The City of Portland has partnered with several local businesses to erect a monument to Portland's fallen firefighters. Brian Knoblock talked with Deputy Fire Chief David Jackson about this tribute to Portland's bravest. Chief Jackson, what's the background for this monument? Well, certainly, as you can see, there's 20 names on this monument. There's 20 firefighters in the Portland Fire Department's history that we know of and documented that lost their lives in the line of duty. The idea kind of started in 97-98 with retired Deputy Chief Larry Libby. He was a lieutenant here at the time at Central, and then he was also captain here. He kind of came up with the idea of a concept about something on the west lawn, more of a moral than just the plaque we had in the building. And then in 2008, we really got a more formal committee going and realized certainly the first challenge was the fundraising. But the fundraising has gone well in the last few years, and as you can see, it's come to fruition. We're glad to see it's here. Like I said, we raised a little over $32,000. There's still some money coming in, and certainly donations can still be made. And there's going to be a lot of cool things for Saturday, so we're looking forward to that day. The location of this monument has a lot of history with the Portland Fire Department. It does. The history of this location, certainly this location in general that the stations are now is actually a city park. But right where we're standing, where the monument is built, in the past, there's been three other fire stations right here. Several times burned in the Great Fire, but they rebuilt here, and then the station is now the fourth station that's been at this location. So it's really kind of fitting. A lot of the names that are on this monument were men that worked in the stations that were here, and all of them at some point in time in their careers worked here at Central Station. And you did have a lot of companies, a lot of local companies that contributed to the monument. We did. We had, most of all the businesses certainly were all $1,000 or more donations. That was just a huge help.  Yeah, so it's been, the fund raising has gone well in the last few years. And what are the elements of the memorial here? What are the different parts? Well, we wanted to first kind of create a setting that, you know, certainly anybody could come here. Like we had talked earlier, there's two more black granite benches that will be here. But a kind of a little place that was in the park, again here in the West Lawn, is perfect for it to be quiet, a place of reflection. Somebody could sit here and visit, certainly visit the memorial. So we created this area with the brick, the brick lays, the granite flower beds, the granite benches, and certainly the black marble monument with all the names on it. And the other items that are on here, plus the three flag poles, I think it says it all. The official dedications on Saturday the 28th, and you're looking to get as many people as possible for this turnout. Is that right? That's correct. I know we had over 150 on the groundbreaking. And we are anticipating at least 350 plus close to 400 on Saturday the 28th. We've sent out over 450 invitations. We still have a few that are going out on those last minute people we don't want to forget. And then certainly to help get the word out through the news media, I'm sure we'll even have more people to comment. We're trying to also take this time to reach out to any Portland firefighter that's retired from the department or any family member of that firefighter who maybe has passed away to get back in touch with us. If they aren't already in our database of contacts. Any time we have events going on or things going on like this that we have a way to reach out to them. And we really want hopes that they'll have the opportunity to get back in touch with us to get into our database. There are over 200 current firefighters in the department. Is there a big sense of history within the fire department reaching all the way back to 1768 when the department began? Well certainly the city of Portland is, you know, it's typical old eastern seaboard city as the United States grew. So the history is just the city alone is tremendous. And the fire department again as you mentioned 1768. Yeah we have a lot a lot of history in the Portland fire department and we've been able to maintain that. Our museum down on Spring Street, a lot of departments have come firefighters from across the country visited our museum and they're very amazed by the history of what we've been able to preserve in our museum as well. So this is one more big piece for that. And what are the details again for the dedication? We're going to that morning the ceremony basically will be obviously presenting a colors national anthem. There'll be some speeches. We'll also be doing a reading on each firefighter that lost his life in the line of duty. The other thing that's too in the program is we're going to be announcing a remembering and preserving our past by bricks are going to be available for retired firefighters and family members to buy a memory of firefighters. You could buy a brick and have it engraved. And then part of that brick program would be bricks in front of the museum as well. And the fundraising from that is going to be maintaining the account to preserve all the memorials, mostly this memorial here. And then some additional funding from that fundraising will also continue to support the museum. Again preserving the history of the Portland fire department.


This video is brought to you by the University Libraries Sanford Media Center. In this video, we are going to go over how to do basic video and audio editing inside of iMovie for short video projects. So first you want to get all of your materials together, any videos that you shot on your cell phone, any audio that you recorded, any music, any pictures. I've got some stuff on the desktop here, but I recommend you keep it organized. Just create a folder. Let's title it whatever the project is. Project for English 102 something like that and just dump all of your stuff in that folder. Keeps everything nice and organized. You know where it is and that is always a good thing. So we're going to open up iMovie and the first thing we want to do is create a new library and think of the word library here as project. They've just kind of changed some of their wording. So we're going to go new library. You want to make sure you put it somewhere where you can find it and we'll just call this in 102 since that's the name of my project and so it creates this little project right over here on the left side and you can rename that of course anytime you want just by double clicking right there and retyping. But then you also want to create a project inside of your project. So we're just going to create a new movie and we want to make sure it's inside of that library or project that we just created. We're going to click okay and now you are pretty much ready to get started. You just want to make sure that you import your materials. I've got everything on the desktop so it's super easy to find and they're all in a folder so I can literally just import that entire folder. That's why it's really good to keep everything together organized in a folder. Let's see we'll continue to import anyways and we've got my video clip and some I believe some voice and some music or actually that's a sound effect. Yeah once you have your audio files your video files pictures you just import all of that and then you are ready to start creating your video and it's literally as easy as drag and drop. You just drag stuff down in the order that you want it and put your video together. One thing I will add is that if you're getting images for your video off of the internet when you're using Google image search I'm going to do dog click on images. The trick with this is you want to click on tools and make sure your size is large because if you download an image that is too small iMovie will blow it up and make it large and it will appear fuzzy. So the standard size for HD video is 1920 by 1080. So you want to click on an image you find that you like and try and find something that is you know as close to 1920 by 1080 as possible. This one you'll see right here on the lower left corner is 1280 by 720 that is the lower bounds of HD video so we could still use this and it would get blown up a little but it won't be super fuzzy. Anything smaller than this size 1280 by 720 is going to look a little fuzzy when it gets blown up for video. The other big mistake I see people make is that they'd save these little preview images by right clicking and hitting save image. You want to actually make sure you click on the image and go to where that image is hosted and get the actual image that way you get the real full-sized image and that is definitely what you want. So we've saved that image and I'm going to try and find one that's too small so you can see what it looks like. See that one's huge that's plenty big enough. Let's try and find a small one so I'm going to go to small I'll go medium just to see that's still fairly big.  Okay so we've got a couple images here we're going to go ahead and import those and you can drag and drop from the desktop but I'm going to click file import media and those are on the desktop so we'll grab that one import go back and do it again grab the other one. Alright so I've got my images off of Google inside of my iMovie project so let's start putting this thing together. I've got a dog video here I just ripped off of YouTube I won't go over how to do that there's a lot of different ways a lot of different apps on how to rip video content off of YouTube a lot of different ways to do that so I won't cover that here but if you need assistance with that definitely reach out to us via email or phone and we can walk you through that pretty easily hopefully but basically we just drag our video down and it's good to go and if you've got more video clips you just drag them down put them in the order that you want and they're good to go but what about some stuff in the video clip that you may not want let's say you want to trim some of the fat off well you can do that up here on the top by clicking on the video and grabbing these yellow handlebars and then just isolating the piece that you want and then you just drag that piece down and you'll see it's a smaller chunk and I can put it wherever I want to you can also do the same thing down here in the main timeline by just clicking the edges and dragging those so that's kind of the two primary ways to trim off excess video that you don't want you can also split a clip if you need to do that for better you know better cuts you can just put the playhead which is this vertical bar that's moving around here click where you want it to be and then on that line right click and hit split clip and that now turns it split the clip and I can move stuff around anyway that I want it's just like putting a puzzle together really you just organize this stuff in the order that you want it to play stretch it out cut it split it any way you want to get it to look the way that you want and that's pretty much the foundation of any video project you just lay out the video and it's good to go as for pictures you might want to insert some pictures somewhere you can just do that by dragging and dropping but you can also put a picture on top of a video clip what that does is you'll kind of see here as I'm slowly mousing over it'll then play that picture over the video clip so let's say you have an interview of a person talking well it's not very interesting to look at a person talking for an extended amount of time so that's why we have pictures on top of that and that's commonly referred to as b-roll so it's good to have pictures or other video clips that you can use as b-roll over or on top of less visually interesting clips or to add emphasis let's say this bottom clip here is a person talking about puppies I might insert this picture above that while they're talking about maybe this specific breed of puppy or something like that just really helps sort of you know make your video more visually interesting to the viewer you'll also notice that this picture it's moving iMovie by default adds what is called the kin burns effect to all photos so it's usually a slow zoom in or a slow zoom out it's kind of random but you can edit that by selecting that picture and going up here to this crop icon and clicking that and you'll see kin burns is on by default but if you click that you'll see it's not showing my picture there here we go you'll see that you have a start box and an end box so this is doing a slow zoom in because it starts wide and then ends up closer so it's a slow zoom in let's say you don't want to do that you would rather have a pan from left to right well you just edit those boxes the start box and the inbox make them the same size and then just have one the left side and the ending one to the right side and i'm going to accept those changes by clicking the check mark and now watch how this plays you'll see that it did that nice slow pan from left to right so you can edit that kin burns effect to do whatever you want again i'll just do one more quick change so you can see it click on that crop let's say the video is talking about how good dogs can smell well we might want to start wide and zoom in on the dog's nose so we'll just make our start box as wide as the actual picture gotta adjust that size just a little bit looks like i'm off a tiny bit there we go so our start box is the whole image and our end box is up close to the nose so let's accept that now watch how it plays so that's how you can use photos to really add emphasis to whatever your video is about just a simple photo with the kin burns effect can really bring out whatever your video is about and add to it a lot so we've got our video clips we've got our b-roll let's take a look at this image that was supposed to be really small you'll notice here and zoomed in that's not really a super good example i thought i had grabbed one small enough you can kind of see it i'll select it here you can kind of see that this is fuzzy because it's blown up and it was a small picture originally so you get some of this fuzzy fuzzy pixelation and that's really not what you want for an hd video so let's look at this one for example so you've already got it down here and there's a lot less pixelation of course the background's out of focus but that's because of the camera but even as this zooms in we're not going to get as much pixelation as we did on this image so again that's the importance of making sure you grab large photos to use in your video so we've got our video laid out pretty much the way we want it everything looks like i expect so what about adding music well i've got a music file up here you'll see this track down here at the bottom that has the little music symbol right over here in the bottom left you just want to drag your music track music track down there and let it go there we go let's scroll to the end obviously you don't want music playing way past the end of your video so we're just going to grab the end of it and make it end at the same time as our video and maybe we want a fade in or a fade out that's super easy to do you just grab this little gray sphere at the beginning and drag it over to the right and you'll have a fade in same with the end you just grab the little gray sphere drag it over and you have a fade out and you can play with that to get the desired effect that you want but that's really all there is to it and let's say you've got sound effects i believe this one's a dog barking and just like a video you can trim that let's just say all i want to do is get that bark i might select just that piece and then add it wherever it is i want it okay so you might have noticed another problem there we have two sounds playing loudly over each other so it's hard to hear one thing over the other so one of the things you might want to do let's say in your video you have a lot of talking or even under your video maybe you have somebody recorded a voiceover and has laid that up underneath video or up underneath pictures you might want to do what's called auto ducking this is where whenever one audio file is playing the other one automatically goes low that way you can hear the important audio over the music so for example let's say this is a video clip and there's some audio here with it let's say that's some some important dialogue i'll select this clip go up here to my speaker icon that's my audio options and you'll see this option here underneath that called lower volume of other clips so since i have this video clip selected if i click lower volume of other clips you'll see that the music down here in the bottom left when i click that the music lowers i'm just doing it a few times there so you can see the effect and then now when i play that clip you will hear the audio from this clip which is music actually more than you hear the music from this music clip but ideally if you've got a video it's usually someone talking you would want to lower the music while someone is talking so you can do that by auto ducking or you can just grab the little bar on the audio section and lower it you can do that with your music as well you just grab the bar and lower that audio level a little bit and you just do this with all of your audio till everything sounds the way that you want it to sound like until the voices are clear and dominant and any music you have is kind of you know subtle in the background like it should be or even turned off in certain cases but we've got our music we've got sound effects we've got our video laid out so our video is pretty much done but one of the things everybody likes to do is add maybe some basic effects or some titles and iMovie makes this super easy you just click on titles and you get a whole bunch of animated titles that you can just kind of scroll over as an example if you click on it and then slowly pan across it it'll kind of show you what it does so you want to pick one out that fits your needs this is a pretty good title one there's two ways to use these by themselves by just dragging and dropping by itself or you can even put it on top of your video i'll show you both of those this one i'll do by itself and once you select it you just double click on it and you know make it whatever you want actually dogs there we go and you can adjust the color let's make it red change the font size the font all the usual stuff and just accept that and there's our title let's play that real quick that's all there is to it but you can also do that on top of a video if you don't want it to be by itself i'm going to grab a different one and i'll drop it on top of this video so you can see what it does we'll call that one dogs part two and i'll make it blue and we just accept those changes close the color wheel and here we go and there the title plays on top of the video so either way you want to do it is fine for credits there's kind of your standard credit here a lot of people like to slap that at the end you just select it and you know come in here and change that to whatever you want and then you've got a title sequence and now that we have a title hanging over the end of our music maybe we want to have that music play out to the end through the credits so we just drag it out that's really as easy as it gets drag and drop and stretch things out and good to go so we've got all of that done and what about transitions you might want to use some transitions i will say a word of caution here use these sparingly if you do a transition between every single video clip it gets kind of hokey and starts being kind of visually annoying so kind of use those sparingly fade to white might be good at the very beginning uh or at the very end but you just pick one you want and drop it between two clips and watch what it does that was just a nice fade to white and now that i've got a title sequence out here i'm going to stretch my music out or move it and stretch out the end again there we go so my video now has titles credits one transition let's maybe do one more one that looks kind of cool let's see that's kind of neat we'll drop that at the end here before the credits let's see how that looks okay let's look at that one more time and there you go there you have it what you need to do now is get your video out of iMovie where it will play on almost any device you can click the share button in the upper right and hit file or you can do the same in the top left and click file share file and the default settings here are going to be fine you've got 1080p that's standard hd that's fine it's going to ask you where you want to put it i'm going to put it inside my project folder just to keep everything organized i'm going to title it and hit save and then we have a progress circle up here we are not done yet until this circle fills up and turns blue you can just watch it or you can click on it it'll usually give you an estimation yeah one minute the longer the video the longer this takes but once that's done it'll turn blue here in just a second and that's it so i'm going to minimize iMovie here and we're just going to go and take a look at that video there it is it's an mp4 file that should play on just about anything and you're going to want to open it up and watch it to make sure it's what you expect that looks pretty good so it is ready to be turned in all right well if you have any questions just reach out give us a call or an email and we will help you with whatever you've got thanks


When Rich Stryke upset last year's derby, every wager tied to him had massive payouts, but picking the top four finishers in the race was life-changing. That Superfecta returned $321,500 for a $1 bet. Hard to believe, but last year wasn't the biggest Superfecta. That happened in 2005 when it returned $864,253. An economical way to play the $1 Superfecta is to key a horse you like to win, then box the horses you think can make it the second, third, and fourth positions. A $1 Superfecta key over three horses costs $6, a key over four horses costs $24, and so on. If your key horse wins and three of the other horses you use to finish in any order in the next three positions, you hit the Superfecta. Hit a homerun and play the Superfecta on the first Saturday in May. Bet the Kentucky Derby Saturday, May 6th with Fandall Swartzberg.


Welcome back. We're now going to have a couple of papers on the theme of development archaeology within the planning framework. Starting off with Francis, who's known to many of you, I'm sure. Francis works extensively in the commercial sector doing polylithic archaeology primarily in Kent, but with Foray's arm elsewhere. He was a graduate at the Institute back in my day, and we worked together on many projects. So I'm sure what Francis has to say will be stimulating and hopefully controversial. So I'll pass on to Francis. Just to remind you, you've got 15 minutes maximum both yourself and David before we open up the floor to questions. Noting the clock currently says 12 minutes past 12. I'll bear that in mind. Thank you. The eagle-eyed pedants among you, which probably most of you are considering are academics, will notice that the title is not as-built. It is now Polylithic Archaeology and the Planning Framework, and that's a bit more slightly bigger than the Polylithic Archaeology and the British Planning Framework, which I was firmly told wasn't allowed because England and Scotland and Wales have got different frameworks. So I did change it to English, but then that didn't filter through, so we've just got now the General Planning Framework. None of those titles are what I was initially told to talk about, which I think was the wish there just to be a bit of light relief to go through a couple of nice commercial projects and admire them, but I'm afraid I wanted to look a bit more under the hood at the curatorial framework under which Polylithic Archaeology is done in a development-led context. And I think that will be productive in the context of today's aims and hopefully there will be elements of controversy, which some of which at least Martin might take a particular interest in in due course. I find this very helpful. Many people will think it's bleeding obvious or already know it, but I'd worked in the business for 12 years before Andrew Lawson actually spelt this out. And it was very helpful to me that these are the glossary and cast lists of the people who make the smooth running of the curatorial process work. And these terms have specific roles attached, OK? The curators are the people in unixial authorities who fundamentally police the system. It's they decide whether a developer is asked to dig a hole in advance of a development or not. And they decide whether further work is required and its scope. So curators are mostly in unixial authorities who impose architectural conditions are absolutely fundamental to what is or isn't done. So that's the curatorial role. And of course, the story of England also has a curatorial role in setting research frameworks and guidelines. Consultants sometimes could be confused with specialists. Their specific role is generally a go between between developers and curators. In terms of, you know, when you're building a supermarket, Sainsbury's don't retain an archaeologist. So they hire an archaeological consultant to negotiate with the curators about the scope and scale of work to do. So that's the specific role of a consultant. And then the contractors are generally the people who do the work, the commercial units. And they're generally hired by consultants on behalf of their clients, the developers. And then specialists are lonely people at the very end of the chain who sometimes get involved by the contracting organisations when they feel there's a specialist need that they recognize they don't cover. Or it may be that the curatorial authority will recognize there's a need for a particular specialist and dictate that that should happen. Or it may even be the consultant themselves who recognize there's a paiglythic, for instance, in this context need, although of course other specialists are right there, and request involvement of a specialist as at some stage in the process. So creating the historic environment, it's not a new problem. And it was first recognized in the later Victorian era and the first Shedger of Monuments Act that there was this conflict between development and heritage which needed some addressing. And as it's well known, Pitt Rivers was the first inspector of ancient monuments and there was a list of 80 castles which should not be built over or through by roads. This picture is one of my favorite. This is the A2 being cut in the Swansea area in 1906. And if you read the local papers, there's quite a lot of conflict between people being slightly upset about the demolition of ancient woodland and also the remains of, say, Watling Street, which is that road in Kent, which goes through it. So it was on the radar then. And then if you rapidly fast forward about 60 or 70 years, we have the rescue era of the 1970s where you had basically quite an unstructured framework of lots of local groups doing voluntary work, scrabbling around in front of bulldozers, saving quernstones and what have you. And out of that chaotic mess evolved the 1990s, which is an absolutely seminal watershed moment curatorially where archaeology in general became more integrated into the planning process. And quite surprisingly, this is the lady whose authority this happened under. You might think that the last thing that administration might have wanted was more red tape in terms of archaeology and archaeologists. It's actually PBG 16 of 1990, which dictated that archaeology would be a major condition as part of the planning process was on her watch. And following that, we had a whole series of strategic documents and guidelines, which dictated the framework under which archaeological conditions are imposed upon development of archaeology. And then most recently, we have this tone here, which is the current iteration of this framework, which dictates various principles which guide curatorial thinking in terms of planning applications. The key point here, this is all general principles. And as you'll see at the bottom, I think one of my take home messages is that the polythic is the same but different. It is guided under the same archaeology. Polythic work is carried out under the same principles that guide your earthworks and your mosaics. It's all historic environment. There are some differences of detail, but the same principles apply. And they can just see a general list of the principles. The concept of importance is very important in determining what happens. And there is this presumption of preservation for very important remains. And there's a decision to be made for less important remains, et cetera. We've been instructed we mustn't read out lists of bullet points. So you can whip out your mobiles and take a quick snapshot or we can return to that later. But the last point that's important is research frameworks, which are negotiated in situations like this about help decide what is important and what our research priorities are as a subject. And then that guides into curatorial thinking about the impact of the development on a part of the landscape and what might need to be done to mitigate it in terms of addressing important priorities. So, and just back to the paganithic in general, contrary to the earthworks and mosaics, there is a fundamental difference in the paganithic is that there aren't earthworks and built things and monuments in that sense. It consists fundamentally of objects found in natural sediments and that is an important difference which has methodological implications for how we deal with it. So you have flint tools and fawn remains found in these deposits and interpreting them is the game we play as palithic archaeologists. There's a wide array of supporting evidence, pagan around evidence which will waft across us, bulls, teeth, ostracods, insects, that horrible thing, and codon and as is well rehearsed and totally correct, it's a very important aspect of paganithic archaeology using this evidence for dating and for landscape and climatic reconstruction and also for understanding taffanomic processes because I think one of the differences of paganithic archaeology is you've got a wider array of taffanomic depositional processes operating in terms of site formation and you need to unravel that to interpret the human evidence. Research frameworks, as I alluded earlier to research frameworks, there's a continuing evolution of research frameworks and so there should be, else we'd still be researching the same priorities as in the 19th century and I believe days like this are an important part of evolving research frameworks but since the 1990s it has again wafting through us variety of strategic documents that have guided the practice of paganithic archaeology in a development-led context that is the most recent iteration. Right, perfect. So just some random highlights of this. In terms of nationally important remains, there's often a big dichotomy presented in terms of considering paganithic evidence of undisturbed primary context sites like Boxgrove here. Everyone agrees, very important, thorough excavation, mitigation but they're a slightly mythical beast because even Boxgrove, that landscape there, is a palim-assessed. It's not one afternoon, although there is very one rare horizon of Boxgrove. This is one afternoon in the horse poetry site but undisturbed primary context is just one of the 1998 criteria for paganithic importance so one has to think about other types of important evidence how they contribute to research agendas. Yes, and you can see in terms of research agendas in 2008 there's all of those identified themes which are recognised as priorities and every palithic site one has to consider whether the evidence addresses them. So, for instance, the paleo-environmental evidence clearly has an important contextual role in providing the stage on which palithic occupation took place even if it happens that there's no artefact at that spot. Of course, as I was discussing with David Miles at Tea Break this is the same for other periods if you've got an iron age deposit with paleo-environmental remains even if you don't have a wheel, whatever, barrier what are they called, chariots, that's it, a chariot barrier in it. Nonetheless, it's providing important evidence about the context of iron age occupation. Soon we'll get on to the more controversial bits. So, just to keep points this follows on from what other people were saying in the previous session. The points about natural you often, as an archaeologist, see natural at the bottom of the section but natural is the natural habitat of the paleolithic and we talked about the importance of lurs and the rolling heathlands, et cetera and I think this is crystallised in a curatorial research framework which I did for the southeast region in the deposit-centred approach the paleolithic occurs in Pleistocene deposits so one needs to consider the full range of these deposits and their contained evidence to do with understanding the paleolithic and considering the importance of the remains I can hear the chair getting restless so we'll push on to the more controversial bits so firstly I thought I'd just present some textbooks some examples of curatorial practice and so first we'll get a really example of some really good ones and then I'm slightly scratching my head on this one I think they're rather than showing a wholly blank screen I think almost every site you can see or experience I've been involved in you know you can say there are some things which could have been done differently or better but I think this is one of the best not in terms of the archaeology so much of course I fully defend the archaeology which I think is slightly overlooked in that this is I believe a strong case for occupation of Britain before Linford in that post-Ipsychian pre-Linford period which I think is often overlooked but curatorially I think this was good because from the very beginning of the process there was consideration of the paleolithic potential and it was built in at every stage so you know at some point I said this won't be the cheapest work you've ever done but it will be I believe the best and costane to the credit said right you do what you think is best but at every stage of the process there was consideration of the paleolithic special case or needs and Swanson School I think was another good and that was done with Liz Dyson of Kent County Council and then there's not many others now before I get on to the less exemplary examples I need to emphasise that I think very good archaeology was done in all of these but I think there's benefits to being gained from a constructive criticism in a no-blame way of some aspects that could maybe in retrospect we could learn from and I see Helen is in the audience here and I emphasise that Helen was the greatest supporter of the elephant side and I'm very grateful for all the work that was done but I still think that looking back and I think the project was exemplary I think in the wider curatorial framework going back to before Helen's involvement the elephant side we could learn from some things which could have been done differently so the absolute elephant I expect when I was asked to talk people thought I'd just ramble on about the elephant again and it's an excellent site but I myself am not blameless on this my very first bit of archaeological specialist work involved in the curatorial process was to make to consider different route options for the railing through the absolute valley and as part of that I prepared a map showing where I thought important deposits that I don't sure were and one thing I hadn't learnt at that stage was you shouldn't rely on BGS mapping so I relied on the BGS mapping of the Boynhill Terrace and the area where the elephant was found was just a big white blank of tannet sand so it was off my radar then and I think the preparation of that map took that area off the whole curatorial radar for considering archaeological impact of the railing project and then fast forward that was 1992 I did that fast forward to 2003 and you've got Wacken Grape 35 tanners hoaking out large chunks of ground in that area without any consideration that there might be something there and then there was a slight the convoluted chain of investigation that ultimately led to the site being recognised as important and then this exemplary work done there what was it that had been recognised one minute and it's not just that site many other sites there's one curatorial gap between areas red line areas of development outline and areas where development impact takes place but bullies trying to stop me talking about Harnan Harnan is another exemplary another site very exemplary work has been done sorry Charlie but it should be emphasised that this was not found by the smooth running of the curatorial process it was found because someone accidentally set up a tripod and trod on a handax and then someone said crikey I don't want to swear like some others said crikey there's a handax we need to involve some polythic specialists and then once that step had taken place we conducted an exemplary series of investigations which led to investigation and publication of this fantastic site which is a new box scope in many ways but nonetheless the curatorial process from the beginning had not run smoothly on that one I think last slide series of bullet points we can ask about research I'll just make one point in my remaining minus minute but people often talk about research they say this is research you can't do research in a development led framework I do think that's particularly pernicious misrepresentation because every time you do any investigation it's research in a sense you're learning something and I think in terms of development led work or even research work you're addressing questions and trying to find data which contributes to answering them and I think that is the business of archaeology directed within the framework of research guidelines and priorities research is not a bad thing and there are many other points there we can talk about them later in the long half hour of discussion time right, thank you Francis thank you for keeping time we're now going to move on and David from inwrap is going to give us a talk about the French experience of Paleolithic evaluation in the context of developer funded work David works at inwrap and the team covers the sort of northern France Picardier area and I think we'll see quite a contrast to some of the things that we've been talking about this morning so thank you David thank you Matthew good morning everybody thank you to Clive and Matt to invite us to show you our work in northern France I will not speak about our famous record on northern France I will not speak also about the planning the agenda in France in general because we have to speak in one week I think I will explain it but I will speak about our methodology we use to detect the politic sites in northern France and particularly in northern France so our current methodology come from a long background coming from the 19th century but also we have a long experience before the 1917 1970 I called it gathering archeology at this time period we just have gather information from archeological sites due to the the site has been destroyed by for example these examples the quarry of clay on gravel and the antiquaries of this time period on the politic specialist of this time period just by the objects coming from the workers of the quarry exploitation so after in northern France we have a period around the 70s and the 80s with a safety rescue archeology for this time period the sites has been not detected before they have been destroyed and we have a chance like for Biasch for example in the building one of the workers found many for now remains and called the original service of archeology and allows us to make a brief excavation but absolutely not a predictive excavation we just was just able to excavate a part of the site and the many parts of the site has been destroyed the first test of preventive archeology in northern France has been made during the well way TGV north on France at this time period we have just a test we have just I think 30 test pits made during this railway diagnostic with different techniques used depending on the different actors working on this project what is interesting at this time period is to show people go down in the test pits yeah that's amazing so it's 10 meters deep and they go to dig it on the background so this old school technique is not our technique now and we the archeologists for this projects has been discovered several sites but only one has been excavated because of problem of money at this time period also and they decided just to make one excavation on the large area and not a little window on many sites but it's a choice it was a choice the very beginning interesting methodology has been developed during another highway project in the Saulton pass on northern France during the A5 feed work with a particular technique we don't use now with a trench going to the to the chalk to the natural settlement in the secondary and tertiary deposits we have a good idea of the stratigraphy with this technique we also we also able to to go to dig and to test the area on the with the security safety mode on the trench but it's a long time to go and we don't make all this trench on all the on the track and on the project so it has been abandoned after this project and it costs also a lot we have a good example after in 1991-1992 for the southern part of A16 on the northern part of A16 what it's interesting they use the same absolutely the same technique it was a geologist which made the test pits with approximately the same technique deep test pits in the southern part of the highway and in the southern part he didn't fight any lithic artefact in situ and the three sites has been discovered during historic diagnostic and excavation and in the other part the northern part of the the highway 54 deep test pits has been made and he discovered two sites but only one excavation has been made it's also a problem of cost so with the same technique we have completely different results depending also with the preservation of the lithic sequence all the deposits in general and also in the human presence or absence in this territory and we made some other tests with pretty okay with tests with a different type of test pits pyramid I can say pyramid larger pyramid on the right and also we have a terrible accident in Ansocogell in the 90s with two people so he decided to try to have other solutions to gather on the test pits so he tried but it's completely abandoned this technique was completely abandoned I think the first real project with a very high level of planning for archaeology and a really preventive archaeology as we can say and imagine today it's the highway in the end of the 90s and the beginning of the new century approximately 4000 test pits has been made on this project corresponding to 78 days 15 sites have been discovered and 6 exhibitions has been made but what is interesting I want to point here is the choice which has been made there here we have in red the area which the project got down to the actual surface so the part of the place of the deposit has been destroyed here we have the potential area with geomorphological situation and potential archaeological pistos and deposits and here we have the map of the test pits which have been made on the project which it's interesting it's okay some positive test pits has been located to the geomorphological sensitive area but also we can find here and here some test pits with positive results but absolutely not detected in the pre-diagnostic approach so just a few words about our current methodology and the example of the Canalsenor Auroch project we divided our methodology in four times pre-diagnostic the excavation and the post-escavation words so for the first part we make a pre-diagnostic in each project for detecting and to make an assessment of the previous knowledge accumulated like here in Catini in the references and we have also a archaeological map in France in general and we make also pre-diagnostic prospect for some part of the landscape and we have a look also to the geological favourable areas using the geological map and the other data coming from the BRGM on the oldest excavation or test pits after when we make a diagnostic we have three types of teams first one just have a look to the historical periods using superficial linear trenches as you can see it and it corresponds to approximately 10% of opening of the area the second team to the people who are interesting in mesolithic sites and he used trenches, test pits and large windows the third team is just focused on the political occupation using deep test pits I showed you before and we have this methodology now with all becats completely for each test pits all the record on the different units has been described and this all these test pits has been created to the synthetic stratigraphic seconds of Northern France when it's possible to have a primary good idea of the potential dating of the layers present and just a few slides to finish when we have to compare the results for example with the A29 here in red and the CS and the canal senor project now the canal senor project now is not finished yet it's approximately 60% made for the diagnostic but it's approximately the same long project so it can be compared we made in the 19s less test pits and we discovered probably less sites too but we don't exactly in the same position we have different sequence on different sequence for playstation and the playstation sequence has been less preserved in this part of the record so we can compare exactly but what it's interesting here it's this number I think it's the 0.06% it's the area we opened in the diagnostic for in the canal senor project and we find approximately 15% test pits with the industry and this methodology allows us to make a big excavation in a large area for instance we digged free body excavation in this project of canal senor so in just few words to finish two provocative question is northern France not the story's word for Baltic archaeology as you dreamed our methodology is quite okay but we have also some problems as you can see here because here is the most density of test pits area we have on the canal senor project as you can see we detected here positive test pits which allows us to launch the excavation here for the middle Baltic site of Avrakur but as you can see here we have the deep test pits and just close to 50 cm we have a locus of upper politic locus absolutely not detected during the diagnostic so okay we have a good methodology but not probably for all the records and second point I want to launch too is the black hole archaeology I think it's a perspective on future direction because we have a good record as you know for the oliglacial, the interglacial 2 now of the playstone second but we have a yiatws here during the plain ilatial phase and this black hole in settlement dynamics has been to has to be test for the future have we really a yiatws of human occupation more than once during this plain ilatial phase or is it just not a fact of our methodology of our methodology and another black hole is a landscape approach here we have the example of Avrankour army on the 2 sector of Avrankour we have 400 meters between the 2 and just 2 meters between Avrankour army we have here in the valley Hermeside we have knapping activities we have Avrankour 1 with butchery activities only very short butchery activities and here we have just in Avrankour 2 butchery activities and resharpening activities but what and what were they what were Neanderthals used the area between these sites it's a good question and probably an opportunity to us to have a overall a wall landscape approach here on this project we have to dig all these parts but it has a cost so we will see thank you for your attention thank you well thank you David Francis would you like to come up here wherever you are we're going to open up the floor for questions now been asked can people identify themselves when they speak so that there's a that's in the record I've got a couple of points I just might want to throw out for people to think about one of which was something that Francis picked up on we don't critique our projects how many times have we seen the site reports and we've actually gone back and said well in print this is where it failed it's not popular obviously because somebody's paid for the work and they don't want to be told that it's not it could have been done better perhaps so that's something to think about the other thing that's coming out of a lot of the talks this morning is really what's the basic unit of analysis that we're targeting in developer funded work it's not the lithics it's the landscape we're being told the context is important now this has fundamental implications for what a development control officer would ask for but I think it's something that is coming out of all of these talks and maybe we would like to focus on that but I don't want to push you down particular avenues so I'll open up the floor now to questioning Hannah I think I think we saw with Terminal 5 a big change in the way that the commercial archaeological sector took on board a lot of academic research questions and were much better with those certainly now the other thing in the room is HS2 so given that this is a big broad coming infrastructure project given what you've learnt from the answers from your deaf aid so having been working in the local authority closing to races given what you've learnt from the big infrastructure projects and parts how many should we go about approaching the paleolithic HS2 should I go first? I don't mind who goes first I guess it's 25 years since my initial bit of work for HS1 in 1992 which I refer to nearly 25 years how would I approach HS2 My first my first thing would be to find a paleolithic specialist and pay them huge amounts of money seriously I guess it's the lines on maps paleolithic potential and character areas thing is to look at the geology overlay that with the historical environment record of paleolithic finds with all its warts and flaws which hasn't been mentioned today but which has been mentioned at similar seminars over the last two years is that the historic environment record is quite flawed from a paleolithic point of view and would benefit from a tidying process but obviously that's a big project in itself which cannot be done before HS2 and they say look at the geological mapping look at the character of the geological areas and the record of paleolithic finds and consider the types of Pleistocene deposit present where they are likely to extend beyond where they are mapped and then consider looking for paraothic sites on that basis just right off the top of my head I know that HS2 probably goes to the Chilterns which is this upland landscape where you might have occasional brick earth type patches with Worthington Smith type sites you probably goes through areas of river valleys where there might be places which are very varied Pleistocene fluid deposits are very varied character and you have different sorts of paraothic archaeology within them maybe concentrations within gravels maybe fine grained horizons where you might get less disturbed evidence within build-ups of predominantly gravel deposits and I think you've also got glacial landscapes as in the Wallstonian which I know is a whole can of worms probably called I think deposits associated with that cold episode might be impacted by HS2 roots I just don't know but then you might have glacial deposits which might be hiding paraothic archaeology underneath them in buried channels so essentially I suppose my starting point would be to take the deposit-led approach as characterised in the south-east regional research framework and apply it to the HS2 footprints is that helpful David, do you have that? I guess that's obviously just the very starting point and then you get some character areas and then you look at them most carefully I think one of the things that David, am I correct in saying that in France and your model you have a team that's dedicated to the pileolithic and they come in after the historical archaeologists sort of mesolithic archaeologists have been on so you're a dedicated team and maybe a dedicated team to HS2 and I think one of the strengths of HS1 was an overview of the whole route from a geoarchaeological perspective in an early stage that then dictated packages of work now I think maybe Crossrail didn't work in quite the same way sorry if anybody's responsible for that in the audience but you definitely need an overarching framework which is what Francis was saying for the whole thing otherwise it becomes a piecemeal subdivision of bits really and I think bits of it will be missing then in that case so that's what I would do and put a team in place to deal with that because it is so specialised Yes, what we have like experience in France in general what we have a look to is when we have a region when we have not this system of dedicated team with politic team dedicated only to a politic and to search and to detect a politic archaeology we didn't find any politic sites and just one on two in ten years so that's our problem in the other region in France in general not in south western France because we have a dedicated team but in many parts of France we don't have a dedicated politic archaeological team and we don't find any politic sites so yes I think it's one part of the solution Can I just add something to this discussion I have forgotten what it was going to be the first point is perhaps to build into the thinking about dealing with a politic archaeology on HS2 the likelihood that unexpected discoveries will be made despite your best efforts beforehand so to somehow factor into the big strategic planning dealing with and budgeting for late Peter Drewitt who was an influence of mine in the early 80s at the Institute of Archaeology he created, I thought, a brilliantly simple and short overarching research framework for HS1 which I felt that some people were quite critical of what was going on and what was going on and what was going on and what was going on I felt that some people were quite critical of that it was a very very simple and useful approach of landscape zones periods of potential and building from that different strategic approaches to investigating those periods and I thought that was a brilliantly useful piece of work underpinning it from the beginning Matt, you had a quick question team three how big is team three all those things are one of the teams how many members of staff what kind of ranges specialist do you have on call to form that team it depends also on the area but for Northern France we have two poetic archaeologists so Johnny Closhtown and me now in a wrap and we also have two geomorphologists and we are completely we change the wall between the two but in the ideal system we have one poetic specialist and one geomorphologist and one technician with us to make other test pits that's the ideal system I think depends what we have now in Northern France what it's very important to notice also the example of the A15 shows us it's to to sensibilise sensibilise also the historical specialist when they made their trenches they also detect poetic sites or sedimentary or the places and they are the first in our system people they go to the field and they can also give us many information for the after for the intervention of the third team for the poetic team so yes we have discovered many sites also thanks to the archaeologist the historical archaeologist so that's another point make it back there Nick Barton I wanted to ask you a couple of questions I'm not sure I understood exactly what you said but I know the pain system is very different in France but leading on from what Francis said is there anything to be learned from your experiences with these sites coming up so that the last minute a new site comes up that was unexpected were you allowed enough time was there enough money and resources available for that that's number one question number two question I saw you dealt some fearsome deep holes very scary but presumably those would be very well below anything necessary in advance of the road that was being put in so to what extent was this an opportunity that you had you weren't always able to excavate sites and was that purely financial that you wouldn't be able to excavate sites or was that for other reasons the first question was on the unexpected ah yes did it did you get enough time to excavate some resources you mentioned another chaotic site that came up and was not expected in an area were you able to spend enough time to develop and allow you to do this it's not just an example it's an example of many cases I think we are very good to to with these techniques of test pits or regular test pits approximately 50 to 100 meters between two test pits we are able to detect persistent place on many more middle places but what we what we have in the upper partic record it's much more very concentrated area and in a 4, 6, 10 20 meters square meters and it's very very difficult to detect it with test pits and yes it's a problem but if we make much more test pits it's pretty impossible because the cost of this technique in terms of time and money and so it's a ratio between between the time we have the money we have and the efficient to detect the sites but effectively we have some sites we are not able to detect with this technique but it's quite different with a high project like Canal Centre Europe with 100 kilometers long and a very very small project as many buildings around the site the cities or in the cities are just 1,000 meters squares so we don't have this problem for this little area we explored also in diagnostic so the problem of concentration area like upper partic site in large unusual scale we have to diagnostic yes it's a problem but I have not the solution yet for the second part of your question about unexcavated it's another problem of the system and it's completely different in France in the system because the regional service of ACOG decided if there is or not an excavation but the law actually the current law allows us just to dig a site which will be destroyed in preventive archaeology so we have detected many many many sites a long list of sites but they don't they will not be destroyed by the building so we didn't have the opportunity to dig it in the preventive archaeology framework one last question before Liz over there sorry I didn't sorry I didn't your question yes it's a good question when we have a look to the background on the historical background of our methodology when we have the A15 on the A29 and so on we they decided only to to go on the north east part north east slop deposits in the landscape and the problem with this approach of okay we have the sequence with the sequence in the north east oriented slop deposits if we just have a look to this slop deposits oriented to north east we just have early glacial vexalions occupations and if we proceed like that we just we're in for the model all the time and what it's interesting also to to talk just a few words about planning it's in Canal Centre Europe project first team of the Canal Centre Europe decided to make a map with the ideas on the theory of Pierre Antoine with the north east model of the symmetric valley with just thick sequence preserved on the north east oriented slop deposits and okay they said oh okay Arcogis will do just they test it on this part so we will have some days I don't know how many but some days to make this 10 slop deposits oriented north east on the on the project and we will have just excavation on this this part of the project but when we have a look back now with this data they proposed to the Canal Centre Europe project on the valley gap de France when we made our test pits we don't have any early glacial vexelion occupations in this in this area because it's not this symmetric valley system as in the western part of the some valley it's another system all the system with the middle play stores and deposits so now we can make a we can't make a copy and past of systems which has been made on a part of the record just a part and we have many exceptions many more exceptions that really modeled landscape in reality okay thank you and Francis better break for lunch now any questions addressed to these guys during lunch and I'd just like to thank them both for their very informative and interesting presentations thank you


The Brainerd Little Falls girls hockey team is red hot. They're on a 12 game winning streak that started the week before Christmas. A huge match up tonight as six ranked Eden Prairie came to Brainerd to take on the fifth ranked Warriors. The Eagles jumped on the Warriors early getting out to a two to nothing lead but in the second. Brainerd on the power play and Marie Walinsky takes advantage, tucks in the side net for the gold Warriors trail two to one. Then just a few minutes later Brainerd's Gabby Smith gets control of the puck, goes near post top shelf. Goli had no chance as the Warriors tie it at two. Brainerd Little Falls would kill a five on three but their luck ran out. Claire Cuppers scores for Eden Prairie to make it three to two in the third. Eagles would score on an empty net as they would win this one four to two. If you enjoyed this segment of Lakeland news please consider making a tax deductible contribution to Lakeland PBS.


Many musicians are rising up and now it creates a steep competition. There is now with competition comes with aggressiveness. Each artist wants to prove a point. I can do this each and every month. That's why you see as every single Sunday we are playing new music all the time. Every single month, every single artist wants to stay relevant in the music sector. Besides that, it comes with the challenges here and there. It comes with how an artist, because in this music, the music video, even the music recording, producing all that, recording video audio and all that requires money. It is not for free. It costs a lot. I tried to ask, I said I gave up. I am not doing music. It's too expensive. That is not my thing. It was so costly. But these artists, they need to make money so that they can now do the music. According to the standards, pia mungu wezin peya tumidioka. Una peya mungu weze best. And this best requires money. Besides that, they also have needs there or needs. And these needs requires money. Everything requires what? Money. Let's all save money. But on our socials, they all require money. What are the ways of making money for an artist? To help us break down this topic, which is very heavy, you know what? See where the handle pekiyango. I have invited a good friend of mine, Markleene. I got his rights. The name is Triki. I was trying to tell him, hanyfunze kupronounce that name, Markleene. It's such an amazing name. So we discussed this. Of course Markleene, financial consultant. Hi, sir. Hi. Onaka to do. Onaka pe, sir. He looks so serious and so money-like, you know. It's good. Good God. My name is Markleene. You pronounce it right, actually. I did so. I did so. My name is Markleene. I'm a financial consultant. I'm a CEO for Linn Business Consulting Limited. What we do, we help businesses out here to manage the tasks, advisory for tasks, accounting, audit, strategy, all that kind of stuff. So that's what I do. But I'm also... I also lead other business people out there through different platforms and also just individuals who are trying to get into business and all that and I know musicians as well. So music also is business. Yes. But before we get to music, I want to know much more when it comes to financial consultancy. What does it tell when someone now comes to you? What are the services that you offer? Oh, okay. All right. So let's say you've come, Miriam, you've come to me. And you're running a business. Or you don't have a business, but you want to get into business. So what we do is that we help you identify the areas. So if you don't have a business yet, we help you to identify the areas in which you can be able to invest in according to the skill sets that are within you so that you're able to now use whatever the resources that you have within you to be able to set up a good business and run it and run it sustainably. So there's that element, but then also if you have a business, what you do is that we help you to put in structures. You help you to manage your finances. You help you to get right with carry carries. That's a big word. So we help you out to make sure that you're in compliance with the regulations. We help you to make sure that the business is running as you know, it's sustainably because you have a problem where businesses start and then before you get to 12 months, I mean, you know, Miriam and I and we are in the same business. We cannot be in the same sentence. Yeah, yeah, yeah. And then you go back to employment and all that kind of stuff. But then we had to tell you that there's opportunity for you to get into business and actually make real money that will help you to cater for your parents, your family, you know, and help out out there. Kenan nix up. I can go live and make money. I can go live and make money. I can go live and make money. I can go live and make money. All right. So if someone comes to you and they need to start a business without money, is that possible? Yeah, it's very possible. Without money? Without money, yes. Ah, nani me kaapa? Yeah, it's possible. I mean, all you need to have is an idea. You can begin with an idea. You don't need the money. We'll show you how to get the money. So we need to have an idea, make it as solid as possible, know exactly what you're looking for, what that means is you need to identify who your market is, what the product is, what solution are you trying to solve. There's so many solutions here that are needed, but I feel like, especially young people, we are, we have, we're just focusing on a few things which seem to be attractive. Then you, like I'll tell you, in Kenya right now, we have a problem of maize. There's a shortage of maize, isn't it? It's very true. And you see, at the moment we have to import maize from other countries so that we can be able to supply the demand that is here. But we have a lot of land, I'm telling you. In Kenya there's a lot of land, so people are clustered into urban centers, in Nairobi, Kibaw, and then you go to Kisumu, Mombasa and a few other cities, but then there's a lot of land that is bare, that needs to be developed and put to use so that it's able to produce and give solutions for what you're saying. For instance, you can set up nicely a one acre or even less and put some good grains in there, they will grow. You will get producers and there's different ways on how to do this in a more effective way so that we can bring solutions to this country. So there's that, there's a lot of things, you can sell water, you can start a restaurant, there's so many solutions that you need to look for. So the minute you just have an idea, this is what I can do to help what people in my community, this is what I can do to help out maybe businesses or farmers or whichever segment that you want to get into. If you have an idea, you can just solidify it because you need to make sure that it's properly structured, that it's something that someone can be able to execute. So we put it together nicely and help you to make sure that it's properly registered and all that. So you don't have money going back there. You don't have money. But this was a problem because yes, there are people in the country who don't have money but there are people who have stacks of money and they probably don't even know what to do with the money. So what you're trying to tell me is that me without money and someone who has money you can connect us and then I start a business and I repay the loan. See, that's an amazing thing. Guys need to reach out to my client. I have ideas. Now let's narrate down to you've dealt with artists, you've dealt with musicians. Yes. We are trying to figure out how can an artist make money, how can the financial empowerment for an artist is very key.  Go and blow it up in one week gone. So financial empowerment is key how they can give the resources, invest, even save. Yes, you've dealt with the artist. Yes, so I think the way I want to go about that, there's two ways. So there's an artist who is trying to get up, trying to establish themselves, the rising ones and there is the artist who


Dave asks, we previously used Pop3 with an email address and Outlook as a team email address. Each user, so three of them, would be able to read and send from the email address and also maintain our inbox with read or unread messages separately. Now that Pop3 can't be used with Outlook, we are exploring shared email address, but need each user to be like before, that when user A reads the email, it does not show as red on user B or user C's inbox until they read it. Each user needs to be mutually exclusive of the inbox status. Microsoft is telling me that it's not possible. Is this true? If so, ideas on how to work around that and stay in Outlook. Well, from my standpoint, it's just keep doing what you've been doing. Pop3 is not going away. What's going away is basic authorization for Pop3, which that means that you need to now use modern authorization, which means 2FA, MFA, whatever you want, and an app-specific password, and you should be right back in business with everything. Well, that was easy. Okay. There you heard it. It's basic auth that's going away, not Pop3, not IMAP, that the protocols themselves are just fine. They've been around a long time and they'll continue to be around for a long time. What is going away is straight username password authentication, good old-fashioned basic auth. It's gone. You now need modern auth and that's OAuth2. Anyway, you get to OAuth2 is either you've got something that negotiates OAuth with things to with the server itself, which unfortunately, to my knowledge, no Pop client does. Outlook does for the newer versions of Outlook. I'm not sure if it's 28, if it goes back as far as 2016. I believe it does, however, but any event for an IMAP account, Outlook will support and will work with OAuth2, which means you don't need to use apps-specific passwords and stuff like that with Gmail accounts. Unless it's a Pop account, unfortunately, nothing does OAuth2 from the Pop standpoint from there. You've got to go with modern auth, which in the case of a Pop account, means an app with creation-specific password. Let's go. When I first read this question, I'm like, wait, what? Because I host my own domains. I have several businesses and I use Pop3 to get that email into Outlook so I can manage it. I was like, wait, what? It's gone away? I had a little moment. Thank you, Hal, for giving me a little piece of point. You know what it comes down to, is exactly what you're using, the configuration you're using, and what the end result is, and understanding what all of it means. Microsoft uses a lot of jargon, things that they say, hey, this is going away, this is going away, that puts a lot of people on edge. Sherry, you and I have been on like, you know, those edge steps. It's making sure you fully understand what Microsoft is changing. Definitely read into the details. Do some follow-up on it, because in this instance, how is 100 percent correct? Not a lot is really changing, as long as these things are handled, which majority of the time they already are if you're using that functionality. So you just have to really deep dive into it and understand what Microsoft is saying, and not just take it for the five words they use in a title kind of scenario. The five words that I understand. I don't know that. Oh, awesome. Exactly. Yeah, all that, blah, blah, blah.  Read deep into it a little bit more, because how is 100 percent correct? There's no reason why they should be impacted whatsoever.


and to strut ever so diligently for excellence and for your selves, just say no to them. I believe that we have faith in him who created us, that we're true to the values of family work and community that he has taught us, and that our future and your future hold promises bigger in the sky and more vast than the galaxy. Now, I know that many of you are not yet old enough to vote, and yet you have a stake in this year's election, and you can have a role in it too. As you know, eight years ago, I visited this school and stood in this place as a candidate for the high office that I now hold. The students in this school, them, now have jobs, and they're still signed in 2012 on their career. If Congress can hold them each day with a fair life and peace, Congress probably needs it more. To deny the right to life, we've said it's time to return the basis in protecting America's neighbors, and that means, among other things, appointing judges who don't only respect the rights of criminals, but also those of the victims of crime. And we've said it's time to return to the basis in protecting America itself. We've returned to the fundamental wisdom that the way of peace is not to allow the weakness of pure American strength, of our million transistors. That is, of the biggest computers of the 1960s. Yet, according to one of our nation's most most research directors, in less than 50 years, he said the power of a billion transistors will be act on a schedule. That's the power of 20 of the dead is one of the best computers, all in a laptop computer. If there's something greater than yourself that you owe allegiance to, but that it's also hard to go on with those places. But one way or another, this sweet land of liberty offers no more precious lessons that love God, love family, love country, and love myself. Yes, America's prosperity is both an opportunity and a challenge, and I'm moving you along. As part of my job, my business school is all over the country, but we would win the second world war. We have a secret link, he said. And when asked about that, he said it's just the best blankety blank kiss in the whole world. And it's the best blankety blank kiss in the world. Build on an opportunity and additional values, remain open to the candidate chosen by election in the third branch, the courts chosen by the W2 branches. And you vote for a candidate for the Senate, for the House, you're voting for the direction of the country, and the world as much as when you vote for president. We hear a lot about the budget deficit these days, but Senate or representatives at least as important as a vote for president. It's very disturbing to me that America's young people, who with so many years they get have a bigger stake in the future than anyone else, and yet our young people of voting age so far vote in lower numbers than all the other age groups. Perhaps you've heard Will Rogers, the great American humorist of the 1920s and 30s. Will Rogers, who don't vote at all. Well, I know you and your friends are better than that. So before I go, let me ask you something. I'm going to ask what I can do now that you shall, yes, I'll take as a promise. Remember, if you can talk to family and friends, you know and make sure they catch their balance. If you're not old enough to vote, that can be your way of voting by getting someone to vote who wasn't sure that he or she would.


In this study, it was found that lower cardiorespiratory fitness, CRF, was associated with higher levels of HSCRP, a marker of inflammation, in children with obesity. This suggests that CRF may play a role in reducing inflammation in these children. This article was authored by Linnea Johansson, Restia Putri, Tanila Danielson, and others.


Hi everybody. This is the fifth installment of this little series that I started a while back where I talk about 10 great products from 10 different brands and they are all under $10. So we're going to get into that right now because I want to show you the goodies that I have but a special welcome to you if you're new to my channel. Thank you so much for stopping by and I hope that you do decide to subscribe. If you do decide to subscribe make sure you hit the little bell icon and next to the subscribe button and everyone if you wouldn't mind taking just a second and giving me a thumbs up. It does help my video. Now that being said we're going to get into these goodies that are under $10 from 10 different brands. So most of the things that you're going to see in here today I did try to wear as much as I possibly could. This is the CoverGirl Exhibitionist eye pencil in Emerald. I do have this on my bottom lash line today. This is such a creamy pencil and yet it lasts for such a long time and it's just a really nice eyeliner. It's easy to smudge out if you smudge it out before it gets dried down and then it just really stays really well and that's what I like about it. And the creaminess of it doesn't tug on your eyes at all. The color is very vibrant. They don't have a ton of colors out right yet but I think that this formula has really caught on. It's very budge-proof. You can put it in your waterline and have it there for at least two to three hours. We have to kind of be realistic about what we put in our waterline. It will eventually come off during the day and you're going to have to reapply if you want to do that. But this pencil is such a good pencil and I really love this Emerald color too. I actually haven't tried the other colors but this Emerald kind of was one that I didn't have in my collection yet so I wanted to try it. So yes that is definitely one that I love. Now the next product is from Milani and it is their baked blushes and I have four of these because I absolutely love these blushes. They do give a slight sheen when you put them on which is so pretty. This first one is Berry Amour and I'm just going to swatch these quickly for you. Berry Amour is kind of along the lines of a coral color. Kind of a yeah I would say it's more of a coral-y pink color. Not too coral though that if you're cool toned like me you couldn't wear it. And then this one is Sunset Passion and I love this one too. It has that same kind of coral a little bit more on the peach side than that last one did. So it's got a little bit more brightness to it than the Berry Amour. So you're looking at it just a little bit more along the lines of it being warm toned as far as that goes. It's really nice to wear with a neutral look and if you want to do a light peach on your lips this one is Dulce Pink. This is actually my favorite because it has such a brightness to it and it just on the cheeks it just looks so pretty. They're a very soft formula. They're very pigmented but that soft sheen is what is really lovely about them and they just all are just so nice. This last one is Petal Primavera. This is one of the ones that they came out with quite recently. I think maybe the beginning of last year or so. And this one is more along the lines of your classic rose color which I think is absolutely gorgeous and I wear that one a lot too. But again you can see that subtle sheen that they have and oh my goodness you guys I love these blushes. So if you haven't tried those any of those colors and if you find a color in store or online that you like better I think that you can't go wrong. The next product is another blush that I discovered when I did my cream blushes at the drugstore review and this is from Elf and this is their Multi Stick. And I really like this one pretty much for the same reason I like the Milani is that during the summer the color is very vibrant but at the same time it adds a sheen. These are highly saturated you guys so you need a very very small amount. If you use it out of here you're going to want to dab very lightly. I usually will either put it on a stipple brush or very very lightly use my fingers. I like a stipple brush a little bit better. But you guys can see how pigmented that is and again that very very subtle sheen as it turns. And even when this melds into the skin and kind of dries down this is still going to be very soft with a glow to it. So I think that one is really pretty as well and they have a bunch of different colors of this one too. So if you're not crazy about the rose definitely look up some of those other colors because it is that cream product that looks so good on mature skin. Now primer that I recently discovered from hard candy that I'm really enjoying is the sheer envy pore defense primer. This is a 12 hour pore refining and minimizes the appearance of pores. It's oil free oil can't talk oil free and silicone free. And what I love about that is that it doesn't have that slip that you normally get with those silicone dimethicone primers. So it doesn't have that but you still get get that pore refining look. I don't know exactly what they have in here that does that but it doesn't have any oils no silicone so it's not going to clog any pores. So if you're an oily skin gal but you still need that pore refining then you definitely might look into it. Now as I'm rubbing it right here it feels quite hydrating but it feels like it is sinking into the skin rather quickly as well. And I think it's so pretty so you can kind of tell the difference between the two hands this one without this one with. I just think that it's a really nice primer. And I have been trying out several from hard candy and these are a really good quality. So if you guys have been looking for a primer but you don't want to break the bank because you want to try a few different ones try hard candy next time you're in Walmart. I will try to put the link below as well but next time you're in Walmart pick one of these up and see what you think about it. Now what I have been in love with for such a long time for my brows is the NYX Micro Brow. This is a very very tiny tiny product as far as the pencil goes.  And that's what I love about it. The other thing I like about it it's my perfect color. This is ash brown it doesn't lean to orange it doesn't get so dark that I can't use it and you can see right there that you can build it up. So you can start out very lightly and then you know build it up to where you want it to and then of course it has the spoolie on the other end. I really love it because it's so easy for me to work with with my hands that shake and it's just one of those products that I go back to over and over again. So I wanted to go ahead and mention that one. I think I mentioned it in my makeup bag video as well. And then another product that I've been enjoying a lot is from Rimmel. This is their Scandalized On-Demand Mascara. This is the waterproof volume formula and I've really been liking that and liking it and it's what I have on my eyelashes today. The wand isn't the typical hourglass wand it just kind of is a little bit more tapered at the bottom and then it kind of fans out really big down there. Because my eyes are a little bit smaller I have a tendency to stick to this part but the formula is really good. So it will really build on itself and you can really get some great length out of it and some good volume out of it obviously because it is a volume mascara. I did try the one that isn't waterproof the original formula and I didn't find that I liked it as much because it flaked partway through the day and kind of smudged a little bit. But the waterproof formula I really like and it's not super hard to get off either. I just use my cleansing balm or an oil to get it off and I really like it. So been really enjoying that and it's another one that you can pick up at the drug store and save yourself a lot of money for mascara. Another product that I've really been enjoying for a really long time but I haven't put it in one of these videos is from Wet n Wild and these are the Liquid Cat Suit, the Megalast Liquid Cat Suit High Shine Liquid Lipsticks. So basically these are a cross between a lipstick and a lip gloss and I just think they're so pretty. I do have this pink one on today and I can't see what that says. I'll make sure I throw it up on the screen for you guys but I love how juicy these are but at the same time they're not as sticky and as thick as a regular gloss. I do have several different colors. I'll go ahead and swatch those for you. They have a ton of colors you guys so I know that mine are pink and mauves and that they are ones that are a little bit more my style but I also know that you guys definitely have your own picks as well. They have nudes and peaches and deeper colors so definitely check into those when you look them up. There's a lot of different colors. What I like about it is it pretty much is an opaque formula. So you get a lot of bang for your bust as far as it lasting a long time. It's not a see-through formula. It's very lipstick-like but still with a lot of shine and you know some of the lipsticks that are coming out right now are Balm Lipsticks. Those I find they go away so quickly but these don't.  So I really do like these and like I said they have a ton of colors. This one right here is Rebel Rose. That came out a couple years ago in their line with all the Rebel Rose products and it is the one on the end that has the most mauve in it. You can still get that on wetandwell.com. I don't think that's sold in stores but I do love those so much. Also this month I talked about Flower Beauty and how much I love them and I had a whole video dedicated to the products that I love from their line but you guys their Petal Pelt lipsticks are really something that are very beautiful and next level as far as how luxurious these lipsticks feel. And many of you did say that I think it's Spiced Petal is a dupe for the Charlotte Tilbury Pillow Talk. I am going to pick that one up and challenge myself to see if that is the case. The first one that I'm going to show you is Autumn Rose and that usually tells me whether they're a matte or cream. This one is a matte. Autumn Rose is a beautiful color that has such a gorgeous saturation to it. So it definitely is a rose color. We're not talking mauve. We're not talking pink. This is just that sweet spot of neutral lips that is a little bit on the deeper side. Love that color. And then this one is Dahlia Desire. I think it's Dahlia Desire. Dahlia. Yes. Dahlia Desire. This is a beautiful lipstick. This color is one that so many different people can wear. It is definitely a bright berry fuchsia. And that one is a cream product right there. Look how luxurious that bullet looks. It's just it's so pretty. I've loved these for a really long time. I will get some and then my daughter will steal them or my sister steals them. And I come back to it. This is a cream one too. This is called Pink Dusk. Dusk. Sorry. And this one is a little bit more along the lines of being a little bit sheer because it is cream, but it's such a pretty product. And you guys, I don't think you could go wrong if you have a specific color that you really love to wear like a nude or a light pink or anything. They pretty much have the gamut of them. You might have to go online to find a few extra colors, but these are so good. So definitely recommend those. And then from Essence, these have got to be my all-time favorite highlighters to work with because they're so pretty on your eyes. They're beautiful on your skin. I am wearing the Essence Pure Nude one all over my skin just dusted very lightly, especially across the tops of my cheeks. And you know, I do kind of through the t-zone a little bit. This one I did in a little tutorial that I did just very recently. It's kind of a light beige color, but it's such a soft, beautiful, just did glow on your skin without having the bright high beam. Now this next one is called Be My Space Light. And it is kind of a cross between an icy color, but it has a shift of pink in it. And on your eyelids, that is just something that is absolutely gorgeous. These are just ethereal highlighters. They're not a beaming highlighter. They're not a glowing highlighter, just a soft candlelight look to your face. This one as a highlighter is gorgeous. If you're wearing lavenders and purples on your eyes, it really does kind of tie the look together and make it look just seamless and beautiful. So those are two that I have loved for a very long time. And I saw recently that they had a quad at Ulta that I'm going to be getting very soon. So I really love those and wanted to make sure that we talked about them again, even though we've talked about them a lot on my channel. Wearing these on the eyelid doesn't show up any texture and it definitely shows up brightness and brings a lot of light to your eyes and your eyes will really pop if you wear these on the lid. So really beautiful products. And lastly is from LA girl. These are the holographic lip glosses, lip toppers. And I love these, you guys. They're so pretty. These lip toppers, this one is the pink one, but it has like a cast of almost champagne and pink. I'm sorry, almost champagne and gold there. And the other one I have definitely has that pink to begin with, but it also has an icy quality about it. And it also has this shift of just being just a tiny, tiny bit of purple. So it has a blue undertone to it. So you have both of these that are gorgeous. And I think they have two other colors. I think it's a peach one and then a more clear one. But those colors are so pretty and just putting them on top of any lipstick just really makes a lipstick pop. And I've loved these. They are nice formula. They don't have chunky glitter in them. You know, sometimes you get that grit when you get this little micro sparkle stuff going on. These don't have any of that in there. And they just last a long time without being too sticky, but not being too thin. So they're that really good balance right there. So I really love those. And that is it for today's video, you guys. I hope that you did enjoy this latest installment of 10 products under $10 from 10 different brands. Please give this video a thumbs up if you did let me know in the comment section if you guys have any of these products or if you have any questions about any of these products, I would be happy to answer them for you. Hope everybody is doing really well. By the way, I can link my top and yes, I can link my earrings to and my nail polish. So I will be linking all of that for you guys. Hope everybody is having a really great day. Please take care of yourselves.  And I love you all very much. Catch you in my next video. Bye guys.


Hi everyone, Joe for jaspyscasebreaks.com with a quick random number block randomizer for these following teams right here for definitive one box seven, which is coming up in a separate video. If you're not familiar with the number blocks, that's how it works. Big thanks to these folks right here. I guess Alexander, Chris, and Logan are the only ones in this one. Is that right? Let me just double check that really quick. Yeah, Alexander, Chris, Logan, and then Chris. Those are your orders, that's it. All right, there are the numbers right there. Let's roll it, let's randomize it. Nine times, six and a three for each list. And nine times, Colin, are you asking me if you bought into this one? Chris down to Chris, I feel like that's something you would know. Nine times for the numbers. You tell me. Or check your orders. The number will be there. And ninth and final time, the number of the break. One down to eight after nine. All right, so, well, Logan, you have five, Alexander, you have three, Chris, you have everything else. How about that? That's easy. Chris, you get any and all redemptions for those teams, including one-of-one redemptions, but you also have number one, so move point. All right, so there's that. Coming up in a separate video will be the break itself. Stick around, jaspyscasebreaks.com.