Hello everybody, welcome to part eight of the Magdalen manuscript. I know it's been a couple of weeks since we picked up our homework, our book Magdalen Manuscript. I thank you guys so much for being super super patient as I last minute started to travel with Stephanie, even though it was last minute. It was totally totally divine. Now, this is airing on Tuesday, July 12th. I am recording this, however, on Wednesday, July 6th at 7.0 to a.m. I did get back from D.C. yesterday, and I don't know if you guys notice my voice is a little bit hoarse. We filmed a lot. We have a lot of footage to go through. The places we've been so far are obviously D.C. We went to the Isis Temple in Tennessee. We went to the Georgia Guidestones and, of course, we did a lot in Atlanta and in Rome, Georgia. Now, again, I'm not sure when all that footage will air. I am going to start working on some of that footage this evening, Tuesday, July 6th. So maybe by the time you're watching this, you've already seen some of the footage. This is not the last of our travels together. In fact, we have way more locations in the works. And I'm just going to put this out here to see what you guys think. I am going to leave the comments up for this particular video so I can see your feedback. Again, any abusive comments or bullying behavior will be blocked on this channel. But we are going to be heading up at some point to Salem, Massachusetts. I do have some dates in mind. However, if you're following me along on Twitter, as I said yesterday, when I am in a particular location with Stephanie, I will be dropping footage in real time over on my Twitter account and sometimes on Instagram, depending on how much time I have in a moment to load stuff. But my Twitter account gets way more action than my Instagram account. That's why I'm putting most of that over there. However, on the times or the days that I actually travel, I'm not going to be putting those dates out because I do know that I have a lot of people watching who are here for my highest good and Stephanie's highest good, but also at the same time, have a lot of people watching who are not here for my highest good. And some of these people watching are very, very dangerous and they do know how to do black magic. So the dates of my travel will not be mentioned. But with that being said, when we're in Salem, we are considering doing a live event. We don't we don't know yet if it's going to be like a meet and greet or if we're going to film a live show in Salem. And if we can get enough people who can travel to Salem, Massachusetts to join us for this show, we will do a live show with the live studio audience if that's something you guys are interested in. We just have to figure out how many people would be able to make that journey into Salem. As I said on my Twitter yesterday, most of our traveling we're doing right now is actually all of our traveling we're doing right now is by car because I am distrustful of pilots who, you know, so until that's all rectified, I probably will not be flying for a while. I'm I'm a huge traveler. I have always been a huge traveler. I've spent most of my life going back and forth to different countries. But at this in this moment because of I'm just a little bit paranoid about getting on a plane. But driving is fine. I don't mind driving. I've driven long road trips across the country many times. So that that's totally fine. But if you're close to Salem or if you would be interested in making the journey to Salem, Massachusetts for a live show for a meet and greet, whatever the case may be. Please let me know down the comment section below just so we have an idea. We might have to charge a ticket price very cheap, like ten dollars. Just so we can cover possible security because we might have to have a bit of a security system just to make sure that nobody in the various is entering into the facility. Also, in case we want to offer like snacks or something for you guys, there might have to that's all it would be would just be to cover something like that. It would really literally just be to cover that. So just let me know down the comment section below if that's something that you are interested in. All right. So today we're starting with page one thirty six in my book, which is again, this is part eight, which is a brief comparative of internal alchemy. So this is probably going to be part eight A because, again, like the last chapter, there's a lot of different sections and in order to make these podcasts, these videos, these episodes a reasonable length, we're going to have to divide it up. And I also think it's good to give you time just like with the Sophia code to give the viewer myself included time to kind of integrate everything that's being spoken about in this book. As I've said before, the back part of this book where the guy who wrote the book is actually talking about alchemy is way more fascinating to me than the front part of the book. Again, if you're new to this channel, I would suggest that you start with part one first because the first part of the book is him channeling the person that we know as Mary Magdalene. Now, I know that she wants to just be called Magdalene or Maggie. I've been told and I found in my research that the name Mary was kind of like a Jane Doe type name that the powers that be gave a lot of these women just to kind of, I don't know, dehumanize them a little bit. So Magdalene was actually her name. I know Stephanie has found information that says that mother Mary's name was possibly Alma Maury, which makes sense to me. I think it's a beautiful name. They all have beautiful names. And the first part, as I said before, there's a lot of confirmation bias because when this book was written, and I believe it was written and channeled in the early 2000s. And as of a year ago, I would have believed everything about the crucifixion, all that kind of stuff, because we were so programmed. We've all been so, so highly programmed to believe that the person known as Jesus, Yahshua, she actually calls him Yahshua in this, which was his real name, Yahshua was crucified. Well, now I'm starting to see information in my gut instinct is telling me he was never crucified. The crucifixion story goes with the Mithra story, and that's what the controllers want us to start worshipping is the Luciferian human sacrifices and the cannibalism, such as communion. And so he does, though, talk about Yahshua's crucifixion. I think that's just confirmation bias, though, because that is what we have been taught over and over and over and over again. But everything else in the channeled section does confirm a lot of my research with the priests and priestess of Isis, where Magdalene and Yahshua were not of Jewish descent. They were of Egyptian descent, meaning that they practiced and their spiritual life and their religious life was in the priests and priestess of Isis. And she speaks a lot about this. And so now he's getting into the alchemy of what all this stuff means, which does mirror a lot of what I've studied in India through yoga. I know in this section he's going to get into Tantric yoga. There are typically two paths of yoga that there's the Patangalene path and the Tantric path. My actual practice is the Patangalene path. But as far as the Tantric information, it's all coming from the same source, which comes from the yoga karanta. It comes from the yoga sutras, all the Vedic texts, the Upanishads, all these old texts, all coming from the same source. So I am fully aware of all the different channels of energy in the body, because even in the Patangalene system, we do work with the energies within our body as far as the chakra systems, the two different nostrils, shishumna. We just do it more with ourselves versus in the Tantric system, it's doing it with a partner. Both are valuable. Both are equally valuable, basically. It just depends on your preference in which one you practice. And I am getting more into the Tantric stuff myself within my own practice. However, it's easy for me to slide into the Tantric, no pun intended, thinking of like sex magic, slide into, slide into the Tantric system, because I'm highly educated in the Patangalene system, which again uses the chakra system as well, uses the bunda system, uses all of these values, these pathways of energetic channels within the body, if that makes sense. So for me, that's super easy just to understand what he's saying and to kind of slide into that system as well. But if this is something you're super interested in, if you don't have this book, I would suggest getting it. I would also suggest finding a teacher. It is very important that you find a teacher. If you don't have a teacher, if you don't have someone to guide you through this, then the chances of it going awry, going bad are very high, right? It's because we have the ego. And so part of the yoga practice too is to kind of understand what the ego is and to understand that the ego is what is fearful. The ego is what has pride. The ego is what puts up obstacles for you. The reason that is is because the ego is what is mortal. Your soul is not mortal. Your soul has no pride.  It's nothing but continual unconditional love. The ego though is what has fear because when the day comes that your body passes away, the ego goes with the body. The soul doesn't, the soul lives on. So, but sometimes this ego can be a bit of a trickster. And so it's really important that you have a teacher there to kind of help you with your blind spots, challenge you where you need to be challenged. Your teacher should not be somebody that's coddles you or that is sweet to you. They need to be nice to you, but not abusive, but they need to be very stern with you. And so I would suggest that you find yourself a teacher if this is something that you're interested in just to help you maintain integrity within your path, if that makes sense. All right, so let's get started. So again, this is page 136, a brief comparative of internal alchemies. So this is a personal note from Tom, the guy who wrote this book. The primary task of Egyptian alchemy was taught by the Magdalene is to strengthen the Ka'a body, so like the energetic spiritual body. This is done through states of high ecstasy since ecstasy and bliss strengthen the Ka'a. There are two primary paths that can be taken in this regard. For those in a sacred relationship, exploring the sex magic of Isis, the ecstasy naturally arises during love making. But for those engaged in the solitary path, the alchemies of Horus, the ecstasy is self-generated. And he did say a sacred relationship, and I wanna hit on that too, because there is, in the Yoga Sutras of Patanjali, we have what we call the yamas and the niyamas. The yamas are like a hems and non-violence. It's very much kind of how you behave to the world. But the niyamas are more of an internal decision-making for yourself. And there is something in the niyamas called brahmacharya. Now, back in the day, back when yogis lived more like monks, this basically meant celibacy. Now, for us who are what are considered householders, so I am not somebody who's celibate. Not somebody who's celibate. So basically, and you watching probably aren't celibate either. So basically what that means as a householder, someone who is not a monk, who is not Brahman, is that you have to now take that idea of brahmacharya, which was celibacy, and just basically now evolve it into meaning appropriate use of energy.  Basically, now with that being said, I'm very, very, very, very anti-purity culture. I think purity culture is extremely toxic, but there needs to be some gray. Like you have to kind of land somewhere in the middle.  You are taking in, literally taking in the essence of another person. And this can cause all sorts of issues. Now, if you are in a sacred relationship, as he says, where there is love and there is trust, then this can be a beautiful, beautiful exchange of energy. It can be amazing. But if you're just running from person to person to person to person, you're creating like a shitstorm for yourself of different energies. And that's something that every single person needs to understand. And you are in control of that.  And so I would just really make sure you understand that. And I like that he called it a sacred relationship. And as we saw with the beginning part of this book with Magdalene's channeling, she talked about that the woman especially needs to have trust, needs to be completely in a pure state of trust in that moment with the man that she is with because otherwise it's not gonna work if she's holding back. And I've been very honest with something that I'm having to work on is being able to kind of let myself go because I have been hurt in the past. And so that is something that I am working on with myself not with another person, but just with myself trying to get to the root of that. So when that arises, I will be able to let go completely and be in that state of trust. So I wanted to just bring that up again, super, super, super important. All right. For those on both the solitary and duic path, I believe the section will prove invaluable by placing the manuscript within the context of the other alchemical systems. I also feel that those working with other systems of internal alchemy may find the information below helpful in placing their own practices in relation to the manuscript. All right, so that's his own personal note. Now we're going to get into the actual information. This section explores comparisons between three of the four major alchemical systems, Tantric yoga, Taoism, and Tibetan Buddhist Tantra. Egyptian alchemy was presented in the previous chapter and the reader were undoubtedly recognized some common elements between the Egyptian system and those of other three lineages discussed in the section. Those already familiar with these systems of alchemy have no doubt recognized the unusual position taken by the manuscript in regards to the sex act. As a student of comparative alchemies and mystical traditions, this was one of the first things that struck me about Magdalene's material. And that is correct. If you guys remember when we went through the first system of Egyptian alchemy, I was comparing it left, right, and center to the practice of yoga. It's all the same thing. Might be called different things, but it's all the same stuff. If I may summarize these differences, I would say that the system introduced by the Magdalene is architecturally female based. According to the Magdalene, the female holds within her nature the secrets of creation. Magdalene goes on to mention how she was trained in the alchemies of Horus and how to raise the serpents through the meditative powers. But in the presence of Yahshua, and especially during our love making, the alchemies naturally presented themselves. In other words, they engaged without her having to do anything. She speaks at great length about how the female must feel safe and appreciated in a relationship with her beloved, as I just said, 100%. Then and only then can the alchemies of transformation she calls the sex magic of Isis occur. If these elements, safety and appreciation are in place within the relationship, the female can let go and allow the feminine mysteries to express themselves through her. When this occurs during love making, there is often a shuttering in the female. If she allows the shaking to proceed, it will take her deeper into these mysteries. If the male has trained himself to nest within the vibrational energies released by his partner, then both he and his beloved can strengthen their co bodies, one of the primary goals of this system. The central place of the female in this alchemical system is strikingly different from any other alchemical systems. In many regards, the main alchemical system of the world are male based. For instance, in Taoist literature, there are fewer written instructions for females than for males. Even though Taoism is considered by some to be matriennial linear in practice, at least in the last few hundred years, most of the emphasis was upon the male practitioners. There were no doubt very developed female sages in China, but their presence is not generally represented in Taoist alchemies treaties with some notable exceptions. In fact, some Taoist practicing dual cultivation, the sex practices of Taoism, in previous centuries viewed women as mere containers of Qi. These unscrupulous practitioners were engaged in the act solely for the purpose of extracting the female's excess Qi with little regard for her comfort and safety. And this is why I think a lot of women like myself have trust issues. In Tibetan Buddhism, although the feminine principle is deeply honored, in practice, women are often regulated to lesser places of power and importance. One of the great buddies of Tibetan Buddhism is Tara, a woman who historically lived in a general area of Tibet. We've talked about Tara and the Soviet code, the green Tara, right? When she attained elimination, legend has it that a group of Lama set out to find a new light, noting that an enlightened being had entered the world. Upon tracking the light to her village, they were dismayed to discover that she was a woman. They reputedly said to her, now that you have attained elimination, you can be reborn as a man to which she replied, I will remain forever in the form of a female. To this day, she resides as a feminine presence in the subtle realm of being the Tibetans call Sanboyaya, the realm of pure light and sound. She is known as the swift protectorate and is a power and benevolent being. Yet the attitude of inherent male superiority shows up again and again in not only certain aspects of Tibetan Buddhism, but through much of Buddhism in general. A curiously look at the history of Christianity reveals patriarchal attempts at the disenfranchisement of women within the church and within its historical documents. In the dark ages, the church formulated the Nicene Council an attempt to edit the numerous gospels and sacred writings of the early church. Under the orders of the Roman ruler Constantine, the council was charged with choosing which of the many scriptures will become part of the New Testament. The result of the council throughout many of the sacred texts of the time, choosing only those that further their own ends. Exactly, that's what we've been doing on this channel. We've been reading what we have available of the missing gospels. The banned gospels books, Constantine, was a psychopath. He was definitely a satanist, for sure. There's evidence to support that. And not only did they pick certain gospels to be in the canonized library, but they also changed the story and edited it. And my opinion is a lot of the gospels that he threw out, it was just too much to edit. And so they picked the ones that were really easy to edit. All right, the early mystical vision of the Christians had been shaped into a territorial and political desire of the church and state. Exactly, exactly. And in the process, many of the writers honoring the female were declared a heresy and the Holy Church of Rome began its long campaign to disempower women. During the middle ages and especially during the holy imposition, the church routinely burned women suspected of being witches. Often these women were just herbalists and healers. Indeed, any woman standing up to the patriarchal powers of the church risked a terrible death. I know I've been burned at the stake many times. The disenfranchisement of women by the church continues to this day, although it is certainly more subtle than during the middle ages. I believe that religion and culture are intimately woven tapestry, exactly. The threads of religious belief pass into the culture and the attitudes of a culture get sewn into the fabrics of its religion. There are in many ways inseparable. So too, the mystical traditions and alchemical practices born out of a religious insight, which are supposed to be above the earthly issues are invariable affected by the cultural assumptions as well. Thus, one can see the threads of male dominance in every fabric of mystical and alchemical systems throughout the world. As a document purporting to impart an alchemical system, the manuscript is unique in that its methods are steeped in feminine mysteries. Perhaps this is because it shares roots with the ISIS cults of Egypt. Some of the alchemical presuppositions of the manuscript are in alignment with major alchemical schools or lineages of the world. However, some of its views differ quite radically from other alchemical systems. For example, the manuscripts hold the relationship between sexual partners in high regard. This intimate act is used to activate certain alchemies within the initiates, but the emotional relationship between the male and the female is viewed as a sacred foundation of these alchemies. 100%, 100%. You need to be, in my opinion, you need to be an intimate relationship with your best friend, with the person that you trust in love and who loves you in return, 100%. For another, the female is seen as holding within her nature certain alchemical keys for transformation. These keys cannot be forced, but are accessed only when there is safety and love in a relationship. This approach makes the manuscript unique within other alchemical systems. Believing as I do in the power of synergy, I feel that those undertaking this personal experience with the Magdalene material would do well to become aware of the other major alchemical schools accessible at this time. In other words, place the manuscript in context with other internally based alchemical systems. For this reason, I have presented a brief survey of three other major alchemical streams in regards to the sexual practices of internal alchemy. I present this in the hopes that it will provide interested readers with a broader context of understanding the implications of the manuscript and to better utilize the practices to their benefit. So we're gonna end that. We'll just call this part eight A. Before we get in, next week, we'll get into the tantric yoga. And then from there, we'll move into the next section in part eight, which I believe goes into Taoism and goes into Buddhism, which I know that a lot of people are probably gonna question that because we know that the Dalai Lama is very much a part of the controllers group. But I just wanna say with things like Buddhism and Hinduism, which Buddhism does come from Hinduism, it's basically a philosophy more than anything. There's not as much dogma as there is in maybe the Western perception of spirituality where you have Christianity and other, even with the Eastern religions like Islam, there's more of a structure of a dogma, rules to follow where in Hinduism and Buddhism, it's more of a philosophy, it's more of the independent practitioner taking control of their spiritual life through guidelines and a teacher. And so that's the big difference. And so even though the Dalai Lama might be corrupt himself, I still see a lot of value within Buddhism and Hinduism, just as the church has corrupt, I find great value in the teachings of Yahshua and Magdalene, true teachings of Yahshua and Magdalene. So we do need to make sure we're always separating the system from the teaching because they're two different things. You can't just throw the baby out with the bathwater because there is value if you remove the system from the actual teaching, if that makes sense. All right, you guys, I hope you're having a wonderful day and I will talk to you soon. Bye.


Welcome to the debriefing portion of the online simulation module Total Quality Management in Air Transportation. In this debriefing, we will briefly revisit the three scenarios presented and reflect on the application of Total Quality Management Theory, or TQM. That way, you can engage in cognitive rehearsal, which is a term for role-playing what you would do in a certain situation, even if it is just in your mind. By cognitively rehearsing how you would respond if you were a character in one of these scenarios, you can prepare yourself for real-life scenarios that you might encounter in business and management. Just to remind you, here are the module learning objectives that are also listed on the introduction page to the module. All of the activities and resources in this module are geared toward having the learner achieve these learning objectives. Okay, let's go back and revisit the scenarios faced by the characters in the simulation of the British Airways Executive Team. In our first scenario, the group discussed setting goals for 2009 and using TQM elements as a guide. Let's think about the various ideas the group threw out. Remember, the group was asked which metrics on which to focus and which TQM elements to emphasize that would positively impact those metrics. Depending upon their perspective, the executives threw out many different ideas. Some focused on revising processes, like ticketing and customer flow. Others focused directly on actions that would please passengers with the idea that these efforts would also improve other metrics. In any case, the TQM elements provided a framework for the group to discuss their various perspectives on what metrics to prioritize and help them consider how to apply the various TQM elements in that process. In the second scenario, the group is in panic mode because profit is plummeting. They use TQM to focus their discussion on how to turn around negative profit, connecting their ideas with metrics and TQM elements. Because each member heads a different group, they each have a unique perspective as to why profit is tanking and what should be done about it. In this case, the ideas thrown out by the group led to the consideration of facts, which are very important to the TQM process. The members of the group expressed a need for more facts before developing a plan. Sometimes this happens and applying a TQM framework can help the group realize this and obtain the facts needed to make a plan for implementation. Having the facts can help the panicking group direct their efforts in a strategic way. Through the framework of the TQM elements, the group can develop a plan to improve metrics associated with increasing profit and implement changes to bring this about. Finally, in the third scenario, the group was asked to recommend a strategy based on TQM theory to keep inventory turnover high. In this case, TQM really helped the group brainstorm some concrete steps they could take to move toward this goal. Further, they talked concretely about how they'd actually implement the various TQM steps in moving toward the goal. Such practical ideas can lead to a strategically focused master plan for keeping turnover high. In this case, TQM was helpful because it guided the group toward an overall strategy, which in turn provided a context for the implementation of all the TQM steps. Now, the group just has to formulate a specific plan to move forward. In conclusion, total quality management theory provides an approach that can be used to guide problem solving at the system's level that results in plans that require participation of workers at all levels. TQM is based on eight elements, is implemented in 12 steps, and can be guided by different implementation strategies. It provides a framework in which business leaders can work together to chart a course toward quality improvement in their organization. Thank you for completing our online simulation leadership module on total quality management. Please help us out by completing our anonymous post module survey by clicking on the survey link on the completion page of the module. And have a nice day!


A very good morning to you. It is Tuesday, Entrepreneurship Tuesday here on Why in the Morning on your Y254 channel. This is your favorite breakfast show and my name is Hilda Wadidhi and it's about time. We talked to some young people in studio and to start us off on Entrepreneurship Tuesday We have brought people who are producing films, people from the entertainment industry. They go by black, black ink frames. Gosh, I don't know what I say today. Black ink films. Anyway, if you don't want to participate in the conversation, do slide into our DM, Y254 channel on Twitter. The hashtag is Why in the Morning, hashtag Entrepreneurship Tuesday. On Facebook, we have Y254 on Instagram, Y254 underscore channel. On DSTV376, Star Times 54, Signet 824. So make sure you do keep it here. So black ink frames. Finally, let us come over to Ropali. Yes, films. Let us meet some of the director and the producer. I have a boy here with me. I have Sunday Lion. But let us say good morning to you first. Hi guys. I'm the producer for Black Ink Films. Hilda said it's films, but it's films. It's dangerous. Yes. And we are here to talk about film production and the entertainment industry. Yes, I go by the names of even Sunday, aka Sunday Lion. And I'm primarily the director for the production house. Okay, so Black Ink.  And I'd like to know how you guys met. Why did you guys fall in love with film and then decide, oh, let's create this team, let's do this. When did this begin? You landside. I landside. I don't think it happened how you think it happened. We were friends before. We knew we were film producers. So yeah, the friendship was built a long time ago. Then by chance we fell in love with film. We went to film school differently. And then, was it in 2017? Yeah, 2015, 2016, 2017.  So you just come together because you're doing the same thing and form this thing. And yeah, that's how it happened. Actually, I'll tell the juice of the story. So by that time, I think she was working as an editor for a TV program in one of the media stations. And I was just from a project as a cinematographer for an NGO. And we were sitting together after a long work day. And they told me about Black Ink and how passionate they were. And I decided, let's just formalize this. We went and got registered. And yeah, we've been kicking ever since. So it was primarily a group of friends that all of them were doing film in different avenues. So the idea of it being a collaborative pact and it working as such just came to us in a click. And we ran with it. We just did it three years down the line. Okay, so tell me about your first projects together. Wow. My first project together was for an event. It was, I don't know if it's still there. It's called Millionaire. So what happened is, one of the organizers was my roommate, but I was not really interested. So this guy calls me, he's like, yo, we need to have portfolio. See, you get this gig. So I talk to those guys. I'm like, I'll give you an aftermovie. But I need tickets for free.  They just want tickets for free. But you're going to use your camera and equipment. They rented. So I told my team, being the producer, that we will contribute this and this amount. They'll give us two tickets. We went for people. And then the other two, we will buy for ourselves. So that's what we did. And then we went, we did a very nice aftermovie. It was very nice actually. And then our table stand. Our table stand. Actually, the project we did, it was because we sat down and you were like, and I told them, okay, we have a good team, but we're not out there. So people do not know exactly the new formation we have made. And by that time, I knew a couple of the organizers that were doing the event. So I reached out and she reached out to her contacts. So initially they were like, we've never heard of you guys, you know. We're not sure. Then I was like, okay, I trust in my brand. I trust in my people. And if you want to trust in us, let's work together. If you don't want to work with us, it's okay. And I think coming out of that firm made them consider, made them consider like maybe these people have something to offer. So they gave us tickets and actually it ended up being the networking event that now brought black ink into fruition. We ended up getting jobs with high end clients. We worked with a school in Wilson. They were doing an aviation project on a quarterly basis every three months. We ended up having some sort of contract for the whole year, which was good for the company. Securing such a deal at the beginning of your company, it was huge. And we were able to grow and to just, it boosted the confidence for us as a production house and we knew that we were able to deliver what we had plans to do. So what's harder? Getting started or maintaining? I would say getting started is not hard at all because it is something that comes internally. Most people already know that they want to start. But the affirmation of continuation that you should continue, especially when things now become tough in the next, the hardest thing for us was now collaborating as a team. You know? Because he was the one who came first. I was the one who came first. Our other director is called Agastin Bai. He wasn't able to make it today, I'm sorry. But he also had his own things he had done. So it's a matter of now let's think together because the first initiative is, I have my work at work for me. This is how I do things. And this is how I do things. So getting first of all some sort of routine that would sink us together took a bit of time. Then when that came, communication, how do you communicate? You're so used to doing things on your own. If someone wants to talk to Sandelao. Yes, yes. I'd really like to also understand from what I'm going. Now that you're in a team and now you have to work together, what was your experience like? I think I'm a leader. All is very interesting. Yeah, I'm a leader. So I've been bringing people together since a while back. So it's not hard for me to work in a team. Communication, I wasn't that bad. I knew that if you're working in a team, especially when there's like two guys and I'm the only chick, there's a certain way like you have to communicate and I tried to involve them at least. Since you became a team, I made sure every project I was doing they were involved. So yeah, I think alone you can go far, but together you can go farther. So like I've always believed in teamwork. And I think we've found our way around communication. You're not having these issues anymore. Those were beginner problems. Oh, they don't exist anymore. No. Okay, so let's talk about your individual training. Just in case somebody is interested in venturing into this particular route of work, what experience do you guys have? Because somebody can hear somebody here was producing a TV program somewhere. What training did you go to? Which schools? Which schools, even YouTube, whatever, just let us know. Unfortunately, we did not go to YouTube University, but we've been there recently. I'm very unfortunate. You know, maybe someone out there was waiting to be inspired. Yeah, unfortunately. We actually went to film school. I went to multimedia university. Yeah, and I studied film production and animation. Yeah, so I went to school for this. And I'm a producer. And I'm a video editor. And I also am getting into directing. And before all this, I was a photographer. So yeah. Oh, so you started with photography? Wow. Yeah, because I love photography. When I reached your point, I was like, I love video more. You diversified into film? Yeah, film is amazing. So yeah, I went to multimedia together with Agastin. Yeah, so yeah. Sandy, what about you? I went to Africa Digital Media Institute. You want like the breakdown? Yes. Excuse me. I went to Africa Digital Media Institute and there I was fortunate enough to be at the student council and also chairing in the executive council for the school. You just had to sneak in the lead? You said we do the whole nine yards. Then I went to, actually I went to Gotting Institute. I studied a bit of German. Then I generally went into a bit of consultancy, working on projects in a contractual. So for example, like the NGO project, I was a consultant at DMA and a cinematographer. We were working with around 80 girls with the Shadada Project trying to teach them film. So imagine I came from school to teaching. Wow. Yeah, and actually doing a film that is called A Tieno that was premiered in Nairobi Cinema and also in Kisumu. From there then I started doing jobs as a study camera operator for homeboys' entertainment. Under there I was able to do, I was fortunate enough to work with people like Kaspanyol West, Yemi Aladeh, Mr. Izzy, Yemi Aladeh, Mr. Izzy, Weston, Kerry Hilsord, should I go now? Yes, I was fortunate enough to work with all these people. Then generally I've also been fortunate enough to work with Blackink we've done projects with the Kenya School of Flying, Brookhurst International School, we've done Millennials, we've done Barak Jacuzzi and Friends. We've worked with a couple of people in African Uvo, we've done a couple of music videos that I have to come out and some more that are coming out too. Yes, I also forgot I was nominated for Zanzibar International Film Festival 2017.  Yes, and Smartphone Film Competition 2018. Okay, now that we have seen the credentials and reaction over here, can we talk about some of the challenges that you guys have encountered as a group? Especially now that you've been around for long, I'm sure you've had a few challenges. At least we know the communication was a beginner one. So what other challenges can you say that you have faced before we talk about some of your projects? We have external challenges mostly, like lack of proper funding in the film industry, like most of the challenges we are experiencing now are not internal, they are mostly external. So we can say what you're experiencing right now is the fear of stagnation, what you say it maintaining, just maintaining the business where it is and growing. Those are some of the challenges and also trying to be out there. We want people to know about blacking and it's not as easy as we thought. Oh, so getting your brand awareness. Which is interesting because now your Instagram page is over here and we can see a few photos, I can see more photos than videos, I think we can just scroll down and just have a look at their page. Who are these? So just run on people, little photos of when you're starting off and then when you scroll up, there's a couple of videos we started uploading because part of one thing we are big on is strategy. So it's an Instagram platform, you start creating audiences with your pictures, then you start creating video content. That's why most of the things you are seeing beginning are pictures. So it's gradual, it's very gradual. I like your logo, I like the eye. Thank you. Okay, so let's talk about your best project, the best one, the one that you can say in overall the three years, you're like, yes, now this is like your favorite one. Our best project is the one you're going to do next. Oh, so what do you mean? Can we get a small hint? Actually, for us, that's our motto. Every time we do a project, we say the best has not yet been done. It's a gradual increase, it's an improvement. So we have done good projects, but we are yet to do our best one. And when we do the best one, we'll do the best and the best, so we keep on increasing. Okay, so now that you've mentioned that the best one is yet to come, what can we expect from Black Ink? Fire, just expect that. Oh, fire, I like that answer. For 2019, Black Ink is big on collaborations. So you would see Black Ink collaborating with other production houses, which is something very rare. In the Ken Entertainment scene, you'll see Black Ink cooperating with other actual production houses. You'll see us collaborating with corporates. We actually have a commercial coming out very soon. You'll see Brand Awareness what you're doing now. You'll see hopefully more Black Ink on your TV screens, in different channels, different programs. This is part of our strategy actually for 2019. Just to create Brand Awareness and collaborate, that's our plan for the year. And also, we have a short web series coming soon. So you want to be out there as film producers this year. So that's something I think you forgot to mention and it's actually something very... Actually we're doing a web series and we're doing, I think, two films. There are two films coming out from Black Ink. Two short films from Black Ink. Two short films. Exciting, I'll make sure I keep tabs with that because I also used to do film at some point and then I stopped. So let's talk about some of the trending things in your industry. As people who have credentials, you've studied it and then there's this other group of people that went to YouTube to school. Can you say that there's any clash, especially when it comes to getting jobs? Do you feel like it even mattered that you went to school? Can I take that? Yes, okay. My issue with the YouTube University people is not the skill actually. It's the budgeting side, right? Because when you go to film school, you're taught how to make a proper budget for production. Oh! You have to plan writing production schedules, keeping... even writing presentations, writing proposals and most YouTube channels will just teach you how to shoot primarily and I would say from interest, there is no problem with YouTube learning. You could learn from interest a bit so that when you go to school, you have a stepping stone. But the thing is, every time you think about it, you are going to interact with people who are learning if you're thinking about this in the bigger picture. So how will they view you and your education? Okay. So it's pretty important also for verification. People feel safer, especially if you want to go to the corporate world. Oh yeah. People feel safer if you want to look for funding, if you want to collaborate with governments. People feel safer when you have credentials. It's not more or less like you are qualified. It's more or less like you have invested something in it. You have put in money in it so I can trust you with putting money in you. Okay. But when you do YouTube, no offense, but it's bundled. So someone is like, you want me to give you a budget of five million and all you did to learn this is five minutes on YouTube. Yeah. And also how the budget and the conflict comes in with how the budget for clients you find have written a proper quotation that will do a proper production. For this guy, if I have 10,000, I can go out this weekend. So they'll just ask for, do you understand the proper question? Yeah, versus what they do. So clients will feel like I need to go with this YouTube guys because they are cheap and all that. Yes. But also just to state, most people who go to YouTube are people who are interested in being crew. Yes. They are not people who want to do a business. And blacking is trying to do a business. Okay. Blacking wants to collaborate even with the Y-24 movie. Do you want to get some paper? Exactly. We want to be the decision makers. We want to make the decisions, be the boardrooms. And that requires you to have credentials. So it was very strategic for all of us to get credentials because that is the bigger picture of blacking. We want to extend not only the region, but in Africa and also be able to collaborate abroad. Let's talk about, wait, there is a very sensitive topic that I almost forgot about. Risky content. What would you say is risky content for blacking? You know, we are having a lot of issues when it comes to homosexuality, LGBTQ. What do you define as risky content? Like this is a no-go zone or can you actually do it if you had the chance? I think as a creative, you never have risky content because your mind wanders. Because it has an audience. That's why there are some contents that, there's an industry, and I mentioned in Hollywood that exists primarily for that risky content. But also it's more or less in terms of your objective and how you want to be seen as a brand. Sometimes we actually will turn on projects if we feel that it doesn't represent blacking the way it should.  We usually say no most times before we say yes because we are three, understand the dynamics and before we can get a go on something we have to all see on the interest of blacking, not on the interest of Sanderlion or on Grace or on Stain Gatuma. It has to be on the interest of blacking as an entity. So that in mind keeps us in check that even if we may not agree in terms of the moral ground it's how do we represent blacking as a company. That's very interesting. I'm surprised that you've actually had an opportunity to turn away some money. You've turned down even opportunities. If you're building a business there's the long term goal. Like someone said there is on why Africans fail it's because if you ask an African if they have a five year goal most of them don't. That thing actually hurts me. We have five year goals, we have ten year goals. Actually the beginning of the year we did the beginning of the year we did a strategic plan for the company that goes down up to ten years that's why you are here. We are good for a decade. I can see some Diani images running through here with people having a good time swimming pool and stuff. What was happening? We shot a holiday camp for Kenya School of Flying and we got to go to Diani. Kenya School of Flying? So you guys were in choppers? Yeah we were in planes. They are called stationers. No actually no. To me flies you see what a cockpit is. We've been with the pilot that's how we fly. We fly with pilots. We don't know about passengers. Okay so let's talk about what do you feel that the government can do to make your life easier as a film producer? I don't know if this will put you guys in trouble. It's okay go ahead.  That will solve one of our problems. One of the police is calling for your removal. Yeah that's just it and I think you know like okay I'm sorry to say he should not be in a classification board and that is one of the problems. Whether KFCB and the licensing and all those things that is where the problem is right they made it easier for us to shoot. We can shoot content. So they should make it easier for you to shoot especially when it comes to permits and places. The thing is on a lighter note on firing. Don't come for us Mr. M2. Please do not come for us. But generally it's out of legislation that you govern an industry. So you have proper legislation then you create a regulatory body that then is able to create industry. So we have big problems in the film industry because of legislation and licensing. You get it is sort of unfavoring for a lot of production companies or a lot of SMEs that are trying to venture into the industry of entertainment because of legislation alone. You get it. So if I'm going to meet an investor today and they feel I don't know the government also has problems with you or maybe I want to go and get something and maybe the licensing for it alone is 20,000. You get it. Even shooting in our beautiful CBD it's hectic. There are not very many aerial views and the people who have been able to do it have done it in big budget productions. No photography bans on almost all public places. And you know this is art. Someone wakes up and wants to take a photo in the Nairobi city and they can't do that. So what do they have to do? They have to go and maybe go to a balcony outside their house and take the photo there. But maybe that creative individual would have taken a way better picture if they were allowed to be in a creative space. So legislation is a big issue and also in terms of internally as an industry we have the challenge of regulation as ourselves with the guilds and the associations primarily most people don't feel they are out for the interests of production houses especially startups because we have the ones I'm not going to mention but we have the ones that are doing big budget productions and you find that in those regulation boards they are the individuals who are sitting there. So you see vested interest how can I be in charge of a guild and I have a production house which is going for the same bids. So there is an unfair advantage. There is a big unfair advantage especially if you want to start up in this industry then the issue of we only trust people who are old. We only trust people who are old. Exactly. In our field that's a big thing because I go there and I tell someone I am a director, they look at me, they look at my age which is a big issue until then I start speaking of everything I have done and then I am this impressive individual and they all want to collaborate. I think that's a problem many young people face everywhere not only in your industry. But you see the thing is in our industry people look at experience very much especially I'm not talking about the small stuff I'm talking about the big budget stuff someone wants to put in 100 million on a production house they're not going to look at a 25 year old you get. I'm sorry the age thing it's everywhere so in the spirit of inspiring the young people guy let us not finish like that it's about how we end this interview but as a parting shot what words of advice or encouragement or even just I don't know you should know this like word on the street you can let the people at home know From my side I think what I can tell the young guys is just that keep doing what you're doing don't give up whatever Sunday you're saying I disagree, don't feel like it's an issue because I never bet I met a billionaire that was 25 very few these things happen as you keep pushing and keep going so in 10 years time I'm sure we'll be there but for now you have to keep working these things work out actually it can be done and it's amazing when you get to do it Thank you one boy Sunday I'm the strategist so I have to look at both sides of the coin but generally for me I would speak on the individual which camera am I looking at camera one, camera two yes camera four I would like to speak to the individual that is watching this and is interested in doing this long term I would say first of all congratulations because you have made up your mind then I would say learn as much as you can don't let your ignorance be your downfall learn from the greats even the ones you don't like do we have some amazing directors in the country and we have some amazing directors outside of the country we have some amazing like the top 100 films watch all of them and believe in yourself and be consistent and have patience then something will happen I guarantee you something will happen something will happen I like that social media handle so that we can live with your diani holiday feature because not people when they play in those stuff you could find me at Sundaylion it's Sunday underscore L-Y-O-N on Instagram you can find that films on Instagram and my handle is the t-h-e-e underscore omboy be omboy