every Saturday I'd go out to soccer fields and I would meet parents I would put myself out there I'd meet parents over and over and over again and I could go out to any soccer field in my city and There'd be tournaments there'd be games and this is how I could quickly Network with parents who did not know me and I could have a short five to ten minute conversation with them I could see how I could help their kid and very quickly I started to get clients by simply communicating back then Instagram wasn't around I wasn't really using Facebook and I know a lot of coaches now Just want you social media to try to market themselves and that's great if it's working Right if that stuff is working for you great, but what I really want you to start doing more is Improve your communication skills with parents in person and when you do this over and over and over again You start to form all these new connections of parents and I want it to be parents because those are people who are gonna be paying Right those are gonna be your clients. You're gonna be training their kids, but the more parents you start talking to That is gonna make your business a lot easier and what we want you to do is Almost build like a celebrity mindset and what I mean by that Is when you go out to the field We want the other parents to be like, oh, there's coach Mike that guy is the best trainer in town Like we want other people to start talking about you and the only way that happens though Is if you start communicating more with parents, all right And that doesn't mean you have to go out there with your business cards and do any of that bull crap I know that's what a lot of coaches do they'll go put flyers out on people's cars That is not networking that is spamming. All right, we do not want to spam people we want to go out and build genuine relationships and I know this is something that Has really impacted me with my with my business life is the first time I did that I realized you know what I Need to be coming out to the field way more and I started to make that a habit and I did that for several years I would go out to the field. It's I met hundreds of parents ultimately that turned into hundreds of clients Right. So if you have to do one thing this week, if you want to market yourself If you want to get more clients start meeting more parents start talking to them Get out of your comfort zone and make this a habit within your business You have any questions for me about what to say to them or how to close them into your program or what types of Programs to sell to them. All right. I want you to click on this button up here That will take you to our mastermind information page That is where I can help you and a group of serious coaches who want to build six figure businesses in 2019 So go ahead check out that page there again if you have any questions for me comment below And if you're brand new hit that subscribe button. I'll see you next time You


Hello guys, so today we are going to design a tab activity with the help of some tab layout view pager View pager adapter and fragments. Okay, so we'll design the application like WhatsApp where we can swipe left or right Fine, so we will try to add three tabs like chat status and call Okay, so let me quickly do what? Add a design part over here. So what we need in a design first of all, we have a linear layout That's fine. Now we need to create a tab there. Okay, so that's credit tab Layout so we will find it over here so you can give it Width as match parent and height as rep content So this would be what this would be holding your tabs So let's assign it some idea as well. So that's a tab Layout and then we need what we need a View pager fine So view pager is actually attached on the top of this tab layer Where we can swipe left or right with the help of view pager So this view pager actually is what it is a layout manager that allows you to flip left or right throughout your pages So your pages would be what your pages would be in the form of fragments So let's add a view pager. So we have view pager two as well. Let's try with the view pager this time So you can try So height you can use your whole height Fine. So for better, we can give it design as well. Background color. Let's give it some ID. Let's say view pager View pager and for better, I can give it a background color as well. Let's give it something some hash code So you can change it from here. I just give it a light red color and The view pager would be of any color. So you can see here the view pager is Holding your whole space and this tab layout is holding just this part of your screen So this gonna show you multiple tabs over here the titles of the tabs and this gonna hold Your fragments to show different different pages. Fine Okay, that's all. So design is complete. And now before moving ahead, we need to create a fragment as well So on a one page, we will be displaying one fragment on second page. We will be displaying another segment and so on So let's create a new right click here New and I just create a fragment. So I will say blank And we can name it as what you can give it. Let's say we need to create three fragment. So I will say what first of all chat like So we need a Java file as well. Just finish it. Okay, so once you do this You will be able to see the design part as well as coding part. So what I do is I will remove the Extra code over here the commands and everything. So what we need? We need only One method that method is for create view Nothing else is required. Okay. So this is actually responsible for inflicting your fragment So let's remove everything and we can Move to the design part. So you can also customize it. So what I'm going to do is I will just try to convert it into linear layout And I will just display the text over here and simply saying what? And simply I'll say that chat fragment. Okay So let's change to chat For like mint and for better we can give it some size as well. So I will empty the text size to let's say 28 sp is fine and I just want it in the center. So I just make it wrap Wrap So I will reuse this fragment and I will just change the thing So we need a gravity so that I can align my Text into the center. So that's fine. One more thing I will add over here. I will just give it a background Okay So let's give it a background color over here with the help of background And I just give it some random color So export You can click on this box and change the color. Whatever you want Let's say this would be my Background color for this fragment. Fine. So we have done with the design Nothing is required to be changed here. That's fine. Now. What I will do is I just copy paste this code Okay, so chat fragment is there. Copy this paste it and this one gonna be my status Okay, so here I will say what instead of writing chat. I will say State does fragment and I just change this color as well so that you can differentiate the pages So that's fine and same way. I'll just copy this and I will create one more fragment that would be my call fragment Again, just go to the design part change it to call fragment and change this color as well Click over here and I'll just take it to some less color. That's fine So design is ready. Now corresponding java files are also required so that you can integrate the view I just copy this pasted and this one gonna be my status fragment Don't forget to change this They are five so this one would be my status Save this I again copy this paste this and this one gonna be my call fragment and don't forget to change this to Call So my fragments are ready to be displayed. Okay. Now design is ready. Everything is fine. Let's move to the coding The first and the foremost thing we need to initialize my view so that I can get the reference over there So I just use this Here iris so let's create private tab layout So tab layout and the second one is private view pager That is view pager and Okay, so we need to initialize it. So what I do is I just create here init method In it views this gonna initialize my Views with the corresponding id's from this. So let's create this method and simply say what tab layout is equal to find view by id r dot id dot Tab layout and same way I will do with our view pager View pager is equal to find view by id r dot id dot view pager Okay. Now these two things are ready. Now what I need I need to use view pager Where I will display the pages The problem is that we cannot directly display data to the view pager For that we need to use a adapter. Okay. So let's create another class named adapter class right click new Java class. So I will name it my view pager adapter Okay, so this class should be extending the view pager adapter View pager Adapter do we have any view pager adapter? No. So, uh, actually we are working with the fragment. So you need to extend fragment pager fine so once you extend this You need to implement its method because it is a abstract class. So let's quickly overwrite the methods that we have not Implemented yet. Fine. Now still you will be able to see some methods Some errors over here. So here you need to override one constructor as well. So let's create a Two constructors are there. You can use any of these. The first one is deprecated. So we will try to use second one Okay, now errors are resolved Now what you need to do here is this adapter gonna display your data into the view pager So this gonna hold some list of fragment to be displayed Fine. So let's get item method gonna return you one fragment. So that means you would have a list of fragments So we would have three tabs. So that means I will be holding multiple Fragment, so I will do what I will just create a array list. I will create a private array list Of what type fragment type? Okay, so let's create this uh fragment Do it x and this I will name at fragment Fine And that's fine. Now we also need to display the titles on the tabs that on which tab you are whether you are in a chat tab Straight to tab or somewhere else. So same way I will create one more list of titles So this gonna be of same time fine So in the constructor, I will be initializing this is new error list and Same way I will do with titles as well. Otherwise, we will be getting null pointer exception if you're not doing this So don't forget that Okay, so done with the constructor is done. Now this is gonna return you this guide item gonna return you one fragment So from where you will be getting fragment from this So I will say what fragments dot get So here you will be getting by default one index that is positioned so we can pass it here Same way for int get count gonna give you number of Fragments, okay number of tabs. So how you will get this again? You can simply say fragments dot Do we have any size? Yes, we have a size Done So once you call this um internally it would be calling to attach this data with the fragment adapter Pager adapter So what to do is uh, we need to display titles as well for that we need to override on method That is The method name is something title page So see get page title There is a method. So this should not return super dot get page title. This should return what titles dot get and pass it the index that is positioned So your adapter is uh ready fine No, one more issue is there So this adapter is fine. It is returning you one fragment. It is counting it and it is returning title But where you are passing data to this So for that what I can do is I can create one more method that say void add fragment So where you can pass some fragment Okay And once you pass the fragment to this you need to add that fragment to fragments Okay, so simply say fragments dot add that is fragment Okay, uh, but the problem is that we are not taking any title somewhere. So let's create one more argument over here Of string type and simply assign this title to titles as well titles dot add I'm missing something Okay, so actually I have given the same name. So I just change it then you would be better writing this So title that's all. So your adapter is complete fine Now you have almost done everything if you have done this So simply go back to your activity main activity So what you have to do here is very simple thing So first of all you need to initialize your views. We have already initialized Now you need to create adapter over here. So how do you create a adapter? So name of the adapter is my view pager adapter. Let's say adapter is equal to new my view pager adapter But here you need to pass two things The first one is fragment manager if you can recall here First one is your fragment manager. Second one is behavior. So behavior will be letting you know the state and State of your fragment and if you talk about your fragment manager, it will actually interact with adapter So how do you get it? Fragment manager. So simply there is a method get sport fragment manager So this one I return your current fragment manager and the behavior you will be getting from You can get it from your constants. So let's Do what fragment Pager adapter. So here is one one of the behavior that you should use Okay, the zoom only current So this is going to create a adapter Okay, this is going to create a initialize views creating Adapter so once your adapter is ready. What do you need to do? Set adapter To view pager. Okay. So how do you set it? So simply say view pager dot set adapter. Do we have yes, let's pass this adapter Now your view pager is ready with data Now this view pager you need to set up with a layout so that it should work properly. So simply say what tap layout dot set Up do we have any view pager set up with view pager? Okay, so it's simply pass your view pager over here. Okay So you are doing what? set tap layout With view pager. That's all Now you need to add data to adapters. So simply say what? adapter dot There is a method add fragment we have creator for adding a fragment. So which one you want to add first Let's add a chat fragment first. So new Chat fragment and give it a title as well chat Same way you have to set data for other fragments as well. Second one is status and third one is call and change this to call fragment And change this to status fragment. That's all Now once you run this again, you will be able to see everything is working fine Just wait for a while and almost done Okay, here you go So you can see swipe swipe Go here. Go here. Go here. So that's all. I hope you like it. You can find the code in description That's all