So thank you for coming to this, just to say that that is the title, but because this session has been cut down to half an hour, we're not actually going to do that, so don't worry. You've come to the right session. We might just do a quick sound check with Keith, can we do that Martin? Just to see if we're online. We're going to do all sorts of things today that might go horribly wrong, so we're going to try and bring in Keith Smyth from UHI, and hopefully he has a group of people there in UHI as well. Because we're going to have a bit of collaboration, so you will all be working with people. So if you haven't met someone as Keith suggested, or as Sharon suggested, if you haven't spoken to someone that you don't know, this will be a perfect opportunity for you to do in this session. We might have to get you to squish in and work together as well, but I think, are we working with Keith? Yeah, okay that's great. So we will be handing over to Keith at some point as well. But yeah, let me just move this slightly. So yeah, because we're going to, we've only got half an hour, this is basically what we're doing today. So I'm going to hand over to Bill to give you a bit more of an explanation. I'll use that and you can hand make sure. Okay, although there's three of those different kinds of people, microphones, etc. We've tried to work over the pitch we've been working together as a thought collective, as we call ourselves. And so in the spirit of that, we use this little phrase here, let our numbers be unlimited, which is a kind of pastiche on the work of a group from the past called the London Corresponding Society. And that was from in 1792 in a pub by a guy called Thomas Hardy who originated in Stirlingshire in Scotland and then went down to London to make his fortune. And he got involved with other people in looking at the hardness of the times and they need to improve the position of the ordinary working man, as the phrase was in those days. But they also had a bigger ambition and that was very radical ambition of the time, which was to get political representation for ordinary people, to get the franchise extended. And life being life, this did not go unnoticed by the authorities and they all had up for high treason, which could have got them hung drawn in quarters, but they had a good lawyer and managed to get off. And it resonated to me down the centuries the idea of let our numbers be unlimited, which is kind of a spin on one of the rules of the corresponding society. They used letters, they sent letters to other societies in different parts of England and in some ways there's almost a kind of historical echo of what we are trying to do with the internet and so on and so forth. So that's the first thing I guess is our idea of openness and openness for today anyway until we change our minds later on is the idea that the numbers of people involved should be unlimited and that perhaps there should be a radical edge to it. It shouldn't simply all be about teaching people how to be capitalists or whatever. There should be a challenge there. So that's our own generative theme if you like, open as challenge. So just to explain what we're going to do today, we're going to give you the introduction and then we're going to do some group discussions with you. This work is based on a book that Bill Keith and I have recently published called Conceptualising the Digital University, which we'll talk a bit about later. One of the things that we have been exposed by in that, I think that's someone else just joining our collaborate room as well, is critical pedagogy and it was lovely to see the quotes from Jiru and Kate's session this morning because we've tried to put hope into our work and we have been actually trying to do some of the things that Kate suggested in terms of reimagining and giving an alternative vision to how universities can develop. So we're going to try and in the spirit of critical pedagogy, what we're going to try and do is have a digitally distributed culture circle which may or may not work. So exciting times guys, but we'll give it a try. Okay, so some of our ideas and concepts are captured on that slide, there's a lot more in the book, but a few things to pull out. What is a university for was one of the things that we organised a lot of our ideas around and a lot of our work and what's it actually for? Is it for the benefit of the rich and powerful or is it actually for the benefit of the vast majority of people who need an education and need to meet other people for learning purposes? So we're much influenced obviously by Stephen Collini who writes very cleverly and articulately about that question, what's the university for? And that's a thing that we focused on and one of our poll points and you can see it there and it's kind of big in blue is a challenge in neoliberalism. Somebody in Dave's session through that up challenge the neoliberal agenda and quite right too because if you don't you'll end up in a precarious contract if you're not already on one. That's one of the sharp points of the neoliberalism world which used to be seen as academic jargon a few years ago but I think more and more people are starting to say well that's that precarious employment isn't it? So that's telling students that the whole point of being a student and getting a degree is you can earn a better graduate salary and you really ought to use a special information system to find out which university to go to in order to get the best graduate salary later on. What that does for nurses is kind of beyond me because the labour market for nursing doesn't really operate quite the way that the theorists of neoliberal higher education would have you believe. So a couple of our values there, the idea of things being discursive, reflective, dialogic. Again I would think meet and drink to your good selves so say a little bit more about that. That I guess tries to sum up one of our key ideas that we work with people and pedagogy and not simply technology important as it is and definitely as a critique of managerialism which you couldn't say is the sharp end of the neoliberal approach to higher education in universities and it's been there growing steadily and developing its power and breadth and span for some decades. Now I'm retired but I talk occasionally to old colleagues and they ask them what it's like now and they say it's pretty much the way it was when you left only worse. And that's not a good message to be getting back from your colleagues. So I don't have time really to explain this in full but one of the I suppose part of our work and we've presented at OER I think a couple of times now certainly at OER 16 when we were just starting this work. We started with what we call the conceptual matrix was basically those four elements there. As a way to discuss this question of what is a university for and we tried to look at it in a slightly different way in terms of not doing some of the things that Kate was talking about in terms of you know just having I suppose data and spreadsheets and things but talking about what people actually did in a university. So we had notions of participation of information literacy of curriculum and course design and of the learning environment but the learning environment being the physical and the digital spaces that all our work takes place in. And we've expanded this through the book and again we can't explain this in the time that we've got. But what we very much see now and what we would like to propose is to think about when we're thinking about organizational development or reimagining a university or developing a university that academic development should be at the heart of that process as well. And it should be about people and that would be a way to engage and have the discussions and challenge some of the things that were coming through particularly in Kate's inspiring talk this morning. But as a way to focus back on people and what's actually happening in the institution. So we can then look at open education and open educational practice as a really really powerful way to do that. And we've been talking about praxis and getting people to understand what that actually means. And again using critical pedagogy to allow people to contextualize where they are. And actually to understand their place within the university whether you're a student or staff member and the wider political situation that we are all living in. And again what we're hoping although we have written very much from our context which is in the UK. We're hoping that this critical lens would allow people from other parts of the world to be able to have an engaged conversation as well. And then maybe we could have a different way of sharing our experiences but doing that more openly as well. So we're going to bring in Keith now. So I suppose one of the instantiations of this matrix is what we're calling the digitally distributed curriculum. And if Keith is there and if we can hear Keith, Keith is maybe going to talk through this. Can we get Keith? Do I have to swap over for Martin to the rescue? If Keith's not there we'll have to talk to this diagram so hopefully he's there. He just tweeted that he won't talk. Oh dear. Alright we're reconnecting. Oh no. He's not there. It was all working so well. I don't suppose Keith tweeted a new link. That's good. That looks better. We're going to be a bit better. Oh you're doing it? Yes. We're going. Good man. Yes we're going. Hello. Hi Keith, can you hear us? Yes I can. Okay Keith, over to you. Could you explain the digitally distributed curriculum? What we're going to talk about is that it isn't a problem that we don't really want to stay going so I'm back in most effective. So following what you're saying, it changes with some previous sessions as well. We're very much looking at values around reciprocity, practice. I don't know if you're picking up. We're basically on the website. Do you hear me? Yes we can still hear you. Okay sorry. This seems to be a connection problem. So in terms of what you've been starting to notice in relation to this concept, digital distributed curriculum. We're kind of really looking at the digital and digital space as a matrix and an extended higher education. We're going to look at all the databases of what we're good at. And then we're going to look at the digital universities and what they're doing. And one thing I know is that we're not going to be able to communicate with them. So in relation to digital distributed curriculum, we conceptualize this as involving extents and elements of your life. And one of the values that we think of in what communities we are. And this type of reciprocal practice and publication from the university. So values are really about practice and challenging changing things within a society isn't really going to be easily challenged and changed. And what we're going to do is we're going to think about the publication and the publication of what I mean. The walls and sidewalls of the distribution itself. The presentation which is really going to be something for us. The rest of us will conceptualize digital distributed curriculum. And values are really going to be dimensions. And dimensions of practice of your life. And that allows us to take those values and turn them into something tangible. And so the dimensions of, and making the dimensions of identify and prove that the scholarship, the production, philosophy and publication both have spaces. And both the formal and formal education space. And also the publication of the university and the film and alongside. And through public spaces. And something that's very important as we really conceptualize this. And it's to try to not go into the trap of intriguing people with just the online. And so you see in addition to the quality. And we're talking about open online engagement. Open campus engagement. And also open to the community. And for everyone to be able to distribute the curriculum. It's around how it's instantially, how it's impactive. And so these are really, and the path go. And I think it becomes a form of practice. Connection and design. And how we actually, in terms of money, make each of them. So what we're going to talk is a video. And we're going to talk about just that. Which is an agency. The major creation. And it's the same group I know about this. And it becomes a form of scholarship. We're talking about all this work. And now it just projects this digital path. Which is a very powerful project. And it's huge because it's got so much to do with progress. And it's a very powerful project. And in relation to the location of it's part of the path. And we need to take that as it is. It's going to build up in space. But also how we're going to self-select. Which are all like spaces. And so we're trying to develop and access the whole research. And it's going to be on spaces which will take place. Great, thanks Keith. So hopefully you got that. But what we would like you to do now. We do have, I tweeted out a link to a Padlet Wall. And what we'd like you to do is thinking about these. I'll go back to the URL that I tweeted out. And we can get that from this.  The enabling dimensions of open scholarship. Co-location, porosity, and co-location. And we'd like you to in groups maybe think about how your work actually. If your work includes any of that. And so we've put some suggestions of enabling factors. But maybe if you have any instantiations of that. You could share that as well. Sorry, I'll just get that slide up. Why is it you can never use one of these keyboards. Like trackpad mice when you're presenting something. But basically we want you to look at the. Oh, it's not working. Oh, I'm going to get technical fail here. But we'd like you in your groups to actually look at that. Based on that diagram to have a conversation about these values. And see if they would work in your context. I don't feel so bad. He's had to plug in a mouse. So I don't feel I can feel your knife. Over here. So that's the path of wall. I'll give people and maybe look at that and get that. We'll go possibly more important to look at that diagram. So looking at open scholarship, co-location, porosity, and co-production. You might just want to take one of those elements. So in the diagram, we've got some instantiations and some suggestions of things that we think are examples of practice in that area. But we'd be really interested to see if you think that that's part of your practice. If you do something else in these areas. And also I think from different parts of the world. How can we actually have more porosity between different cultures and different countries. And thinking about some of the issues of privilege and ownership and control. How can we do that? And thinking about notions of third spaces. So how we in education work with different parts of society as well. So it might be a bit complicated. It might not work. But we just want you to share what you do. So I'll go back to the paddle link. We'll put this back up as well. So you can keep that in mind. If you have any questions, of course, do ask us. But please, we just want you to have a discussion as much as you can about that. And then we'll watch the paddle it will grow as you add. Well, happy that you've got the link. You're okay with that. Okay. There you go. Okay. Just shove it back to the main slide. There you go. Okay. Over to you. We'll give you a shout out at five minutes from the end. And perhaps have some live discussion as well. I'll have you with the time. Thank you. Folks, time is always against us. We're going to bring up the pablets and see what you did. Can we get you to focus a little bit for just a few minutes? We've got five minutes or so less. I think no, it doesn't look like it. Great. Well, as Bill says, it's great to see everything coming through on the pablet wall. And we will share this and we are going to follow up on this. But I don't know. Is there anyone that would like to make a comment about anything just now? Or how useful you find it? It seems to certainly generate quite a lot of discussion in the room. You might just have been talking about other things though. I don't know. Hopefully you were talking about this. But I think that's kind of validating what we were doing. I think it's interesting seeing things coming in about working with students. And I think that's absolutely critical and crucial. How do we do that? And Scott and I were just having a discussion about the confidence it takes to be an open practitioner within your institution. And again, we were just talking about privilege. And I probably am in a position where I have got the privilege of just saying, just be open because I've been able to develop my own open practice over many years. And at some points, I kind of think, well, I'm just going to do it anyway. I have a great phrase from a colleague who says, proceed until apprehended.  Sometimes you just have to do things and see how it goes. But instilling that confidence to other colleagues and actually being able to have a discussion so people can actually not feel scared about doing something, but actually feel liberated by making a resource open. And as Kate pointed out, to create something, you do need support to do that. But we have to find creative ways and understand our own practice to be able to do that. And we need to be able to support staff and students to be able to do that. I think we miss out a huge amount in terms of what our students can do, particularly around co-production and co-location. And I think notions of expanding what a university is for. And again, fighting back against that kind of spreadsheet numbers. The students are just the data. The students are people. The students are our future. So we really want them to be creating and sharing as much as we can. That's a quick thing. One of the kind of key words for us was porosity. And part of the reason for that was a couple of years back at the University of Highlands and Islands in Burness where a couple of days on the idea of the porous university. And they got a lot of discussion going on. For me, anyway, it seemed to be a helpful word for destabilising and unfreezing often quite tightly structured notions of what are the boundaries, what are the openings so that people can get in. And it's obviously much easier from a corporate management point of view to restrict porosity, I would say, and try to keep everything on the basis of somebody's saying the form that says they want to come here or some such thing. So I think, just throw it out to you, it's obviously stuff coming up there. It's good the idea of the wider public. And if you think back to the example we gave of Thomas Hardy and his buddies in the pub, that's actually from our experience very close to a concept like the ragged university that's on the go in Scotland and we hope to do more work with the folk involved with that. And that was just ordinary guys sitting about the pub, something that was important to them which was getting political recognition and things went from there. So that idea of porosity I think is one we would throw out into the ether. And perhaps see if people have other ideas about it later on. I think again, cultural porosity, what does that actually mean between different countries, between the languages that we use, between the cultural values that we share, the assumptions that we make about the resources that we share, where we share them, expectations of how people can access them as well. I think we need to have more conversations about that and we need to be enabling our staff and students to have the space to have these conversations as well. Anyone want to say any comments from? The last couple of minutes. Well, we will follow up. Just a small point, thinking of how many of us are working undercover, if you like. Victor Bergen said this when restructuring reared its head in arts and humanities, 2009-10, how do you work within the institution which feeds us and some of us roof over our head. But the students are in the same position. Many of them are interested in this. Many of my students talk about this. However, they're paying for a brand. They're working nights, some of them, to pay for that. Some are privileged, but many are not. And so they're in that cash 22 if they can't damage what they're paying for in the hope there may be some employment afterwards. Yeah, absolutely. I think certainly very positive experiences I hear from students is when they can do something that then they can take outside the institution. And a lot of the work that we get our students to do, like the holes in our VLE walls, it's bounded, it's hidden, so they can't take it with them. So they can't use that experience to help their employability chances as well. And again, I think it goes back to confidence that staff being able to design curriculum and design assignments and activities that allow students those opportunities as well. And I think sometimes yes, there is that fear because we do think... Or actually it's not fear, it's time. We just don't have enough time really. We don't think about what we're doing in curriculum, design, activity, design as much as we should because we don't have the time because everyone's teaching loads are becoming heavier and heavier. We don't take enough time institutionally to say, you know what, every year we are going to have a review of our modules or our courses, whatever you might call them. And we're going to look at that and see what's working. And actually, let's try things. So I think there's a whole combination of things there. But I think that, yeah, we need to be able to have a way to start having the conversations about how we can do that. We might not do it with everything, but we can do something. Good job. Thank you. I'll take your hand up. Hi. Just Scott Conner from the University of Ireland. Good job on the same point in our own institution. A couple of things that restrict us. One is policies. And the policies tend to be quite restrictive. And because the policies are restrictive, we know that there's good practice going on in the institution. But the problem arises if you say you're doing a certain kind of practice that goes against a policy, you risk your practice being removed. So in effect, it's stifling innovation in the institution just by having the policies and being too strict on the policies. I think that's, sorry Bill, but I think academic development units can play quite a central role there. Because they're quite often involved in policy development as well. So actually, maybe starting from that can help. Won't all the time, I know. A quick, very, very quick response to both those points. If you're thinking about students, one thing that always helps me is to ask yourself and ask them, where do they get their ideas about beliefs from and so forth? And then you have that conversation. Do you get your ideas entirely from careers, masters and mistresses at school or from the careers unit at the university or wherever? Where is the space for people to think for themselves and get that going? I think if that could be instantiated, a word of learn from Keith, if that could be instantiated in practice, then you might start finding students with hands, all sorts of ideas. We all know that climate change is a big issue. A few weeks ago around the world, thousands and thousands and thousands of school kids just went out and we saw a good example.  I think that's what the Australian 12-year-olds were saying. So do you think about that? When we talk about students as people and humans, we mean it. And humans and people are distinguished from each other and from the stones and the trees and so forth because they have to think. Okay, we're going to have to call the stop there. I know some of you may be going on to the next presentation. So thank you to Sheila and Bill and Keith online. Thank you all.


The MTOR signaling pathway has been found to be involved in many diseases such as cancer, arthritis, insulin resistance, and osteoporosis. It is also implicated in cellular processes such as cell proliferation, autophagy, and apoptosis. Recently, several new MTOR inhibitors have been developed for use in clinical trials, and it has been observed that these compounds can work synergistically with existing treatments. This review discusses the role of MTOR in chymorrhogesis and its potential as a therapeutic target. This article was authored by Jilin Zhu, Tao Tao, Hong Mei Li, and others.


Now welcome to this section on my lectures on Python. We're going to look at SimPy, symbolic Python. It is a computer algebra system and is a wonderful tool to do mathematics with. Let's have a look.


intrigued about this palette. I have a soft spot for Urban Decay. They were one of the very first eyeshadow palettes that I purchased when I got into makeup. Back in the day, Urban Decay was the coolest brand ever. I was so enamored by all of their products. But as you know in the last few years I've been completely uninterested in the brand. I picked up a couple palettes here and there, but I've skipped out on a ton. This is the first palette that I've seen that I was like, I really like the color story. So I'm excited to be reviewing in the Wild Greens palette. I haven't watched any reviews or anything, but based on your guys' feedback, a lot of you are bored with this color story, not interested. I don't know you guys. The color story really spoke to me. I like what it's given me, but I do agree with you guys. The packaging is kind of weird. We'll get into that. But yeah, as you can tell, I will be reviewing this palette today. It's going to be a first impressions. I don't know about Urban Decay's eyeshadow formula lately, so should be interesting. Let's get into it. Right now it looks like this is the Ulta Beauty Exclusive, so you can only pick it up at Ulta and the Urban Decay website. Not available anywhere else. I purchased this directly from the Urban Decay website. Honestly, it kind of took a hot minute to get to me, but it's fine, whatever. I got it for 44 US Zollas. This is featuring 12 wildly pigmented green and earthy neutrals made with a blendable vegan makeup formula. It's going to be vegan and cruelty-free. Right. So the box that it's going to come in is this one right here. Yeah, I think the packaging looks kind of childish on this. I'm not into it. I just know Urban Decay can do better. Here is the back of the box in case you need to know. It says it has a hit of avocado oil. Very, very interesting. Made in South Korea. Very cool. So here is going to be the packaging of the palette itself and then the back of it right here. It shows you it's a vegan formula 24 month shelf life made in South Korea. All of that good stuff here. Yeah, the package is kind of ugly. I've decided it looks cheap to me, but when you open it, it's like this. That's kind of cute, right? And here is the palette itself. You guys, I'm totally imbibing with this color story and I think it looks even prettier and more punchy in person. I'm looking at the photo online. It looks better in person. Now the one thing that you guys did say that I do agree with you is depth. This needs more depth, right? Here's the deepest shade. Honestly, it's pretty deep, but yeah, I would agree. Some more variations in depth here would be better. Yeah, and then how it closes is just like this. Make sure, kind of push it in. Make sure it's sealed nice and tight so that your palette's going to last longer because I guess if you don't close it all the way, it can get weird. So make sure you push it in. Make sure it's nice and tight. The component itself, I actually like. I like the style. I think it's a little bit different without being too out there. Just don't like the designs of this. But anyways, I wish I had more of like a jungle theme or something. This is what I think they should package it like. The Urban Decay Bamboo Palette. This came out like 10 years ago. I feel like they should pay owed to this era of packaging because how great would something kind of like this inspired by this be so great for this particular palette? Maybe I'm living in the past, but I'm just saying. Let's get to swatching. By the way, I did review the KVD concealer yesterday. I'm wearing it again today, and it was hard for you to see because I had eye shadow on, but this is what I mean right underneath my lash line. It really does emphasize these lines. It looks good everywhere else, but directly under my eye, I feel like it looks a little dry. So that's what I meant. Anyways, with the lights down, you can get a better look here at the palette. There are six mattes. This looks like a shimmer. These look more like metallics. And I guess this would be more so of a shimmer. Anyways, six mattes, six shimmer slash metallics. Really great mix in here. So we'll start off with Chill, Lofi and Kickback. These are really great basic colors to have in a palette, by the way. So Chill is a frosty nude with microfine pearls. Lofi is a soft matte pink mauve. It kind of blends right there in with my skin tone. And then we have Kickback, which is a cool espresso brown matte. They feel quite soft. I like the way they feel. They feel like they all blend easily. I'm going to turn like some drops a little more. You can totally see that a lot better now. Alright, let's see what fuzz, turmeric and high vibe is all about. That's what they look like on my finger. Oh, I love fuzz. That looks really pretty. So fuzz is a shifty metallic orange with orange, gold and green pearls. So I can see that effect. I feel like there's a shade similar to this in the most recent palette that they came out with. High Vibe is a blood orange base with no, it's just okay. Turmeric is a rich orange with red matte. And then High Vibe is a blood orange base with gold and orange pearls. So right here you can see the top row. We have very warm tones. Let's get into the bottom row here, which are the greener tones. I like how they organize this. I think you have a very wearable warm top row. And then you can get to the greens for something crazy or we'll see how crazy. But let's take Earthside Super Greens and Prickly, which I'm excited to play with. So we have a cool light matte brown, a soft mint green matte excited to play with that. And then a minty green blue metallic base with light blue pearls looks pretty. As you can see, these are swatching softer. They don't seem to lack in pigmentation, but they do have a softer look and finish to them, which is not a bad thing. And let's get into twist kale. I actually really like the names of these and stash twist. I'm coming for you. This is a golden green shifty metallic with golden pearls. This looks like a little bit more of a topper. Then we have a olive green matte that's going to be useful and a moss green base with micro pearls, gold micro pearls. So this is the palette right here. If you're more of a wearable makeup person, you're going to like this. I can tell you now, if you're looking for vibrancy, you're not going to like this. This looks like a wearable green palette, if I'm being honest. I like it though. I like this color story. It is a little softer, but we'll see how performance is. So as with all of my eyeshadow palette reviews, I'm going to do one eye and then I'll be back to do the other with you. I probably didn't look that everybody and their mommas have done with this palette, but there was no way I was not going to play with the greens because if any colors weren't going to be good, it was going to be the greens and I have to say guys, I like this palette and I'm laughing because I have not liked Urban Decay eyeshadow palettes for years and this is definitely the most successful one in my opinion. It's definitely not going to be for everybody. The shadows are kind of loose and a little bit more powdery. So you'll see I did get some fallout. So act accordingly, but I like this palette. Grabbing my rougher brush and I'm using some of lo-fi. Just a little bit. I'm just using this as our transition base right here. I'll actually end up adding more transition colors in a few moments, but I do like how this is more of like a peachy skin tone color right here, which is going to be a good backbone, especially if you're playing with the top row that has the more warm colors, but you can see that doesn't add too much to my lid, but I like that that's an option. I'm going to continue on with the same brush and we're going to go into super greens right here. So the problem that I find with shades like these is how easily they fade. So I'm going to be watching that throughout the day, but I think I like it. I didn't see it blending away too easily. I think this is a solid light green shadow because these can go wrong very, very easily. And just so you can get an idea of the kickback. It's a little, a touch powdery. Nothing crazy. I honestly think it's powdery to a point where it makes it easier to blend, but not so powdery that it blends away. Look at me. Perfect Decay is doing it right with this. That's pretty. You can see it's still vibrant on my skin tone. I'm going to use a little bit of a smaller brush. This is a rep for 15 and we're going into Kale. I don't know why. I just, I love this shade. I love that its name is Kale. I love that it's kind of like a pukey greenish color. It's giving me really nice pigmentation. It's blending out nice. Kind of the center of the crease. I'm going to go back and build as well. We'll start off the base right there with a rep for 14 brush. We're going into stash. Now this is a metallic shade. So this is kind of the one that made the mess on my face. This is what happens when you use a metallic shade. It has the most depth and that is definitely what this palette is missing is a matte depth shade and I want something even deeper than this. Something that's like so dark green that it's almost black will be great in here or even a darker brown because this brown, it's just not brown enough. I get, you know, some people won't use that darker shade for more wearable looks but I just feel like that's the missing piece to really create some cool looks. But anyways, not everybody wants that so I get that. You could say this does still add some nice depth to this look. I'm not mad at it but I'm pretty excited. If you use this metallic shade it's going to get little messy. It's not the easiest to blend out but I'm not going to knock it. It is a metallic shade. I knew that going in. It does kind of blend in seamlessly with the look. With a rep for 14 brush we're going in with kickback now. Like I said, I wish this was a little deeper but I'm going to use it to kind of mattify stash a little bit. So stash I really wanted to add the depth and then I'm putting the matte shade kickback on top to make it look as though I used a matte as well. Just like that. I'm going back into kale here and let's blend these edges so you can see a little bit of the powder flying out but I'm not bothered by it. Then let's get back into super greens. See, this has a lot of intensity to it. While I have my brush in super greens I'm going to start off with this on the lower lash line. I'm not doing anything really intricate with my lower lash line at all. I'm just building up all of the colors that I used. Next we're going into kale. Taking a smaller brush I'm going to get some of stash. Just get that shade pretty close to the lash line like so. Then again I'm going to see if I can wipe away some of that. I don't love this shade if I'm being honest. I think it's a necessary shade in this palette but I wish it wasn't the formula that it was. It's not my favorite formula. Now we're going into a chill right here. This is going to be that beautiful underbrow highlight. See that just lifts the brow and I'm also going to pop that on the inner corner. I love that this is here. It's really creamy, gives a nice shine. I like it. Let's get into the goods. I really wanted to play with the shimmers. I didn't get to use high vibe on my eye but I think the shade is going to be pretty underwhelming based on the swatch. It'll be soft on the eyelid and I just wish that wasn't there. I wish it was more like these formulations so I'm going to start off with twist right here. It's a little messy so just be careful. That's why I'm tilting my head back to try and minimize fallout. I would suggest maybe use a glitter glue or something sticky. I think if you used a wet brush that would also amp these up but I just want to show you them in their truest form. They're very very pretty. You can see they're softer. They don't have too much of a pigmented base but I like it. I'm flipping my brush over and I'm going into prickly now which has kind of like a minty tone to it and I'm going to put this in the center of the lid and you can see how that's a little bit more minty. I'm getting significant fallout from these shades. That's what I mean when I say maybe what the brush do something to bind the eyeshadow to your eyelid or do your face makeup last because this isn't good before I wipe it away. I want to take a little bit of kickback and just kind of redefine this outer corner and get the excess glitter off of there. Should I use a little bit of fuzz? I haven't used it yet. Let's just get it on the corner of my brush. Wipe off excess. We'll put it right here. That's pretty just for a little touch of it because I haven't used it yet. I like that. Huge flaw to this palette though. She's really really really messy. Oh my goodness. I don't normally get this much fallout from a palette. I don't like that. Oh now I have glitter all over my eyes and it's not very flattering. I normally don't go in with my face makeup afterwards but I think I might have to on this occasion because the root makeup is really ruined. That's not good.  Alright guys so here is the final look. I mean it's a gorgeous gorgeous look.  Um yeah so overall I'd probably write this palette like a 7.5 out of 10. I really really like this. I came in really loving the color story. I'm leaving loving the color story. If you are into like indie brands, really vibrant looks, anything like that, this is not going to be the palette for you. This one is definitely for the mass market. I think Urban Decay did a good job with this. The eyeshadows are a little bit messy. That's the biggest con. Do your eye makeup first. I did not like that aspect at all. That actually is a very big turn off for me personally because I do my face makeup first. But other than that I like it. I wish there was some more depth. I don't like this shade. This shade right here isn't going to give you much and everything's a bit on the powdery side. But generally speaking I think the quality is really good. I think it's easy for beginners to work with. Very very easy to blend. The shimmers are really beautiful. It's soft enough for those of you who only really like neutral tones. I think it's a work appropriate while still allowing you to be able to play a little bit to get more of a vibrant green look like this. I like it. I think this is definitely my favorite Urban Decay palette that has come out in a long time. So if this is a color story that you're interested in I hope that this review helped you out. I had a fun time with it. I'm excited to continue playing with this palette some more. And I am going to leave that at that. So I hope you guys enjoyed this review. Thank you so much for being subscribed to my channel and liking this video. And I will see you guys in the next one. Bye guys. Have a good one.


And now we go with Felipe Hernandez from Santander. Hello, my name is Felipe Hernandez and I work for Santander Technology. I've been working for Santander for a few years now, started in 2005. Last four years I've been based in the UK and have the business there. Okay, so 2016, very end of the year, Santander decided that they needed to move away from the UK, at least move away from the old waterfall model into a new DevOps approach. Within one and a half years from then we are now, and we just move a long journey to achieving that. I am working personally in the team that is helping all the development teams to achieve this. We are working with them on achieving this. I'm also creating a pipeline on the product owner of the department that are creating the pipeline that helps all the development teams achieve this. So technically we have two clusters of OpenShift running active and the big challenge that we had around this to achieve this is basically how to interact the old world, all the old applications that the bank has, and they still need to be running, and they're still running today even though there's lots of new projects with new technologies, but still all the old applications need to coexist. There's going to be always new applications living together, and there's going to be a mixture of applications that even though 80% of the applications belong to the old world, some new functionality are being developed in the new world. So how do we integrate all together? That's been quite challenging in the beginning. Just find the processes and find how to merge and blend it all naturally and how to be able to offer an environment to our developers that will allow them to start in a green field mode or start in a brown field mode with a mixture of solutions. So by doing that, we have now successfully, as we started, we have right now 130 projects, different projects in production, OpenShift projects, but this is a project which is themes of people developing solutions. We have up to 92 already in production, we're ready to go live, and 15 of them are actually live giving value to our customers both internally and externally. We have applications internally and applications externally. And I think that's pretty much as an introduction. Thank you very much.


This is going to be a walkthrough of instrument transformers, their purpose and how we can use them in a wattmeter to determine what the actual line power is.  I'll be doing another circuit that has inductive properties in another video. Now here's your scenario. What we have here is we have a potential transformer, a PT, that is rated at 15 kV to 120 volts, and we have a CT, a current transformer over here that is rated 300 amps to 5 amps. Now, PTs or potential transformers always have a ratio of something to 120 or 110 or 115, whereas CTs, current transformers, always have a ratio of something to 5 amps. So that way you know that on the secondary side, which is this side, that if I was reading 5 amps, I'd be reading 300 amps on the top side. Over on this side, if I was reading 120 volts on this voltmeter, that would mean that I'm seeing 15 kilovolts on my primary side. Now what we have here are our transformer ratios, 15 kV to 120, 300 to 5 amps. We can't really work with those transformer ratios. We have to go down to a mathematical ratio. So what we're going to do is we're going to take 15,000 to 120, and we're going to divide it into each other to get a ratio of something to one, and we're going to do the same thing over here, and we're going to get our mathematical ratios. So here we have the potential transformer as a ratio of 125 to 1, and the current transformer has a ratio of 60 to 1. Now we have our ratios that we can use to determine what our multiplier is, which is this guy right there. Now what a multiplier is, is it allows us to take whatever we read on the wattmeter, and we can use the wattmeter reading and the multiplier to figure out what our actual true line power is up top here. Because we can't just throw a wattmeter up here. Because sometimes you could have megawatts, and these wattmeters are not built to be able to handle megawatts. You'd end up experiencing what I've said in my last video, kablazelflam. What we have then is our multiplier. We're going to take 125 times 60 to get our power multiplier. And that gives us a multiplier of 7,500. There's no unit behind that. It's just an actual multiplier. Now for a wattmeter reading, what we've got here is I've got a line voltage of 14.5 kV, and over here I've got four amps on my secondary side, so I don't need to worry about that. But I do need to figure out what my voltage is going to be on this side here. So I can take this voltage and divide it by 125 and get my wattmeter reading. So by taking 14,500 volts divided by 125, I get 116 volts there. So now at my wattmeter, I have 116 volts applied. I have four amps going through it. I end up with my wattmeter reading of 464 watts. But that's not my line true power. Don't be thinking that this number here is the true power up here. That is just what my wattmeter itself is reading, using the Pt secondary side and the Ct secondary side, that four amps there. If I want to figure out what my circuit true power is, it becomes very easy. There's two ways I could do it. I could take this voltage and then I can take this current, step it up and get this current and go this voltage that is this current to get my line true power. Or even easier, what I can do is take this power here that I'm reading on the wattmeter and use my multiplier, so I can go 464 watts times 7,500 and I would get my circuit true power on the primary side. That ends up being 3.48 megawatts and that is our true power on our line side. Therefore, again, just like every other transformer video and issue that we've come across so far, they're not as complicated as they seem at first. Again, it's all about breaking it down to ratios. I determine what this ratio was mathematically. I determine what this mathematical ratio was. This ratio times this ratio gave me this multiplier. I took this voltage, I divided it by my mathematical ratio, I got my secondary PT voltage, I take that voltage and I multiplied it by the secondary CT current and I got my wattmeter reading and I took my wattmeter times my multiplier and I got my actual circuit true power. In upcoming video, I'll show what happens when we throw a power factor in there. Again, not as tricky as you would think, but something you've got to watch out for.


No, no, no, no. Don't worry. Don't worry. Don't worry. You just have to be showing who's daddy is. Show him who daddy is. Show who's daddy. Oh, he's going. It truly is my son. How's it going, everybody? Dadodoi, here back with another Dragon Ball FighterZ video for you all today. And while now the next DLC character, Master Roshi, is not quite out yet, there is another raid available in Dragon Ball FighterZ. So of course you know that means we have the three leads here today to take on the raid boss of Gohan. Now actually in this raid I believe that both team Gohan and adult Gohan are going to serve as the boss. So as we level up Gohan is going to age and ultimately culminate with a fight as him at adult Gohan where he is going to do absolutely insane damage. As always if you enjoy these kind of videos where me, Rime and Siriax try to take on a raid boss make sure to the like button. This time let's try to go for 15,000 likes in anticipation for Roshi. And without further ado let's hop in and see what we can get done against this boss. Hey Dada, what's the theme? Embratnamet! The theme is... We are just going with all Go... Whoa, Go... What is that face? Why is Gohan look so angry? He is way too excited to beat up Gohan. That... Wait, that was unsettling. I did not like that face at all. To be fair I feel like they would beat each other's asses just out of fun because of the dude. Why you gotta go for a straight overhead bro? I don't know. Look at his hair. That's a big... That's a big target right there. Bro, look at his teammate. He chose Piccolo over me. Hey Dino! Hey Dino! For those who haven't seen a raid video, why on earth is this so easy? What's the point of this video, Embratnamet? By the way, I didn't know you were going to tag me in there. For raid videos, it's not easy at first, but then it becomes harder. Why are we doing the explanation of the voice? I don't know. We just all start to go with the same character. But in case you are wondering, the raid videos start off very easily so it almost looks pointless. As you can see, the AI is kind of walking around. But this is an event that builds up in difficulty over the course of seven possible stages. I'm not saying we're going to see all seven, but... There's a playlist to decide. Just watch every single raid video in one burst. Just real quick. Four times each. Or you can check the description and Embratnamet. I don't forget to put it there. I'm going to mash. I noticed you stepped up to the play first. Why? Well, we all want to take turns going first and I don't want to go first when it's like level five. I wasn't expecting an honest answer. There's a lot of pressure playing out. This is going to play since I have it on first. I guess this makes sense. I think I'm going to get the wrong end of the stick here. Yeah, why is 16 on this game? Bro, you guys talked once. Yeah, exactly. Shouldn't 16 go first actually so we can kill him and then he shows up as Super Saiyan 2? Yo, if 16 blows himself up, I'm going to be an intro. Yeah, I'm going to say if 16 self-destructs on me, that part's getting cut out of the video. If the screen goes black and all of a sudden me and 16 are dead, you know what happened. I'm not going to lie. For a second, I forgot that I was playing and I got real nervous and I'm like, wait a minute. Why are you? Who? You know, not like this.   Oh my goodness, on round two. Oh, no, no, no, don't worry. Don't worry, don't worry. It's not the intro, it's only round two. Bro, there's the intro. You're going to be like, oh, I wonder when that happens in the video. No, no, no, don't worry. Dog, he just be DP-ing. Yo, what is this really going to be the hardest rain boss we fought in so long? It's round two.  I don't know who you flexed on. Why is he being so disrespectful? I think I got beam assist. Call me out for beam assist. I want to help. Nah, he doesn't mean that. Let me hold him. That's all right. Yeah, we got him. We got this.  That should have been, man. Okay, maybe we'll do that theme in a different video, but I guess you'll have to look at the other three of these videos just to find out. Brett, man, man. Bro, Brett did. Level one, level one.  Aim it up, aim it up. No, not quite enough. I just want Dotto to have, you know, do his thing. Oh, I didn't do it. I would have been so upset at everybody in this call if I just died right there. Yeah, I had to be dead. Well, you did that to yourself. Let's be honest. Bro, I'm not going to lie to you. I literally forgot that I went first. So when I saw you at Goku stand there, I'm like, is Dotto going to move? No, it's me.  This is probably going to be the last team go on. They were probably going to start getting adult going. I'm guessing.  Shasha, Shasha. Be him in every phase of life. Yo, he's just D.P., bro. Wait, I got to check out the description for this one. Is it less aggressive than the Trunks one? Or? It actually was less aggressive. Trunks is going through a funk. I got to go out and fight y'all. He just stands there. Bro, if you go back to the footage, you were like idle for a lot of that video for no reason. Like you were fighting like you're scared of me. No, there's an idle. Look at this. Bro, whatever he fights me, he just stands. Every boss just stand there for y'all. Like, I'm not, you were literally like backing up from him. Like, oh, I don't like the way he's looking at me. You were just kind of standing. He sets the beer in your heart, bro. And then he just bodied you. That's all. Look at Super Saiyan Goku in the back. I kind of participated. Dino, why are you writing up first? Are you sure? Yeah, let me get in here. Let me get in here. All right. This is going to be a part of the video. I got this. Don't worry. Don't worry. Download the comments. Let us know who you think is going to go out first. Dino already went out. Why are you asking this? Did he? Oh, yeah. Yeah. You know what? I just forgot. Who's going to go out next is the question. That's what he does. Don't worry. Don't worry. Don't worry. I'm going to redeem myself for what happened just now. Does that make sense? Dino, can you just say watch this? Watch this. Oh, you just instantly tagged out. You really thought I was going to go first? That's not what it is. It is a cold night right now. What is going on? Not like this. I got it. I got it. I got it. I got it. This is your shot. You just got across. He's kicking. He's. Oh, I thought it was not the GPU. I thought it was something. This is no son of mine. He's a freak. What does he do? I got a plan. I got a plan. I got a plan. I got a plan. Ryan got to hold down that level one or no. No, no, no, Ryan. Why is this happening? Oh, you're supposed to level three. Yeah. I was trying to think of a way for us to get on level one. So I didn't level one. I got nervous. Yes. To be fair, I messed up. Guard cancel. Nice vlogs. Let's go. What idiot? Oh, we didn't have enough part of snap. Drag your rush. The bot can't attack. He doesn't have those. Double two H. Well, I just swing it. That's going to be a dead goat. All right. Oh, he mixed them. One crumb. Just one crumb of a mix. And right. But man. All right. Just just get a doll go on in here. This is too easy. You know, so far just mean dot I've done stuff. So you're in. I don't know why you would send him in to go hunts and menace. It's fine. Look at him. He said he has to redeem himself. There you go. There you go. It's over. It's over. It's over. But again, you can see him. He got scared. He just stood there for a second. He was like, hold on. What you gonna do? I was about to say. I was like, bro, I don't think you understand. Funny. Funny.  Like, you know, we hear with you, right? Like, we're doing this. I'm just talking about anybody in general. It's like, are you going? No, no.  It's like, people will see my fires. They're like, how can how can we get bodied? How can we get buy and raid videos? But you do find in like video videos. I'm like, because it's a CPU. The CPUs are unpredictable. They're mashing their heads into the controller before like you even do that. Like the worst players don't mash as well as the CPU though.  Dotto, you got this one first. I mash about as good as a CPU is all I'm going to say. Let's see. Yeah, I got this first. Let me take it off. It's just one adult. Go on. Let me. Hold on. I'm right. Make sure you want to do this. No, no, no, no, no, no. Ready?  There we go. I'm trying. I mean, as long as I'm not in the beginning.  Oh, you're dead. Like, just walk low. I don't think I've ever seen them like throw over it. It's just walk low. After round two, Rive just his confidence. He did go in there and confident at first. You know, you know, someone who has a lot of confidence in me. See, that's a much more angry expression. Adil Gohan really doesn't know what's about him. Raw heavy coming up. Mmm. Mmm. Let him know. Mmm. That beam assist. That was me. Go ahead. Yeah. Hey, Goku A assist. Yeah. Hold on the fort. Yeah. Oh. Okay, guys. See, that's what I mean. How's it going? That's what I mean.  Don't worry. I saved you. That's what I mean. That's what I mean. That's what I mean. Oh, why is this happening? Why am I here right now? The second he starts flexing. I got to leave with my body. That's all I ask. Do you know what I mean? You good? That's what I mean. You're alive. You're alive. You're alive. Man, I got this. I got to do everything around here. What is that? Heat. Oh. Ah, you know what I'm saying. Oh. Wait. What? When I get hit by an overhead. Oh. Why me? Oh, never mind.  Come on. Guys, if you want to spark, that's all yours. Leave me out of this. I'm so scared. Leave me out of this. Oh. Why are you moving? Yeah. Oh, nice mix. Oh, I missed it. They said go go go.  I'm jumping. Come on. Come on. I don't think he has any interest in super dashing. Yeah. All right. Go ahead. Go ahead. Be careful. U.S. He's got legs. He's got legs. All right. Somebody else. Somebody else. You'd even give me like a heavy knockdown or anything. I'm trying to save rhyme. I don't think I was. I don't think. Hold on. No, I'm good. I'm good. No, he dropped it. No, he dropped it. He dropped it. Yeah. E X dash. It's fine. You know what? I have the right. All right. Our hells are not in the tip top. I was going to say, is anybody else sweating after that one? Because that was a significant spike in difficulty. Let me look like round two rhyme out there. Doug, from now on, if Dino was in a video game, he's going to have a variation called round two rhyme. He will now. You want to be kid rhyme, adult rhyme? No, I'll be round two rhyme. He got Piccolo back again. He's trying to redeem himself out there. Let me at him. I'm scared. What happened to the bond we had? I think that piccolo looks like a turn him in a bower piccolo. I think he's a little upgraded. Are we already there? I don't know. All right. How many seconds do you give Dino? Hold on. I'm about to get back in our time. At least 30. I'm going to drop it down to 20. You'll be, oh my goodness. Oh my God. Why are you doing a different game right now? You're just running.  I thought about switching over to one of y'all. All right, all right. Hard knock down. You ain't ready for this? You would already survive so much. Okay, okay. We're going to rest a little bit. Oh my. I don't know for beating this one bro. Nah, nah, we're winning this. I'm confident. This man said we. Where are you? Dead. So go ahead, win this. I got this, I got this.    And then here's Dion. I don't fight with beer bro, that's the thing. Look at this. Not the first time I've been alone on Red Knight. How you been fighting back? I was just winning, that's all. You're not fighting back, are you kidding me? No, don't get hit by that. Beads like that. You tried to two-weight your 6M bro, he was ready. I haven't played Super Saiyan Goku in so long. Combos? Yeah, nah, that's dead. I got all three to kill him. Look at this, look at this, he's a built dip. Look at the health. Oh yeah, he does have 25k health. I got his spark out of the way beginning. Beginning. Alright, Piccolo should be much easier, but I wonder how much easier. Look at him standing there menacingly. Get down. Piccolo should be way easier. He said what did you say? Alright guys, we're back on stage 4. For you guys, it was only a couple of seconds. But for us, we fought back tooth and nail. We got a little close there, but we should be at full health. Moving forward. Anybody have any comments on this stage? What we're expecting to see? Dino has a theory. Dino has a theory. The second I pop out, he'll start fighting back. But the second beyond, he'll just stand down and key charge. I tried to tell him that I'm just built different. I can't help it. He's scared of me bro. I'm going to save the character development for the video. He turned on Brock. He's actually falling apart behind the scenes. Alright, I'm going to use that UI Goku ASUS. Hold him down. Yeah, he didn't connect it. Dino, he's doing stuff. Dino, he's doing stuff. Why did he get in the corner? I didn't even know he was in there. That's your boy. Look, why did he stop blocking? He got staggered. That is a lot of health. I got to go for it. I'm just too high up. I'm surprised that my character pops out. He doesn't get just absolutely eliminated by one super. Well, at least you show up with the GP. I was already ready to apologize to you because I was like, oh no. He's definitely going to get it. Alright, somebody else, Rhyme? Somebody else, Rhyme? Go ahead, Dino. I was already ready to apologize to you because I was like, oh no. He's definitely going to get it. Alright, somebody else, Rhyme? Go ahead, Dino. Dino? It's just so unfortunate. Fine, bounce back. There you go. There you go. There you go. I'm built different. That was actually sick. I'm built different. My eyes actually couldn't adjust to what happened. That was amazing. I'm going to push it in the face. You could have killed him. No, not quite actually. He's got 3700 health. If he does a spark and you read it, then you got the MVP award for this one. Watch this. Why did that not go behind him? What happened? I have to check into post-editing. He didn't even do anything against you. After that one combo he was done. I'm serious. He did nothing wrong. I want you to go first, Deon, in the next one. Of course, the hardest one.  The difference between y'all and me is I go in without fear. It doesn't matter. I might get bodied right now, but I don't think it's going to happen. I think I'm about to body these boys. Hold on, who is it? I want everybody watching. I want everybody watching. That's bull. If I body him, if I body him, then it's going to be because he doesn't do anything against you.  Watch the video, watch the video back. You were backing up, you were scared. Why are you scary? Don't be scared. It's going to be alright. I was going to say on summer in the middle, I don't go in afraid, but as soon as he starts moving, then I get afraid. I'm like that. Cumber. I dare you to DP me. I don't know why. I go in without fear. He was trying to walk up on me. I know how the CPUs are, Cumber. Look, he doesn't block at all. He's trying to swing, God's trying to swing. Yeah, he was going in. I'm not going to let him, bro. He's trying to do stuff. I just don't let him. See, I told you. The second I let him. I'm not scared, bro. Okay, Rhyme. Well, how's it going, intro? I am here. I look at my best. Hey, don't call me out in situations like that. No, no, don't leave me alone either. Don't leave me alone. You're not dead. What? What's my reflect? See you, I go go lose to getting his toes stepped on. That's it, bro. Look at how I already got him blocking seat. Good stuff. This is what separates us, Gohan. Show him, show him who his daddy is. Show him who his daddy is. Show him who his daddy is. Oh, he's good. He truly is my son. Yeah, let me do it a little bit. Oh, you're different. You're different than the rest. Oh, there you go. Wow. Yeah, I'm kind of good at this game. But you know what that means, unfortunately, right? You're going to have to start this next one. All right, now we're going into our final round here. This is the second to last round. This man already declared us dead. I remember what I said. No, he's confident. He's going to body go on and pick a low and take us to the final round. No, no, this is not what he meant. I didn't mince my words. This is a level 85 Gohan we're looking at. Definition number two. Hey, it's going to be all right, man. We're going to win. All right, I stuttered. We're just going to let it go. Actually, I just started too. Yeah. I'm going to stutter. All right. Hi. 2M, 2M. I thought that was going to be a good idea. Joe, please don't. Ryan, Ryan, Ryan, I'm going to tag you. Why? I don't know. Snap and pick a low. You don't have to play. The utter silence from Dino is what's making me laugh. What was that? Gohan is afraid. I mean, Goku's afraid. I don't know. Be careful. He turned on block all. I hope you're not doing anything. I don't like that Ryan actually died. He's gone. If you can snap and pick a low. You're going to be our anchor, bro. Anchor. You got a pick low. Pick a low is pretty easy. Don't say that, please. I probably shouldn't say that when you're on the field. I'm just trying to abuse him. Get ready for this mix. He was ready. OK, it's fine. Dino has said nothing. I just hope King Kai is treating him well up there, man. That was mostly my fault as well. It was 100% your fault. I said mostly. I would have settled for 90%. And then there was one. All right, you just have to beat pick a low to get your end screen. The link between you and me are much better. All right, let's go. Who turned on block all. Hey.  Oh, there you go. Dino, I actually believe in you. He doesn't have spark anymore. I appreciate that. Dog, you can beat this. Thank you. I needed that. This is not our last round.  So he's going to walk up 5L and that's a low. But that's an overhead. It's OK. Oh my God. That was so unnecessary. Can y'all hear me?  Hey, we uh.


And they say, okay, we're going to commercial break. They take the war.  Next thing we know, boom, the dough slam open. Here come Tupac down the, down the road with about a hundred, half-crips, half-bloods. And he got on fatigues. So when we get in the back, they're like, yo, pop coming back this way. Biggie them had just performed. Yeah, we on boss talk one on one, one on one. Yeah, we gonna talk. As you talk about that, look at what's going on with Puff Daddy right now.  I mean, baby, how do somebody who never wrote a song, produced a record, got all the money? That's real. Boy, that's real. Bars. Somebody facilitated you to be able to have all the control over. And if you ain't got the talent and you can't write it, you can't produce it, then you got to use something else. It's called sex. That's how you control. That's old. That's, I mean, that's the old world. But if think about it, a person who don't got the talent is gonna be more demonic, more evil and more heartless when it comes to taking something from somebody because they can't produce nothing. That's real. Man, I- You've been in this business a while, so you've seen a lot.  I said, check this out, bro. I ain't never put my name on nobody at work.  Now, can you say that about most of these people at the top? You can't. You can't. So, if you got all these people, I'll be highlighting this. I'm the greatest, I'm the greatest. And then you look down the, did you write that? You didn't write that? Well, how do you replace it? I'm just saying, are we gonna be, are we gonna live in a world of falsettos? Are we gonna live in a world of truth? Cause that's the reason why the youth ain't listening to the grown folk now. Cause y'all did too much live for certain people and the kids can see that that's a false. That's real. That's a fake. But you want me to believe the fake is as good as this.  That's real. I wanna ask you about it for real. I wanna take you down this road, man, back to the Soul Train Awards wins. You know everybody I always ask you about this. I had OG Pairu on here and he was there that night and he was like, Don Cornelius wouldn't, at first like he wouldn't let, cause he was with Chugna, they wouldn't let him in. You see what I'm saying? Yeah, they wouldn't let him in. So explain to me how, from your side, like how did that night go just up on their arrival and everything that transpired? We were there, we was going on stage, we was giving an award to, I think, Jagged Edge. Jagged Edge or one. Boy, I was gonna get married with Jagged Edge.  I don't talk about it, though.  That was the song, man. So we're giving them an award for that. And they say, okay, we're going to the commercial break.  Next thing we know, boom, the door slam open. Here come Tupac down the road with about a hundred, half-crips, half-bloods, and he got on fatigues. So when we get in the back, they're like, yo, Pop coming back this way. Biggie had just performed. Biggie had just performed, I think, I think it was one of his little records and he was walking in the back. I remember he had on a Tuxedo. So it was one of them faith, I think him and Faith record. It was one of them kind of R&B records. So he wasn't even in no hip hop kind of guy. He was dressed up. So he was kind of like standing here. Pop see us, he's like, yo, y'all, y'all, what's up? Goodie, goodie, goodie. So was Pop came without shoes? He was already in? Or was he? They all came in together. They all came in together. They all came in together. Pop was just in the front and everybody was following Pop. And once Pop walked right through the auditorium, everybody was like, Tupac, Tupac. He walked past the seats and walked and went in the back. So all of the people followed him. So just imagine that we standing here and he walks up like, KB, what's up, what's up, what's up? And while he talking to us, he looked like this, and he see big. He was like, yeah, go that fast, blah, blah, blah. That's what he started going, oh, what he started doing? We sitting there like, oh, y'all, I did. And that's what Don Kenees came out like, like, hey, bro, shoot. And he pulled shoot to the side. And that was the first time I ever seen Sugar Bell rounded up, but he rounded it up that night. He rounded it up, man. He meant everything get right. Yeah, but that's all he did.  It's going to be a different set of troubles for you now.  Take it outside.  That's right.  Hey, y'all.  So for me personally, like him, Don Kenees, and another person that really, really did a lot for the industry that people don't talk about. And that's Barry Hanks. Yeah. Who's that? Elias. Oh, okay, got it. That's the one that I totally talked about on the show all the time. That's, that's, that's like, that's who read sugar. That's who read a lot. Jimmy Henshaw. So I was with that crew. Yeah, I was with him. So it's like, oh, gee, stay here.  So it's like, for me personally, I just look at the ones who are renegade, J Prince. I look, I look at everybody. When I look at Luke, when I look at J Prince, when I look at everybody who was successful outside of what people say is the nucleus, which is New York, they don't get the same respect for building their empires without the corporate people's money. Everybody in New York had the corporate people's money. People in the South had to put their own money on it. Man, but don't you, don't you think that helped the game because of the way, even to this day? That's why they sleep when we've been awake for 20 years. That's right. They've been asleep. Like I'll be like, man, what you talking about, man? The game been over. Wow. The game, the game, if it was a war between us and y'all and it was about music, man, that been over, man, 20 years ago, man. What did you think when Master P did that run where he was, it was everything, the LOD, everything that was coming up? Master P was degraded because... You remember that, don't you? It was amazing because I didn't really notice him until we got to the Bay Area. And we was doing, you know, that's when you still had mama pop stores and you get to the mama pop stores. And we left the Bay and we went to Chicago to a man named Mr. Daniels. And it was a shop on the west side. And we walked in and P had 50 albums on just one wall. And I was like, hey, man. Hey, man. Hey, hey. You know, he was like, bro, like bro driving the album every month. And I remember being, you gotta understand, Master P beat Goodie Mark. Man, I got the hookup beat our second album. And we thought that, like, wait, we wasn't mad, but we just didn't understand. You see what I'm saying? Because we were coming at another place. I've never been able to go into the studio and do this gangster music that E-Folk was able to push. And now that you know 20 years later, these folk was telling them folk, go do that. That's what we looking for, right there.  And the whole time I'm standing doing that.  My mama coming to get me. Like, we doing soul food. We doing self there. We trying to teach. And at the same time, now 20 years later, you sitting up here like, damn. Yeah, we on boss talk, one on one. Yeah, we gonna talk.