Hey guys, welcome to a freesalon education partner membership class. This is our second class for cutting and I'm excited today to bring you guys a totally new cut. Now if you are live with us on Facebook, you're good to go, you can chat and everything. If you're on the website, that's totally great as well. You just can't use the chat function for some reason. So I'm not sure why the website does that, but on the Facebook page, if you don't have access to that, you should, but definitely send us an email if you can't get access to that at matt at freesaloneducation.com and I'll make sure that I can get you in there. But if you're on Facebook, there we go and if you're on the website, you can watch, play along and there we go. So this is the second class for cutting. Today what we're going to focus on is a graduation with layers. The thing I want to do in this class is really do a lot of dry cutting. So this is actually, this mannequin has half the cut done already and what we're going to do is cut the wet portion of it, which is our precision portion. Then we're going to go in and I already blew it dry, already smoothed it out for you guys so that we don't have to watch all of that. We did a lot of smoothing in the last video, so if you want to look back on that, this is the exact same technique I did on this mannequin right here. So underneath you can see, let me show you here, you can see the graduation through there. No precision lines happening really around the hairline. We're going to do all of that in the dry cut as well, but you can see that nice finish to it. You can see that graduation underneath and then this long hair is all of our disconnection that we're going to be cutting in the dry cut. So I'm going to set this aside for now. We're going to move into our wet mannequin here. We're going to do a Q&A at the end of the class just so that those of you guys that are watching and you're asking the questions, I'll try to answer everything before you even ask it. That's the goal of the class, but if I don't and I miss something, I'll go over at the very end of the class as well. So we're going to start off. I got my clips. I only need a couple clips because the sectioning is not super complicated with this. So what I'm going to do is I'm going to look for the parietal ridge and anytime I'm sectioning a haircut, this one she could wear either way, but my big focus is the different corners of the head. So I'm going to work along the parietal ridge all the way back to the mid-crown area. What I'm going to be creating is a nice rectangle. The thing I like to do to get a nice clean parting is to comb the hair in the direction I want the section to be or the direction I'm going to make my parting. So once I get the hair flowing in that direction, it makes it a lot easier to get a nice clean parting. Now I'm going to go across mid-crown. I'll twist it so you guys can see. Cross mid-crown and then straight back to me to create that rectangle on the top. Now what I'll do is I'll look in the front to make sure I have that balance. We want this to be symmetrical. Very rare that I get this on the very first try here. So I'm just going to take a little bit extra from the opposite side and I want it right about the edge of the eyebrow right there on both sides. I can also take a look if I step back, turn this a little bit. If I step back I can take a look from the back and then I can look from the front and make sure I check in the mirror to see if you see that balance in the section. Then what I'm going to do is twist it up nice and tight. Get this hair out of the way. We're not going to be cutting any of this wet. That's why I have extras. All right, the next section is the next and the last. So we're going to create a triangle in the back of the head. So what I'm going to do is draw my first diagonal back line down to the occipital bone. You can see that diagonal back from that rectangle. I'm going to do the same thing on the opposite side. Diagonal back down to the occipital bone. What this section creates, you can see, and if you guys are watching on the website you can see the head sheet underneath the video. What that creates is this blanket of long hair coming over top. Now a lot of people, if they cut this entire thing wet, what they're going to see is a nice heavy shelf throughout this portion where the graduation starts. My feeling on this is if we cut this all dry we can soften it and really create whatever effect we're looking for in the back. So if we want more of a layered effect, which is what we're going to go for today, I can layer it more. If we want more of a graduation effect, I can still keep it nice and soft and graduated in the back. All right, so there is our sections. So where we're going to start is right here in the back. We're going to take diagonal forward sections or partings throughout the head shape. Lower that a little bit. There we go. So what I'm going to do is comb everything. You can see how far I tilt the head forward. The reason I do that is because that makes it more comfortable for me holding the hair out here. If she had her head up like this, then it would right away tuck my body and then I would have a struggle keeping consistency. So like I always say, consistency makes your haircuts better. So the more consistent you are, the more consistent your haircut will be. So I'm just going to comb the hair down, keep everything flowing in the direction I want, take a straight down center back parting, clip away one side. I'll just show you that. So we've clipped away the right side. We're just going to work on the left first.  Now we do have the overhead view, so you will be able to see once I start bringing these sections out. I move as a traveling guide all the way across the head shape until I get to behind the ear. Then when I'm behind the ear, I'm going to over direct everything back. The other thing that you're going to notice when I do this is that it's going to create that little hole in the haircut. The reason it's going to create the holes because I'm going to create layers throughout. If I exaggerated everything a little bit and over directed it a little bit more, I wouldn't have that hole. But I want the hole for now because I know what the end result is going to be. I'm going to cut all of that hair off and continue that line dry. So I'm not worried about it. But I want to tell you guys ahead of time so that when you see the hole happening, you don't start to freak out about it because a lot of people get upset when they see that hole. And it really, there's no reason to because we're going to fix it. Not fix it, but we're going to create our line dry. So turn just a little bit, see if you can get a good angle on that. Diagonal forward parting. Slight diagonal forward, not too much of an angle, just as back so you can see the angle. So I'm going to bring everything towards me over directed to the previous. Bringing it back and I'm going to start my cut. Now you can see this is the big thing I want you guys to focus on. This piece of hair right here at 90 degrees, it's right here. This is where it has no layers. This is where it starts to build up graduation. So there's a fine line between are we layering or are we graduating. So if you look at all of this stuff in my hand right here, my entire finger is not following the head shape. So this portion of the cut is going to have layers. This portion of the cut is going to be graduated a little bit. And this portion of the cut is going to be removing extra weight, almost cutting like a concave feel to it. And that's why when you let this section go, it kicks out the bottom and you end up with almost that little tail feel to it, but that's what we're going to cut off in the dry portion of the cut. You don't have to worry about it, but I want you to understand that the whole time I'm holding this, it's all doing different stuff. So you can't assume that you're going to have the same result throughout this entire section I'm holding. The other thing you can see, I shift my scissor and I put my thumb in the other direction. I could try to cut like this, but it twists my body. Chris, do you want to go to the full camera real quick? So if I go to take a section and I cut like this, then my body stays like this. If I hold this section and I want to cut palm to palm, then I have to twist my body and my head, which instantly makes me uncomfortable, makes me tired. So that's not a comfortable body position for me. So I want to make sure that when I'm holding every section, I may cut like this with my thumb in the other direction. Could cut like this. Don't want to cut like this because you can see my elbow comes up. So this drops me into a comfortable position. My arm is straight out instead of being like this or like this. So that's just the difference. And the way that you're going to do this, you might as well go over it, that's the beauty of having these longer videos. So you can see, here's my scissor. What I do is I hold it in my hand like this. So to cut the other direction, I just take my thumb out like that and I put it through the other direction. And I just use the tip of my finger and cut. So that's all it is. So instead of cutting like this, you're just flipping the scissor. I wrap my fingers around this portion of the scissor to keep it nice and tight. And then I can work and cut like that. So there's a lot of different ways to cut with your scissor. The thing I love about the DB20 and why it's one of my favorites is you can see this little, now I'm really throwing you off that. There you go, you're good. So you can see this bevel right here. This bevel is not in a lot of scissors. A lot of scissors aren't handmade in that way. So all this little detail. So if I want to just put my thumb in halfway into the scissor, I can actually use it to cut like that or I can turn it and cut like this. So there's so many different ways to hold a scissor to keep yourself comfortable and consistent throughout it. I'm going to cut a couple more sections or partings in here. And then I'll show you guys what the result is that's happening. I'm going to focus that into that a little bit. So still working diagonal forward back to the previous section. Work my way out. So we're bringing this back. Now here's the other thing that's happening throughout the head shape. So as I start working around the head, the head starts to move away from me. So that little bit of hair that I was holding out here, whether it was layering or graduation, now is moving across the head shape. So now the head shape is actually flat out here. So if I move to this piece of hair, this is now 90 degrees out this way instead of straight back like this piece. So now I'm working at 90 degrees here and dropping it all the way down here and over directing it back. So this piece, this section, this parting is not going to react the same as this section if I over direct it back. That's why you start to see that buildup of weight. It gets heavier. It gets longer because everything is peeling away and coming further back, creating that extra length. So to me, this is really important to not only focus on how far we're over directing the hair back, but at what angle we're over directing it back to. I want to keep that height in the parting, in the section. So nice and high coming out. Yes, absolutely. Yes, I would tell. So the question was, would I tell my client to put their head that far forward? Yes. The client is there, and I think Brian even talked about this in his class, the client is there only for 45 minutes to an hour. So for them to tilt their head back and for you to be comfortable, makes more sense than worrying about whether they want to put their head down or not or what they're doing on their phone or what magazine they're looking at. It's more important to go through it and make sure that you have nice consistency. So I would tilt their head forward and make sure I keep it still as I'm working through the haircut because the end result will be way more consistent than if I just let them do what they want. So now we've gotten to behind the ear. So if you click on the overhead real quick. So everything came to here. Then I moved to the next one. Then I moved to the next one. And now I'm at this point where everything is straight back to this point. So it was here, here, here, here. We want to keep it in a nice box over directing everything back. So now just taking a little bit of the old hair, using that as my guide, keeping a nice high elevation so that I keep my layering going. Now I'm more comfortable cutting with my scissor in this position so I can make that shift. And as I let it go, now what you're going to see is that hair is starting to build up. So that's where that hole is that people would start to kind of freak out about. Oh, look at that little guy. Don't tell anyone. Now, over direct, diagonal forward, bringing everything back. Yeah, you're fine. Oh, no, it's fine. Yeah. So keeping that layering. If I go too far down like this, now I'm building up so much weight in the front. I want to keep it nice and light. Now this is for a layered bob. So if you guys don't want so many layers, then you would definitely keep the graduation low. You can see, got a little kick here, then it goes up. We're going to cut all of that off dry. So all of this stuff is coming straight back, not all the way back to the center, just straight back off of the ear and off of the head shape. So that starts our angle forward. There's that little groove that we talked about. We're going to cut into all of that dry and it's going to tie it all together. I'm going to twist to the other side. There we go. I do want to move it. Okay, so we're going to work the same way. Now the difference in this part is that I'm going to be working with my fingers down because we talk about consistency a lot already. This is going to keep us consistent throughout the right hand side. Now, as I was going through the left hand side, I was combing everything towards the center. So every section, every parting I took, I brought it towards the next, the previous section. So I want to do the same thing on the opposite side. If I were to start trying to wrap this part in like that and pushing all of the new, all of this hair started pushing it away from my guide, then one side is going to end up a lot longer than the other. So those of you that have troubles with one side being longer than the other one, we all have that problem, but this is going to keep it a lot more consistent and definitely give you a better result at the end. So what I'm going to do is not tilt the head as far this time because now I'm working like this. So to stay consistent, the hardest part about working on the right hand side is I will have my elbow in the air, which is going to want me, I'm going to want to drop that when I get halfway through this. So I just got to stay focused on keeping that elbow up. That's true. Let's see. I'm going to keep even saturation on the hair at all times as well. Oh, diagonal forward. I'm working with the wide teeth of my comb. The reason I chose to do that is because I don't want a lot of tension on the hair, especially around the hairline. The more tension you have on your comb, the more tension you have on the hair, the more it's going to react and bounce back. So I like to give myself a little bit of forgiveness throughout that section. Now I'm going to switch to cutting hair like I was with a scissor like this. The reason for that is when I go like this, I move just that one thumb blade. So if I try to do this and they have shoulders and a neck, then I am constantly hitting it and it's in the way. So I flip my scissor like this, keep my steady blade along my finger and along the shoulder. And then I just, I have my motion blade on top, just allows me to get through this first bit without being really uncomfortable and hitting my guests. So continue diagonal forward. You should see your guide through there and be aware of your elevation. Now I'm starting to get away from that shoulder area so I can switch to cutting palm to palm, continuing diagonal forward. Now we're getting right behind the ear. So this is where everything is coming straight back to me. And then what I like to do once I get to this point is just take a couple pieces from each side of this triangle and just make sure they're the same length because if they're not, then that means your elevation is not the same. And if your elevation isn't the same, this should be the same because our sections on top are symmetrical. So there's no extra weight anywhere. So if they're not the same, you have to figure out which one is longer. Obviously you have to go take the longer one and connect it with the shorter one. You can't do the other way around. So just make sure you have that consistency there. No sense in cutting the entire side if it's already off. You'll see me lift just a slight bit because I want that to be parallel with that parting. That's how I did it on the other side. So as I bring this out, it was a little bit low. So then I did one more comb, keep it parallel throughout. Lower. It's a, no, it might just be appearing that way because of the camera angle maybe because I did have her turned a little bit more like this than the other one. That could be it. If it was lower in elevation, I'd be getting extra length. Right, yeah. So couple, I also had her head tilt different. I had it more forward. So that could be, yeah. Yeah, you can go back, yeah, because I was working on top. So I would tilt her head different. On this side, I want it to be more comfortable like this, holding it. And then on the opposite side, if she's tilted this far forward, then this, then my elbow has to be even more up. So if I tilt her like this, then my elbow doesn't need to be that far. So it's just, again, comfort level is what it's all about. And then you can see throughout, you can see that kind of nice, soft graduation. And then you can see the front here. Soft feel to it. So, not bad. Pretty even there. So now what I did was I took down, well actually, I started, I blew dry all of this underneath.  So I blew dry this, flat wrapped it. So let me show you guys the technique I used. I used the Cloud9 blowout spray. It's just a light hold serum. It's not a spray, serum. And spray. And I'll bring this blow dryer here. So what I did was I just went through and I flatwrap, flatwrap all the way around, keeping the hair section. I did a little bit of leafing in here as well, but just wrap the hair around this way. Then I went back around the other way and just continued that motion. And what that does is it uses the head shape as a big roller. So if I wrap the hair around like this, I'm using that heat. It's beveling around the head. So then once it falls forward, I get that kind of forward kick to it wraps nice around the face. Then I can bring the rest of my sections down. Just like that. It all falls over the top. And then once I have that over, then I will work my way back and forth over the head shape, wrapping the top around, flat wrapping. Then I went through with our ricotta vibrostrate iron here. And I'm gonna make a deal right now that if you go into the FSE partner private Facebook group and you do this haircut and you post it in there, I'm gonna give one of these away because I have a lots of them in a box to give away. So it would be cool to see you guys do this technique. So what I did was then took small partings about eighth of an inch wide at a time and went through and ironed the hair. This is one of those haircuts that's, in my opinion, yeah, probably most versatile for almost every head shape. Even a longer head shape. I think that this works really well because you exactly, yeah, you can see. So if we were to cut a shorter bob, obviously that only works on so many people, but this will take a shorter face and elongate it. Now, if they had a shorter face, I wouldn't bring this down too far. I think that's where people, I would add in some layering, which would help tie the face shape into the haircut. So let's say that, say we can see her face, that would help. Let's say she has a shorter face. What I would do is bring in pieces of this haircut around the face because if there's too much separation, like if this actually came all the way down here and we had a longer haircut, it would shrink her face up. You would see that there's this much space between her chin line and her jawbone, chin line. Probably not a thing. Her jawbone and the end of the cut. So anybody, jaw, that's my Iowa. So the end of the cut here to her face shape. That's really the, that's what I look for when I'm trying to match a head shape with a haircut. Yeah. Yep. Easy as that. I just want to see the, I liked the last cut that we did. I saw a lot of people try it out. So it was really fun and I want to see that again and I'll just start giving people that, yeah, I don't care. Yeah, and we'll, you know, I'm not going to pick my favorite one. I'm just going to pick one that's like, you know, fun. No, they can't all get one. I don't have that. I don't have that many. Okay. Sorry about that. I don't have that many. If I could do that, I would though. I have a few, I have a few that I can give out to you guys. So whoever does it the fastest. Let's do it. Well, how else do I do it? I didn't say they weren't loyal. Okay. Okay. I'll pick the one that looks like, I'll look, I'll pick the frizziest one and then I'll pick the best haircut one. We'll see. I don't know how I'm going to pick it, but just post them. Can't wait to see them. I'm just going through and doing a little, this is settled a bit. So a couple of little finishing touches on the ironing. So you can see, I'll just take slight little diagonal partings. And the reason I work diagonally is because if I worked horizontally, I would kink the hair. There's just more app to do that. And vertically it's just kind of a weird feeling. So I work slight diagonal, half inch partings at a time through the haircut. We'll probably do a little bit more ironing at the very end, but I'm going to start cutting into this disconnection to make things easier for myself. Okay. So what we're going to work on first is this back triangle portion of the cut. I'm going to use my blacksmith fit puffin. It's a dry cutting scissor. Now here's the deal.  This will have a little bit softer feel to it.  Dry hair is hard to cut. It's hard on your scissor to cut it. That's why a lot of people don't even like using their scissors on mannequins because the hair is coarse. Think about dry hair. It dulls your blade pretty fast. Dry cutting scissor is meant to kind of glide through dry hair and it also has a thicker, fatter blade. So it has more power in the dry hair. So that way I have my precision scissor that I use on wet hair pretty much only. And then I have my dry cutting scissor that I can use on dry hair so I don't ruin my precision scissor. So that's really the big difference in that.  So when you're logged in on our website, you get special pricing on pretty much everything. So there is the puffin. So what we're gonna do, take a vertical section. I'm not gonna do what everyone thinks I'm gonna do, which is tease cutting. We'll do that in a different video. But this one, I'm gonna elevate the hair up and I'm going to point cut it. And I'm gonna use point cutting because I want this to have a little bit more of a precision feel to it, but also keep that shattered look. So you can see there's my graduation coming out. We get away from, there it is, graduation coming up. Then I find that longest point in the graduation. That's where I start my layering. Then it comes straight up. But then look at the elevation. So at the very top crown area, this bit here, this is at 45 degree, or not even 45. This is at basically a zero degree angle. 45 would be here. So you'd still get a nice little beveled edge, but this is 90 degrees straight out. So I'm holding it here. You start to get that little bit of heaviness. I'm gonna show you what that looks like. I'm gonna iron it a little bit. You can zoom in a little bit, maybe. There we go. Bring it into the light. There it is. So you can see that it gets a little bit heavy right in there. The reason it gets that heaviness is because of the elevation at this top part. I'm gonna bring it back. So we're gonna cut into that in a minute, but I wanna get the structure of this cut first. So I'm bringing everything back straight back and cutting using my guideline from the previous. This is traveling as well. And I want this to be really shattered. We're gonna use some spray wax in it at the end just to give it that texture. So I really wanna lighten the ends and not create too much of a precision feel. Precision starts to bulk up once you start working on the top of the haircut. Same thing here. Everything's gonna come back straight back. I'm gonna turn this so you can see it as well. So you can see I'm cutting into this deep point cutting in there. And then we let it go and you can see all that texture. Can't really see it, but here we go. So you can start to see the texture, the layers coming through there. We're gonna do the same thing on the opposite side. Spin around. Like I said, this is not precision work anymore. This is really going in and chopping up the top. I want a lot of texture in there. We already did the precision part on the bottom. Now here's the other thing that's gonna happen. This is the heavy side now that we're working on. She parts on the left, moves over to the right. So whatever is the heavier side, I'm gonna start to give that even more elevation in there. You can see I'm tying it into what I just cut, but there's no precision line in there whatsoever. Nice and choppy. So the thing I wanna show you guys now, cut into this just a little bit more. Now as we work through the top, here's the front, here's her face. I'm going to work diagonal, maybe the top angle. Okay, so I'm gonna work, so here's the front. You can see her nose right there. What I'm gonna do is bring diagonal back all the way across and bring everything back towards me, but nice high elevation because I want it to be nice and light. So really shattering this, creating that texture. Same thing, diagonal, back. Overdirect everything back to me. That's where hair starts going crazy. And if I start to feel it being bulked up a little bit inside of my finger, then I'll just re-comb and come in and lighten it up even more throughout. If you guys don't currently point cut this way and you're point cutting this way, I wanna show you guys the difference in that as well. Sit that, if you wanna back out just a little bit. So when I go to point cut, I just use the rule point towards away from you and then back towards yourself and then you can come in and point cut this way. If you are up like this and you're trying to point cut in here, there's nothing comfortable about this and you can see my wrist. But this is how a lot of people point cut. So I wanna make sure if this is what you're doing, if you feel yourself doing this, then just take a second, drop that elbow, point away, point back towards yourself and then come in with just that one blade moving and do your point cutting that way. There'll be a lot better on your wrist and your arm. Shoulders, starting to come together, home up all this hair. Same thing, just kind of rotate it up. That will soften the heaviness that would happen if I just kept everything and cut it here and point cut. I think a lot of people just start point cutting to take out weight, but they don't realize their elevation is, that their elevation is working against them the whole time. No, that was my call again. All right, do a little bit more point cutting through the back. Get a little higher elevation in here, just to soften it. And what I'm gonna do is a little bit of ironing because once you cut a lot of hair off, what happens is the hair that you had ironed previously, that part is the straight part, so it starts sticking straight out. So I just wanna get a little bit of a bevel, more of a natural feel to the hair. So, okay, so here's the first thing is I always like to take diagonal partings. So if I were to grab all this hair here and then put my iron on it, the other thing that happens, this is really those reasons why I like teaching things because then it makes you just think about people's questions for a second, but a lot of people will grab too much hair to iron. So let's say I take this much hair and I'm gonna work an iron through it. As soon as I clamp down on this with this iron, it's gonna pinch all this hair together and then create a crease. If you only grab a tiny bit of hair to work with, it's all pretty much on the same plane, you're not creasing it from anywhere and then as you iron over it, it doesn't create that crease in there.  Take small sections, small partings throughout when you're doing it. Think of it as you're doing a haircut. Just take small sections, tight tension. Then once you put the iron in, you won't get those creases in there. And if I do take a lot of hair, like this was a little bit more hair than normal, I don't go all the way up to the scalp with it. I'll just focus when I take bigger parting and bigger sections. I'm just really trying to soften the ends. The base is already where it needs to be. Another little trick, I'm gonna iron everything the opposite way that she's gonna wear it. So I'll take this side over to the opposite side and what that's gonna do is help me get the shape of the face so I get a nice soft bevel to the hair. Yeah, the sectioning is definitely important. So now we're gonna go through and create some of the details. So we've got our structure, we've got our texture and now I wanna go through and just soften, create some of these lines in the cut.  So back to the DB 20 and tilt the head forward here. So you guys can see where we are. You can see that hole that we were taught in beauty school is the evil, the devil. What I'm gonna do is cut into all of this. I'm gonna use the tip of my scissor and just start drawing my line across. So you can see it starts to create a nice line that I can get, try to focus right in there. Just using the tip of the scissor and drawing that line. And I'll re-comb and then I'll continue. This is something that is really important. A lot of people skip this step or don't even do this step, but you can see how it's already starting to bring it together. Do the same thing over here. So we are basically cutting off that tail that we created earlier. And this seems a little tedious, but it is. And it's what separates the people that wanna take the time on a haircut and have it look great. And people that just wanna get them in and out. I'm removing that and already see my line in there. If I curve the scissor more, I obviously take out more hair. So if I wanna just get the bulk out of there, I'll go through quickly, change angle. And then when I want it to be that nice solid line, I shift to a little bit more of a parallel feel with the blade. You can start to see that angle. Same thing on this A-line feel here. Go through like this haircut. So without being too strict on time, my haircuts are typically 45 minutes. What I do is I'll spend about 15 minutes to 20 minutes, about 15 minutes on the wet cut, the precision portion. That's why I don't really feel like you have to do the entire thing from a precision standpoint because I'm gonna cut into that top anyways. Yeah, for a cut like this. So 15 minutes precision cut, probably not even quite that much.  Then the last 10 minutes I'll use to do all this detail work. Detail work is, it's not really that. It doesn't take that long, pretty much, yeah. I mean, I would say that the washing them is the first 15 minutes plus, like I'm using that 15 minutes to wash them and cut them wet. And then that's like with a normal guest. So that's an existing guest that has been in my book. I know what we're doing. If it's a new guest, I'll probably take about an hour with them to learn what they want with their hair and all of that. So still wanna keep all of that in consideration. I'm not a big fan of bigger irons, so I only use that size, which is a one inch. There's a one and a half and a one and three quarters. I'm not a big fan of the bigger irons. I feel like they're harder to get into the tighter places on the head. And also the fatter iron, to me, as I take a section, I'm not gonna be able to get that bend around the head shape as well, because I'm using just a thicker iron throughout it. So I don't, never been a big fan of the bigger iron. That may be the crease thing as well. Now that I think about it. I'm just doing a little tease cutting. This is a half open, half close. Just adds a little air and separation to the technique. You can see this little bit longer pieces hanging over. Still really like those, but I want them to be nice and textured. And then this is the angle. Still have not fine tuned that yet. I'll work my way down, a little tease cutting. So for the tease cut, pinch the hair, half close, push in, kind of half close it, then release, half close, push in, release. Teases up the hair a little bit. And once you comb it out, you get nice uneven texture in there, which is really great, especially around this face frame. All this stuff was brought all the way back here and cut, so it just falls heavier. So if you want that to be nice and light, all you have to do is just go in, soften it a bit. But notice that I'm still bringing it back, not just doing it right in front of the face. I still want that kind of bringing this back over directing it back and tease cutting. It's still gonna push it forward a bit, keep the haircut the way I wanted it. There wouldn't be that much of a difference, but it would be, so the question was just in case you guys can't hear, what would the difference be if I just did the entire thing wet, as opposed to doing the dry cutting in there? Biggest difference with that is if I were, so let's say I cut all of this wet, everything's gonna be precision. I'm gonna have some of the heavier lines. You could do that texture in there. Wouldn't be a big deal, but I'm still gonna have to go in in the dry cut and create all that texture, the deep point cutting, the things I can't get. When you have wet hair and I hold it in my hands like this and I go to cut it, all of the hair, that can you zoom out a little bit, all of the hair clumps up. When the hair clumps up and I go in to do a point cut, then I get real jagged, bulky point cuts in there. When I cut dry, this hair separates. And because it separates, I can get my scissor in there and not cut a lot of hair at a time, but still get in there and do nice deep point cutting to take out some of the weight. So you're gonna have to do both if you want this kind of textured result in the haircut anyways, so there's no point in wasting your time doing the full top and then going in and doing the bottom.  I'm more of a salon reality type haircutter, so if I can see some sort of shortcut that's gonna give me the same result, then I'm gonna go in and do that. Yeah. Right. Yeah, you have to go in there dry no matter what because this has a lot of texture in it. And yes, you would have to do the dry cutting in the final look. Yes, I said that. So, pretty much there, how it's left on it. Okay, there's one charging in the wall back there. Yeah. So the last little bit, I'm just gonna take my comb, run some deep point cutting in this way. So this is a little bit thicker comb, wide teeth. It's a 209 comb from YS Park. So what I wanna do is just add some of that texture throughout this graduation, cut into some of these pieces that we left a little bit longer. I think another big difference between doing this all dry and cutting it wet and really just leaving it that way is when you see people that have that really crazy stacked looking bob, that's what takes that away. Like we shattered the entire top of this haircut. And when you shatter a haircut, then you get this kind of soft feel. Even though it's layered, it's not stacked and bulky and it doesn't look dated, I guess, is what we're going for there. Last technique, this one's kind of fun. I think you guys will get a lot of use out of this one. What do they do there, there? By Saturday? Okay. Yeah, I guess I shouldn't have said you gotta rush it. Okay, so by Saturday, I'm gonna pick the winner because I don't want you guys to feel too rushed or anything. So I really don't stress about it. You probably have an iron anyways, right? Saturday. Okay, so puffing.  And I love this because it takes a lot of that weight out, creates a lot of layers throughout here. So it makes the haircut really fun, definitely brings in the modern kind of layer to it. It's just, I got to iron it. There's a, it's curled right now. I'll finish it and then she'll see. She's talking about this. Let's see how it's kind of curled up. And this is straight and cutting into. See, it's that hole is the devil. Everyone, no one likes the hole. Thanks, appreciate that. So slide cutting is fun because it creates texture, creates separation. Now let me iron. All right, they're laughing. The hole is the devil. All right, I'm liking it. Still a little bulky right here. Okay, is that Joyco spray wax stuff over there? I thought I had it. I used Bercato, I'm gonna use Bercato finishing spray, but I like spray wax. So we just got this guy, texture booster.  So I put, obviously this is extreme, but I know I do too. But I get all the product in there, kind of brush it a little bit and then I'm gonna mess it up again. But I wanna make sure I have product on every bit. Sure, of course, we're shipping it. So yeah, we're shipping it and we love the Europeans. We'll do it. I know. Yeah, that might be a challenge, but I think so, yeah. Okay, this is fun. Yeah, this Erika Mannequin is on our site. So if you guys want one of those, you can pick it up. All right, I'm gonna spin it, that you zoomed all the way in there. So here's some things I want you guys to realize why it's cool to do the dry cutting and the wet cutting. This is, you can see all that dry cutting, all that texture, that all happened in the dry cut, but then it's sitting on top of this precision shape, which makes it really fun as well. So you get that hard line, the clean lines, but then the texture and movement sitting on top. So I think a lot of people would wanna cut a precision or cut it just dry. I think both works really well because of the fact that you get this precision lines, the texture, all that movement. Let's see if, here we go. So texture, hard lines. Do you guys like it? They love it. Which one doesn't love it? Oh, okay. Sweet, yeah. Who is the one? Cool, so there it is. That's the end result. Can't wait to see you guys try this in the salon for the next month. It was so cool seeing the very first, let's see if we can get to that one. The one where I can talk to everyone. My least favorite. Camera. So thank you guys. What I'm most excited about and what I liked about January was that we did the class and all through February got to see a lot of what you guys were doing. So that was really fun to see you guys actually transferring the cut onto your guests, which is, we work on mannequins, but mannequins are just the way to share technique and then every guest is different. So it allows you guys to get out there and try it and adapt it.   So the more you add freedom to that top portion, create that texture, I think you're gonna really like it. So I'm excited to see what you guys come up with. If you guys have any questions, are there any other questions, Chris? Cool, so if you guys have any other questions, you know that you can always reach out to us on the FSE partner Facebook page and that's pretty much it. I don't think there's anything else. So thank you guys for being a part of today's class. Hope that you enjoyed it. Tell all of your friends about the FSE partner program. I appreciate you guys supporting us. We only have a couple of classes left that will be in this room and then we will have the studio. It's gonna be really cool to shift that as well. So can't wait for you guys to see everything that's coming in the future. Thank you for being a part of the FSE partner program and we will see you guys on the next class. Thanks.


Welcome to the Hindi News Analysis by Shankar Ayes Academy. The list of topics chosen for today's discussion along with the page numbers is given here for your reference. Let us take up this news article from page one of today's newspaper. It talks about a report filed by Comptroller and Altar General, that is CAG, about Rafale deal. As we all know, Rafale is a twin jet fighter aircraft manufactured by Dassault Aviation which is a French aerospace company. In 2016, India signed an agreement with Dassault to procure 36 Rafale jets. The deal is worth around 60,000 crores. And in July 2020, the first batch of five Rafales arrived in India. Many of you might have seen the video of Rafales landing in India in social media. And today's news article is mainly about Offset Clause in Rafale deal. See the Rafale deal comes with 50% of offset clause, which means that Indian companies will get business worth over 3 billion euros. So 50% offset deal means the French companies involved in this Rafale deal has to invest 50% of contract value around 30,000 crores back to India. And as for today's news article, Dassault has proposed to discharge 30% of their offset obligation by offering high technology to DRDO. So consequently, DRDO identified six new technologies and one of them was to obtain technical assistance for indigenous development of Kaveri engine. And the CAG report says that, till date there is no confirmation from Dassault on this. So in this context, let us try to understand the concept of offset clause, its significance and finally about the Kaveri engine. See in the defense sector, the concept of offset primarily aims to provide additional benefits to buyer of a product from the foreign supplier. In our case, India is the buyer and supplier is Dassault deviation. As we all know, India is one of the world's largest importer of defense goods. So the potential value of offset is very high. So the main objective of India's defense offset policy is to make defense sector self-sufficient and not dependent on imports. But in order to manufacture indigenously, Indian industries need access to modern technology. So this is where the significance of offset condition comes. If implemented correctly, offset conditions can change the indigenous defense industry and provide a much needed boost to R&D sector. So the defense offset guidelines of Ministry of Defense give multiple ways of discharging or agreeing to offset obligations. Some of them are direct purchase of eligible products or services, which means Dassault company directly purchasing from India or foreign direct investment in joint ventures and investment towards equipment and transfer of technology. For example, under Rafale deal, Dassault reliance Aerospace Limited to focus on manufacturing of aerospace related components. Another one is technology acquisition or transfer to the DRDO in areas of high technology. As per offset guidelines, the foreign original equipment manufacturer, here Dassault, is free to select any Indian company as its offset partner. And other avenues for discharging offset obligations is given here for your reference. Next, let us focus on Kaveri engine. So as we understood what is offset clause, now we can relate the offset clause to technical assistance for the indigenous development of Kaveri engine. See Kaveri engine is a low bypass twin spool turbofan engine. It is designed and developed to propel Indian light combat aircraft Tejas. The twin lane authority with full digital engine control with an adequate manual backup is a salient design feature of Kaveri engine. So both digital as well as manual controls are possible with Kaveri engine. Know that gas turbine research establishment is interested with the design and development of Kaveri engine. See GTRE is one of the pioneering R&D organizations under Ministry of Defense. It focuses on design and development of gas turbine engines for military applications. Even though the Kaveri project was initiated four decades back, the success of Kaveri engine to install it in LCA Tejas is a failure. Because thrust provided by Kaveri engine is not sufficient to propel Tejas LCA. So as of now the indigenously developed Tejas aircraft is using an engine sourced from America. So simply put the CAG report said that even though DRDO has requested Dassault aviation for technology transfer to develop Kaveri engine indigenously, there is no agreement regarding such technology transfer or technology acquisition. So this is all about the discussion of this news article wherein we have talked about Rafale deal offset clause and Kaveri engine. Now let us take up this op-ed column which talks about the plight of people excluded from Assam's NRC that is National Register of Citizens. In this context we will discuss in brief the three generations of human rights that is how the human rights are evolved and also the important points discussed by the author. The relevant syllabus is given here for your reference. First let us understand in brief the NRC that is National Register of Citizens. So what is the legal basis for creating an NRC? See the citizenship act of 1955 empowers the central government to compulsorily register every citizen of India and issue national identity cards. The act also provides that the central government may maintain a national register of Indian citizens. So immediately after the independence the first NRC was prepared after the census of 1951 and as you all know the NRC was updated for the state of Assam last year. The objective was to segregate the citizens of India from those who illegally entered from neighboring countries mainly from Bangladesh. The final NRC was published on 31st August last year. Out of 3.3 crore applicants 3.11 crore figured in the final list. Which means around 19 lakh people were left out of NRC. So it means that they are not citizens of India. However they can approach tribunals to prove their identity with India. So next let us discuss how the concept of human rights evolved. The evolution of human rights can be classified into three generations and these three generations align with the three tenets or the principles of French revolution. Many of us might know the liberty equality and fraternity are the three principles of French revolution and even our constitution also enshrined these three principles in the preamble. The first generation which are called civil and political rights deal with liberty and participation in political life. They are strongly individualistic which means individual centric and negatively constructed to protect the individual from state. Negatively constructed means these rights put limitations on the state so the state cannot enter into private life of individual and individuals enjoy some amount of liberty from the arbitrary actions of state. So when individual rights are granted then world started talking about next generation of rights which are socio-economic human rights. So these guarantee equal conditions and treatment. So they are not rights directly possessed by individuals but constitute positive duties upon the government to respect and fulfill them. So unlike first generation rights these rights require government to guarantee equal conditions and treatment to the public. So after giving civil, political rights, socio-economic rights then the world started talking about third generation rights which are called collective developmental rights. So these are rights of people and groups and are held against their respective states and align with the final principle of French Revolution which is fraternity. So what is fraternity? So it means brotherhood. So this category of rights is also called solidarity rights because these rights cannot be accepted by an individual but only by collective groups of people. So first generation is about civil and political rights, second generation is about socio-economic rights and third generation is about collective developmental rights. So keep these basic rights in mind. Now let us discuss important points from the opiate column. See the author cites the views of Hannah Arendt who is an influential political philosopher of 20th century. See most of the evolution of human rights happened in 19th and 20th centuries. So the Hannah Arendt had a very different view of human rights and is very relevant in the contemporary world. So author says that Hannah Arendt challenged the framework which made access to citizenship the sole prerogative of state. So citizenship can be granted only by the state that is government and Hannah Arendt challenged this framework. Because under such framework the ideas of ethnical and racial homogeneity were propagated. For example in 1947 when partition of India happened some amount of communal homogeneity that is religion based homogeneity propagated both in India and Pakistan. And if you see during world war Germany tried to maintain racial homogeneity. Only Aryans are treated as citizens and other people especially Jews were persecuted and were kept in detention camps. So the concept of rights bearing individual changed to concept of citizenship. So previously an individual had rights because he or her is a human. Later it turned into the concept of citizenship. It means only if you are citizen only then you can enjoy rights. So where we are seeing this is because whenever a person is guaranteed rights there should be some remedy measures when those rights are violated. For example in India whenever fundamental rights are violated we have some mechanism to approach court of law. Even our fundamental rights other than article 15, 16, 19, 29 and 30 are even guaranteed to foreigners. But what about stateless people. If a person does not belong to any state what about his or her rights. Who will enforce his rights. Who will provide remedies if the rights of those persons are violated. So this is the main problem of stateless people. For example you can take Rohingyas who were forcibly pushed out of Myanmar. So now they are in some type of camps in India and Bangladesh. So if their rights are violated who will provide remedies to enforce their rights. Further according to author Hannah Arendt believed that universal declaration of human rights was inefficient. See in 1948 UN came up with a declaration of human rights which guaranteed human rights across the world. But the problem here is even in order to enjoy basic human rights a person is required to be something more than just a human being. That is the person must be a member of political community which is nothing but citizenship. So it is clear that right to inclusion in a political community is essential to enforce civil, socioeconomic and even political rights. So only if you are a citizen then you can enjoy other rights. So which Arendt called it as right to have rights. So first if you have right to citizenship then you can enjoy other rights. So right to have rights. So this is what worsens the plight of stateless nationless people. As they are not citizens they lack remedy to enforce their rights. The authors relate this with plight of 19 lakh people excluded from the NRC. Since they are stripped from citizenship they automatically get stripped of their rights as well. So they face twin issues. First is a community which will not accept them unless their country of origin is proved. So Indians do not accept them until they are proved that they are belonging to India. Second is the impracticability of the rightless claim to a community from which they have been willfully excluded which means the people who are left out of NRC they don't have rights. How can they claim to be part of India when they are intentionally excluded from citizenship. So first the people of country won't accept. On the other hand the impracticality of rightless who claims to be part of India from which they are excluded. So these are twin problems facing by stateless people. So once the foreigners tribunal decides that an individual is a foreigner he or she is sent to a detention camp. So until their country of origin accepts them back they will be kept there without the rights guaranteed by the India. So now the question is is it wise to consider citizenship only basis for granting human rights. This question needs a lot of deliberations and we need to rethink whether rights of individual come first or the concept of citizenship comes first. This is all about the discussion of this news article wherein we have talked about the evolution of human rights and the problems faced by stateless people. Let us take up these two news articles. One is editorial another is lead column from editorial page. This discussion is going to be very comprehensive and we are going to continue our philosophical discussion of quality similar to that of last news article discussion. So if you have understood how the human rights evolved in the last news article this discussion is going to be very simple. In the first part of lead column the author tries to explain the philosophical aspects of what determines the functioning and performance of democracy. By explaining these concepts the author discusses the present state of Indian democracy. The relevant syllabus is given here for your reference. First the author lists out the textbook characteristics of democracy like multi-party elections with universal adult suffrage nothing but voting right to every adult person. Then smooth change over in government after elections the existence of independent press and judiciary and the guarantee of civil rights justifiable in courts of law. But these characteristics are partial indicators of democracy which determine if a country is democratic or not. It is here the author discusses the actual determinants of performance in a democracy that determines if a country is actually democratic or not. So simply put other than the textbook characteristics discussed above there are actual determinants which determine if a country is really democratic or not. According to the author the socio-economic outcomes are the factors which determine the performance of democracy. Socio-economic outcomes nothing but the second generation rights which we discussed in the last news article. First generation civil and political rights nothing but the textbook characteristics where you have talked about universal adult suffrage and socio-economic outcomes means second generation rights. So here people satisfaction is a way to know whether the desired socio-economic outcomes are achieved or not. But as per UN's World Happiness 2020 report India is ranked 144th out of 153 countries evaluated in terms of happiest countries. The western world democracies from Europe, North America performed better and were in top of this list. So from this report we can say that people satisfaction in their life is very low in India due to poor socio-economic outcomes. So in this context the author speaks about the importance of democracy. In a democracy it is important to create institutions which will ensure justice and fullness of life to every man and woman. Here what matters is who are going to build these institutions is it the government or anyone else. So this is the philosophical aspect that has been discussed by the author. Here it tells that it is the people themselves build the institutions so that they lead a fulfilling life. But for the people to build these institutions they need some basic support from the state that is government. So the state has a role in supporting the people. So the next question is what is the role of state in supporting the people? First state must ensure that laws are not constraining or restricting the liberty of individuals in building the institutions not constraining not restricting nothing but first generation of human rights. So when we say institution you can relate with either cooperatives or self-affiliated groups. Nothing but we are talking about empowerment of public where people come together to improve their lives. Second the state has an obligation to build the capabilities of individuals so that they can pursue the things they wish to do in this instance to build the institutions. So what are the inputs which the individuals require to build their capabilities? We said that individuals need some capabilities to build the institutions. So what are they? As per the author one is individuals health and the other is individuals education. So the state has an obligation to provide necessary support and assistance in the schemes and programs to provide these inputs so that the individuals become able enough to build and possess a set of capabilities. So what do we are talking about? We are talking about second generation of human rights. In the last news article we talked about socio-economic human rights as second generation of human rights that is what we are talking right now. See it is very essential for a country like India where there is high level of socio-economic divide for example in terms of cost, money, other inequalities due to which there is no equality in the opportunity. Even today some costs of people are not allowed to enter some professions. What we have spoken so far is nothing but human development. We have talked about education, health and other factories standard of living. But India is performing poor in this aspect as well which is clear as per UN's Human Development Index. In 2019 India ranked 129th out of 189 countries. So we are not just lacking in world happiness report we are also lacking in Human Development Index. So from this we can say that India has a huge challenge in terms of human development which is very instrumental in developing a healthy democracy. So from the discussion so far the concept which we can conclude is liberty and capability together are ultimate aspirations in a democracy which has to be supported by the state to the people so that they build the institutions of democracy to achieve socio-economic outcomes for a fulfilling life. So the role of state here is facilitate the people. By facilitating we mean not restricting the liberties and providing inputs in education and health to build the capabilities. For example you can talk about states of Kerala Tamil Nadu which are already providing education and health infrastructure. So when talking about India where does India stand what is the present state of India's democracy this is the second part of this lead column. Here author tells that so far India has been keen on building the procedures of democracy only and this did not in any way support the goal of fulfilling life when we say procedures of democracy we talked about multi-party elections smooth change over in government independent judiciary so these are the procedures of democracy and as just said these are not going to be support the goal of fulfilling life. Here one main issue an example given by author himself is the under investment in public health system this has been exposed due to present COVID-19 pandemic. So the state has neglected one of its responsibilities which is to provide inputs in health so when government is not providing the capabilities properly to the public how public can lead a fulfilled life not just that one more issue here is that if an individual questions this inaction of the state then they are subject to repressions like arrest threat to life etc. For example a doctor in Andhra Pradesh who questions the government for poor handling of COVID-19 pandemic and unavailability of PPE kits the person was publicly humiliated by the police and even he was declared mentally unfit a lot of repressions were forced upon him so what is happening is most of the individuals are not questioning the inaction or poor action of the state fearing the repression from the state in other words put simply the public are blindly submitting to the authority of the state so this is the present condition of Indian democracy here author sees a dystopia in India's democracy see dystopia means an imagined state or a society in which there is great suffering or injustice the political concept of dystopia means when any type of political party organization or even an ideology takes over where the state ends up becoming an authoritarian state authoritarian state acts upon the principle of blind submission to authority as opposed to individual freedom of thought and action in a healthy democracy so the author ends this news column with a question whether India is nearing to become an authoritarian state see this news article takes the extreme happenings in the country and questions the nature of the country itself but we need to be very balanced in understanding all the news articles as well as writing our answers in the main section and this next editorial can be seen with the help of one of the concepts which we discussed just now which is liberty this editorial analyzes the approach of government in tackling the problems of unlawful content and disinformation in digital media which is causing lot of harm to Indian society the central government is preferring the regulation of web-based media instead of self-regulatory mechanism as proposed by the supreme court in the recent sudarshan tv case so the government wants to bring a regulatory mechanism to web-based digital media instead of a self-regulatory mechanism this is because the government finds that digital media can spread venomous hatred terror and even violence see we all know that internet is a place where there is free sharing of information and ideas but in the recent times internet has become a space where finding truthful facts are often challenging many lives have been lost to violence filled by disinformation in india in recent years but will all these issues be solved by bringing in more rules that is a regulatory mechanism proposed by center the author tells that more rules is a fanciful idea why because one biggest fear is that more rules indirectly implies more censorship and this affects the freedom of speech and expression of the individuals so this is going to curtail their liberties nothing but curtailing the first generation of human rights so author emphasizes that attempts at making new rules need to be well thought out and measured in the most practical manner if the rules are too strict they are going to enforce indirect censorship so this is all about the discussion of these two news articles in fact total three news articles first we have talked about the human rights then the state of democracy in india and then we have talked about rules to regulate the web-based digital media next let us take up this comment column from editorial page which talks about women empowerment and women's participation in decision making it primarily discusses about the leadership attributes of women perception of society on female leadership and also the political status of women in india so in this context let us discuss the article in detail with focus on representation of women in indian politics the relevant syllabus is given here for your reference see in any political system presence of women is very low compared to men in many countries women had to wage long battles to get right to vote and also to get elected today the percentage of women as voters has increased considerably but their political participation is still low so therefore women are unable to get an equal share in decision making process here we should note that political participation means not only exercising the right to vote but also leadership and decision making at all levels of governance and as we all know politics at every level of participation is dominated by men so author continues by pointing out at the inherent biases and perceptions about female effectiveness in leadership roles the author notes that there is a perception in society that female leaders lack efficiency but he's of the opinion that female leaders have the same line of efficiency as the male counterparts he takes the example of a recent study conducted in new years to effectively prove the efficiency of female leaders the study reported that states which have female governors in america had fewer covid-19 related deaths and this was because female governors acted more effectively by issuing earlier stay-at-home orders the author also talks about examples of germany taiwan new zealand which all have women heads all these nations have managed the pandemic much better than their neighbors so this is a global scenario what about india what is the status of women in indian politics see firstly let us talk about right to vote see we know that the indian women as early as 1917 raised the issue of universal adult franchise during home role movement followed by ncm the 1935 government of india act provided for right to vote for all women about 21 years of age and who fulfilled the conditions of property and education and when we became independent and when our constitution came into force that is in 1950 we granted universal adult franchise to all its citizens so according to author india performed well compared to many so-called mature democracies of the west where it took several decades of struggle before women were allowed to vote even in the so-called the oldest democracy that is the usa the right to vote for women was granted only in 1920 so what about the participation of women in political decision-making see here author talks about 73rd and 74th constitutional amendment acts yes we are talking about local governments the panchayats and municipalities they provide for the reservation of not less than one third of total number of seats for women in both panchayats and municipalities here author points out how the acts gave women an opportunity to provide their leadership quality and according to the author the female leaders performed significantly better than men in implementing policies which promote the interests of women for example if we talk about rural infrastructure investments a study found that the grand panchayats headed by women invested more in drinking water sanitation which served the interests of women so in one sense this led to emancipation or liberation of women but at the same time we all should notice that the representation of women in our least led to bodies that is assemblies and parliament is very low see even though we had charismatic female leaders like Indira Gandhi, Sushma Swaraj, Jai Lalitha, Maya Vati our nation has given far less importance to female representation even if we take the current example of all the states only West Bengal is headed by a female chief minister next author talks about the representation of women in Lok Sabha the representation of women in Lok Sabha is just over 14 percent of total strength and also notice that in the women in parliament 1995 2020 report of inter parliamentary union India performed low with the rank of 120 out of 172 countries interestingly the tiny state of Rwanda in central Africa has stopped this list with the highest female representation in central lace leisure and coming to current government women make up only 10 percent of total ministerial strength even though the women population is around 48 percent in the country the representation in lace leisure and ministries is very low around 10 to 14 percent so in this context the demand for 33 percent of reservation for women in lace leisure has attained even more significance here if you see there is a reservation factor for women in local governments that is panchayats, municipalities, etc but the same kind of reservation is not there in assemblies and parliament even though attempts have been made to extend quotas for women in Lok Sabha and state assemblies the attempts have failed because of poor support from government and as recently as in 2010 Rajya Sabha has passed the 33 percent reservation for women bill but the Lok Sabha and state assemblies have failed to give them their consent so thereby we can understand that for true emancipation of women the women should be brought to parliament and assemblies but a society like India where even today patriarchy is existing we need to provide reservation to improve the participation of women in decision-making process the author also opines for increased participation of women in policy making and also in governance hopefully then the perception of women as ineffective leaders will be gradually eliminated so this is all about the discussion of this news article wherein we have talked about the current status of political participation of women in India let us move on to practice questions discussion session consider the following statements with reference to inter-parliamentary union three statements are given statement one it is the global organization of national parliaments yes the statement one is correct so you can eliminate option c statement 2 the organization has a permanent observer status in united nations statement 2 is also correct so you can eliminate option b as well statement 3 all the member states of union are members of this organization know the statement is incorrect because as of now there are around 179 member parliaments in inter-parliamentary union while the member states in union is around 195 so the correct answer is option a one and two only next question with reference to kawari engine often seen in news consider the following statements it is an indigenously developed low bypass twin spool turbofan engine to propel indian light combat aircraft yes statement one is correct statement 2 it is designed and developed by gas turbine research establishment under ministry of heavy industries and public enterprises no this statement is incorrect because gt re comes under dr do which in turn is under ministry of defense so correct answer is option a one only now let us take up this previous year question in the context of quality which one of the following would you accept as the most appropriate definition of liberty as you can see four options are given here protection against tyranny of political rulers option b absence of restraint option c opportunity to do whatever one likes option d opportunity to develop oneself fully actually there was a lot of confusion between options b and d however the official upsc key released last month the answer is declared as option d so we will see why there was a confusion between options b and d see there are two dimensions of freedom freedom as the absence of external constraints and freedom as the expansion of opportunities to express oneself so in political theory the first one that is absence of constraints is called a negative liberty while the second one opportunities to express oneself is called positive liberty see negative liberty seeks to define and defend an area in which individual would be inviolable which means this is an area in which no external authority can interfere and positive liberty is concerned with looking at the conditions and nature of relationship between individual and society and of improving these conditions such that there are fewer constraints to the development of individual personality so while negative liberty means absence of constraints while positive liberty means opportunities to develop oneself fully as you can info negative liberty is only concerned with inviolable area of non-interference and not with the conditions in society while positive liberty recognizes that one can be free only in society and hence tries to improve the society as a whole to enable the development of individual so the best answer here is option d that is opportunity to develop oneself fully next question see this question is framed based on this news article which talks about a kag report the report was in regard with the damage caused to the artifacts in the Indian Museum of Kolkata during the renovation works let us see the question now consider the following statements with reference to Indian Museum which is in Kolkata statement one the foundation of museum was laid in 1814 by British India Association this statement is incorrect why because the Indian Museum was founded in 1814 but not by British India Association but by Asiatic Society of Bengal see the British India Association was formed only in the year 1851 by merging landholder society and Bengal British India Society so if you know the fact that British India Association was found after 1850s you can easily eliminate statement one statement two it is the largest multipurpose museum in the Asia Pacific region of the world yes this statement is correct this museum is the earliest and the largest multipurpose museum not just in Indian subcontinent but also in the Asia Pacific region of the world this museum was known in the beginning as Asiatic Society Museum and subsequently came to be known as Imperial Museum and later got the name Indian Museum and the museum is more familiar by the name Jadugar or Azhagar among the visitors and note that this museum is under the control of ministry of culture so the correct answer is option b 2 only next question which of the following is not a characteristic feature of Indian democracy four options are given here Indian judiciary universal suffrage without an age limit rule of law smooth change over of the governments as you all know answer is option b this is not feature of Indian democracy because in India universal suffrage has a age limit of 18 years only if a person is 18 years old he or she is entitled to right to vote next let us take up this main question the question says government of the people by the people and for the people is an ideal which remains unachieved or underachieved in light of the above statement discuss the status of political participation of women in India this is a ten marks question and the word limit is 150 as many of you might know that first statement that is government of the people by the people and for the people is given by former American president Abraham Lincoln so in the light of this statement we have to discuss the political participation of women in India try to give two to three examples and post your answers in the comment section with this we conclude today's news analysis if you like today's session click on the like button show your appreciation in the comment section and don't forget to subscribe to Shankar A.S. Academy's youtube channel and we hope to see you in our next video thank you


The National Broadcasting Company presents COUNTER SPY Harding COUNTER SPY Calling Washington These COUNTER SPY reports to the American people are brought to you each week at this time. At the end of today's broadcast, you will hear an in-person report from an outstanding undercover counter espionage agent for the U.S. government, Angela Calamiras. Now, the case of the pretty plant. Music You made nice time through this New York traffic, Sam. Now, wait here, please. Hi. Good evening, madam. Are you the landlady? I own the house, but I guess you'd say I'm the landlady. My name is Peters. My credentials? Can't see without my glasses. If you wait just a minute. Well, never mind. I'm a United States counterspire. Mister, you could be the president. I still haven't got a vacancy. Not even the top floor rear $6 a week bath on the fifth floor sheets changed every week. I don't want a room, madam. You have a boarder named Scuba. Can you tell me what room he's in? Oh, Mr. Scuba. Never had a better paying tenant in 22 years. No, 23. Come in. Thank you. He's got the second floor parlor front. $12 a week bath with towels twice a week. Well, you don't have to go up, madam. If you'll just tell me which... You have to go up to the third floor anyway. Miss Tilling has got a leak again. Watch the bottom step. Carpet's torn. Yes. Well done. I've got to go so slow. But my heart's not what it used to be. No. Uh, yes. Oh, landing. Good rule always to take a rest on each landing. Adds years to your life. Uh, Mr. Scuba's room... This one right here. Oh. I'm sure he's in. Funny. Excuse me. Just a second. Miss John Scuba? Sure, that's him. Only I never would have dreamed he'd go to sleep all dressed. He's not asleep. He's dead. Countess by New York Field Office. Hello, Miss Morgan. This is Peters. Mr. Harding, get in from Washington yet? About five minutes ago, Mr. Peters. Just a second. Hello, Peters. Scuba's been strangled and the document's not in his room. What do you make of it? Chief, I was in Oklahoma City this afternoon. I got your wire to come here, grab this fellow and meet you. I don't know the case at all. Remain where you are, Peters. I'll hop right over. And I've questioned the landlady, Chief. She was in her own apartment downstairs all evening. What about the other boarders? Seven were home. None saw or heard anything. Strangling can be quiet. Well, I left word for an examination crew to follow me here. They'll give the whole place a going over. Anything in these drawers here? Shirts, underwear and so on. Chief, who is, or rather was, Scuba? What's the missing document? Well, the tip came through our regular domestic counter-espionage division. Scuba, a courier for a certain communist spy ring, was ready to change sides. Hey, how about this closet here? Ordinary clothes. He an American? In the process of becoming a citizen. Obviously, his bosses learned he was going to change sides. Now, the document is supposed to be a list of about 5,000 prominent citizens around the country who might be blackmailed with facts about them. Blackmailed by spies? That's an old Nazi stunt. Their agents used to compile blackmail material, reel or forged against prominent people in countries surrounding Germany. They use it to prevent these people from resisting Nazi activities. Same idea here. Only used by communists. And much more efficiently. If that list gets out of this country, Chief, we mustn't let it because... What's this? A little package? I don't know. I haven't touched it. From Weiner's Drugstore, 1217 Harper Avenue. Scuba bought some toothpaste, I suppose. Maybe, but on the other hand, this package may tell us exactly who killed Scuba. You wait here for the crew, Peters. I'm taking this right back to the field office for examination. You kept you waiting, John? I was 50 minutes late myself, Don. Say, this isn't the table I told Jaco to reserve. I think... Oh, don't bother. It's cozy enough. You're looking lovely as always, Irene. Cocktail? I've already had it, Gibson. I'll join you in another. Then canapes? Paddy. We'll make that, too. Then what? Cape honk. Fill their soul for me. I, uh... What's the matter? I have a surprise for you. So I tell you now... Oh, now, of course. It's not only a surprise. It's a gift from me to you. How would you like to take a trip to the Azores by plane leaving Tuesday, day after tomorrow? Stay there a week and fly back. Dunk! Oh, it's wonderful. Traveling's my favorite sin. I was sure you'd like it. I've already booked the flight for you. My Aunt Stella will put you up.  Oh, perfectly. Well, she has a large villa in the Azores, hasn't she? On a hilltop, overlooking the water. And I'll give you something to take to her. A gift for her, too. Oh, good. She's going to have a virtual stranger for a guest. The guest can at least bring a gift. I have it in my pocket. I'll give it to you later. Jewelry? Now don't get me in trouble with the customs anywhere, darling. No, it's a list. A list? How dull. Well, Aunt Stella's active in various international relief organizations. This is a list of people all over the states who might contribute. I got it up for her. Oh, Dunk, did you pick up my perfume at wine's drug store? What, Dunk? What's the matter? Uh, yes, I did, Irene, but I'm afraid I forgot it somewhere.  Yes, I know. Well, we can go by later and pick it up. You remember where we were. No. Well, I imagine the place will be closed. I'll get some really good perfume somewhere else tomorrow. But, Dunk, I can't use the regular commercial brands. Wine has been making this Hyacinth blend for me for a long time. Irene, this is very important. I want you never to go to wine's again. If you're ever asked, you must deny that I picked up that package for you today. I better know why, Dunk. Because I've made a serious mistake. If it's ever found out, I won't be able... I beg your pardon, sir. Oh, yes? This is Ms. Irene Storm? Yes. And you are Mr. Irving Duncan? Who are you? I'm a United States counter-spire. You're both under arrest. Several of my men are scattered among the other patrons. Will you come with me, please? We have arrived. Will you both get out? Dunk, what is this? A better go. Straight ahead to the house. House, way off by itself. Funny place for counter-spires to operate. We pick our bases of operation to suit the case, Ms. Storm. Just a moment. Come in. This way, Ms. Storm, please. Wait in there, please. Don't try to leave. The house is thoroughly guarded. Thank you. Now, if you'll step into the living room with me, Mr. Duncan. Now, first, Mr. Duncan, the document you're carrying in your inside jacket pocket. Let me have it. Very well. Thank you. The murder of Scoober was well done, Mr. Duncan. I never heard of anybody named Scoober. You would never have been detected except that I was in the next room. The vacant one. I left a moment after you did. I deny everything. I demand my constitutional rights. I insist upon being allowed to phone my attorney. That's very good, Mr. Duncan. What? Look at this ring on my finger. Notice the pattern of tiny scratches. You understand. Valviki. You. I didn't know you were even in this country. This list is important. I had to be sure my orders to liquidate Scoober were carried out correctly. I am satisfied. As far as you are concerned, did everything go well? Yes, perfectly. As to the list, Irene Storm is ready to leave the day after tomorrow. I wonder if you confused beauty with reliability. Beauty with... I didn't pose as a counter spy this evening to amuse myself, Duncan. I'm afraid your Irene Storm is a real counter spy agent. Mr. Harding? Come in, Peter. I left the crew working at the boarding house, chief. Looks like a dead end. How about that little package? Take a whiff of this bottle. Smells expensive. Now, here's some litmus paper. Pour a little on. Turns blue. Because this perfume contains a special coloring agent. Put in by Weiner? Why? Weiner's is a famous old-style drugstore, Peter. He makes up special perfumes for a few favored customers. Of course, anybody might buy perfume there, so... At first, I wasn't sure what finding this package in Scuba's room meant. But this color test, which is prearranged between us and Weiner's, proves it was made for a certain person. It's a means of identification and has several uses. You mean a woman you know bought it and left it in Scuba's room? That's what I'm not sure of. Now, flip that light switch, will you, Peter? I want to show you a sound film clip taken earlier today. That's Weiner's Drugstore. Empty at the moment. Strictly 1890. Yes, no fountain, no chromium, just prescriptions. Now, these films were taken from a closet in a back room at Weiner's. The camera covers the prescription counter, and as you see, the two chairs for customers while orders are made up in the back. Now... Good afternoon, sir. That's old man Weiner. Good afternoon. Can you help me, sir? You have a package from Miss Irene Storm. She asked me to pick it up for her. Oh, yes, sir, the Hyacinth perfume. It's right here. How much is it? I send Miss Storm a monthly bill, sir. Oh, uh, will you wrap the bottle, please? Just take a seat for a moment, sir. I'll be right back. Yes. That's the man who liquidated Scuba, Peter. Irving Duncan poses a travel agent. Unfortunately, according to the report I just received, he eluded surveillance tonight. He's the one who left the package in that room by mistake. I'm sure it was a mistake because he must realize by now it can be traced to Weiner's from Weiner's to Irene Storm, and Irene Storm might give him away. Unless she's in the ring, too. She is. Here you are, sir, the package from Miss Storm. Thank you. Good day. Good day. Oh, that's all. Chief, the coloring agent has put only into perfume made for this Irene Storm as identification, you said. And there's an excuse to go to Weiner's or to expose certain individuals to our observation post. And Irene Storm is... Of course. She's a counter spy. You are listening to the case of the pretty plant on Counter Spy. And later you will meet in person one of our government's most daring counter espionage agents, Angela Calamires. For your Christmas Eve listening pleasure, there's another hour and a half broadcast of NBC Sunday Extravaganza, The Big Show, later today over most of these NBC stations. The glamorous, unpredictable Tallulah banquet will preside as usual and her stars include Jimmy Durante, Ed Wynn, Charles Boyer, Margaret O'Brien, Meredith Wilson and many, many more. There's another outstanding production by Theatre Guild on the Air today also. It's Charles Dickens' classic, David Copperfield and Boris Karloff stars as the grasping Uriah Heap. The immortal pages of Dickens come to life later on Theatre Guild on the Air. Now, back to Counter Spy. Oh, Miss Storm, I hope you weren't bored waiting. Bored hardly, angry quite. I demand to know why I'm being held. Duncan can't hear us, Miss Storm. Have you seen Mr. Harding lately or Peters? Who? Our chiefs in the Counter Spies. I don't know them and I don't know you. I'm a nightclub singer, except they're not working now. I'm a friend of Irving Duncan's. We see a lot of each other, but that's all. Miss Storm, Mr. Harding told me to say that you can speak frankly about your observations of the Duncan group. The what? Irving Duncan heads a group of ruthless spies in this country. Enemies of this country. You know that. Since it's your job as a Counter Spy to report on them, Mr. Harding's very pleased with your report. You've got me mixed up with somebody else. I'm Irene Storm, nightclub singer, period. Duncan has just admitted that he's sending you to the Azores by plane on Tuesday carrying an important paper. Oh, well, that's true. I see. He's making me a present of the trip. I have no objection to taking expensive presents from a good friend like Mr. Duncan. And the document, it's only a list of people who might give money to relief organizations or something. You're stubborn, Miss Storm. There is no door in the curtain of steel. What? Oh, Irene. Excuse me a moment. Duncan, come in. Uh, yes. I... I'd like your friend Irene Storm, Duncan. I don't think she believed for a moment that I'm a Counter Spy. I did it first until I said... Careful, Miss Storm. Don't worry. You couldn't control your facial expression, Mr... Valviki. You recognized it as the code statement of echelon 2. A higher echelon than you and Duncan. Are we through with all this now? Of course. I'm anxious to see you take off on Tuesday with that list. Here it is. Thanks. I have some shopping to do tomorrow, including perfume. Irene, I... I promised to get some for you. Leave that to me, Duncan. Unless Mr. Valviki would like to help me with my shopping. Delighted, Miss Storm. Now, how about a drink or two to celebrate tomorrow? Wine is drugstore. Good morning. Good morning, Mr. Winder. This is Irene's store. I find I need two more bottles of Hyacinth perfume. Could you have them ready for me by four this afternoon? Let's see. Come on, take your morning plane to the Azores. Well, in that case, Miss Storm, four o'clock this afternoon. It's kind of a small space, Peters, but we can both squeeze in here. The camera works automatically. It's controlled from upstairs. Men are on duty during all hours. The drugstore is open. Now, take a look through the one-way viewer here. It's the same view as the camera. Hmm. Counter, customer's chairs. Chief, suppose Irene Storm brings Duncan with her. Do you want to grab him? No, no. Grabbing him might alert other group members. We don't know. Wait, hold it. I told Duncan he took me home last night, not another drink. I've had enough. She's right on time. That's not Duncan with her. A new man. Is your perfume ready, Miss Storm? It ought to be. Hello, Miss Storm. Hello, Mr. Weiner. My husband's ready. Please sit down. I'll be right back. I'll sit down here, Mr. Valveke. Valveke? Do you know him, Dad? Top man of their Western Hemisphere Bureau. How did he get into the country? You know, women never cease to amaze me, Miss Storm. Going to all this trouble for a few drops of perfume. There's a whip on his handkerchief. Don't you like it? Betcha I'd like it. Mind on the case, Peters. You can see why she's an effective agent. That's a lovely house you have, Mr. Valveke. I've never been on random road before. In the future, I hope you will see it again. House on random road, Peters. Got it. Miss Storm. Well, thank you, Mr. Weiner. On the bill? Of course. By the way, Mr. Weiner, has anyone unusual been asking here about me? No, Miss Storm. Nobody at all. Well, thanks again. Goodbye. Bye. Bright girl getting Valveke in here. Apparently he doesn't know that Duncan left that bottle in Scuba's room or he wouldn't have come. Irene must have some angle on that. She asked Weiner if anybody had been looking for her, and Valveke gave her a look of sudden suspicion. She's got some plan on foot. Let's go. Hello. Hello, darling. Oh, yes, darling. I've just had a call from our friend. He wants us both to come out to his house again this evening. He's very anxious. Good. I'm very anxious to see him again, Duncan. Oh, pick me up here about eight or so. Your high ball, Miss Storm. Thanks. Yours, Duncan? Yes, thanks. You are packed to leave, Miss Storm. I finished up after you took me home this afternoon. The list? Quite safe. Miss Storm, I've been puzzling over something you said in that drugstore. What did I say? You asked if anyone unusual had inquired after you. You're too clever to say things idly. Who specifically might be inquiring after you? Valveke, I don't see any point in that. I thought the police might have come to Winers. Why? Irene. Because yesterday afternoon, Dunk picked up a bottle of perfume for me there and forgot it somewhere else, and I'm afraid in Scuba's room. No. And, of course, it could be traced. Duncan, I asked you if you'd left any loose ends. Why did you conceal this? I wasn't sure I left it there. Probably I didn't. Nothing's come of it. Irene, I asked you to protect me. A loose end like that is dangerous and has to be tested. I wanted Valveke to know. You could have simply told me, Miss Storm. It was a risk to go back to Winers. For you and for me. The list is the main thing. I didn't risk that. Yes. Quite right. Even so, I... Valveke, you fired those shots. From my pocket. Duncan was too careless. He had to be disposed of. Now we have no loose ends. I'll hide him in the cellar. You take off tomorrow. I go tonight. Valveke. I expect no one. Neighbors. Police. Maybe we were traced from Winers after all. You have the list at home. Go get it. Keep it safe. Whatever you do. Leave by the back door. I'll cover you. You'll be taken, Valveke. Maybe killed. I'm always ready for that. No. There's still one more thing for you to do. I order you to come with me. Very well. Maybe we can both make it the back way. Come on. Here's Duncan. Yeah. Dead. The girl in Valveke is gone. Maybe the back way... Hold it, Peter. Valveke caught just yet. What? Not just yet. Get on our car radio. Warn Edwards and Samuels not to grab those two. Only tail them. Don't take me right to my apartment, Valveke. Better let me out here. But I'm sure we were traced through Winers drugstore. Counter spies may be at your apartment now. Give me a little credit, Valveke. I've removed everything dangerous from there. I'll be able to take off safely tomorrow morning. I hope you're right. There's one thing you've got to do at once. Communicate with headquarters overseas that I'm on my way to the Azores. Confirm my arrival. Yes. All right. I have a transmitter in a warehouse. Goodbye, Valveke. I'll probably never see you again. Goodbye. And good luck. It's a faint light in that far corner of the warehouse. Yeah. Come on. And this is R24 in New York. An urgent message, Mexico, for transmission at once to overseas. About agent T171. It's Valveke, Dave, at a short wave sender. Reporting about Irene Storm. Let's grab him. No, wait. Let him report. Then Irene Storm can still work safely in that spy ring. Listen, Mexico. Report to overseas. T171 has the list. Tomorrow morning, 10 a.m., New York time, she will fly to the Azores. Tell Aunt Stella, T171 is absolutely reliable. This is R24 cutting out. All right, Peters, now. All right, Valveke, United States counter-spies. You're under arrest. Why? Under arrest? Peters, take a look at that transmitter. Right. Valveke, we're taking you in on suspicion of being a communist spy. What message did you send on this radio? Message? Where? To whom? Valveke, your spying days are over. Peters, call in a mobile squad, take this place over. And Valveke, too. This is David Harding. In the case we've just presented, your counter-spies were, of course, trained, experienced agents. But sometimes your government, in its fight against those who want to destroy it, calls upon average citizen. One such citizen is here now, at your counter-spy microphone. She is Angela Calomaris, who, after a long period of posing as a communist, recently revealed her experiences in her best-selling book published by the J.B. Lippincott Company, titled Red Masquerade. Now, here in person, is Angela Calomaris. Eight years ago, I was a photographer in New York with no idea except to get ahead in my profession. For the next seven years, I posed as a communist. I pretended to believe fanatically in the brutal, dishonest, anti-democratic cause of communism. And all that time, I reported communist activities regularly to the FBI. Why was I chosen for this unpleasant work? I was single, I came from an average family, and believed absolutely in our American democratic way of life. But I seemed to be typical communist material. It was important to know how communists work, how they pipe their vicious ideas into the ordinary stream of American life. So, at the request of the FBI, I became a member of the Communist Party. Discipline is iron. There is a pretense of democratic procedure. But actually, everything happens in slavish obedience to whatever the Soviet Union wants. Under orders as a communist, I helped prolong strikes. I participated in demonstrations in Washington. I helped defeat the first anti-subversive action by Congress, the Munt Nixon Bill. In 1947, I participated in a national survey which resulted in a detailed blueprint for sabotage. In 1948, I helped reorganize the Communist Party in line with this blueprint. I helped promote communist and pro-communist candidates in elections. I raised funds, and with every other party member and fellow traveler, I gave at least two weeks' pay to two or three fund drives a year. And I personally met thousands of communists. I joined at least a dozen front organizations and one communist-dominated union. And all that time, I reported to the FBI. I reported in person, in meetings carefully arranged and camouflaged, by phone, always followed by written reports. The danger of exposure was always with me, but I was never exposed until I went into court last year to testify for the government as a surprise witness in the trial of the 11 Communist Party leaders. What did my work accomplish? On still one more front, I was able to show how communists, wrapping themselves in the American flag, work only for a system that wants to destroy everything our country stands for. The Communist Party is still a dangerous underground network.   It is up to you, individual citizens, to combat communism wherever you find it. Communists mean business. I hope you do, too. Thank you, Miss Calamaris, and good luck with your book, Red Masquerade. Through the efforts of patriotic citizens like yourself and trained government agents, the activities of subversive groups will be constantly under surveillance, so that free men will continue to remain free. Tune in every week, same time, same station, too. Counterspies. Listen next week for the exciting case of the kleptomaniac clues. When certain papers invaluable to the nation's mobilization plans were reported missing, your counterspies subtracted a teakwood figure from a whatnot shop and found it added up to murder. To learn how this crime multiplied by intrigue and divided by espionage resulted in one of the strangest cases in counterspies history. Listen next week, too. Case of the kleptomaniac clues on Counterspies. Tonight's Counterspies program originated in New York was directed by Marks B. Loeb, dramatized by Paul R. Milton, and featured Don McLaughlin and Mandel Kramer, Lionel Rico speaking. Counterspies is a Phillips H. Lorde production. Three times mean good times on NBC.