From the blackness of the universe, a spinning orb begins to form, and we go down through the clouds until we meet the landscape of this spinning form. Mountains, growths, plants, more and more things develop and spread over the surface of this planet. Trees, rivers, bodies of water, and from these bodies of water organisms spring organisms with strange appendages which over time develop into other strange appendages. Claws, wings, flippers, beaks, more time, beaks, talons, fangs, feathers, wings, snouts, more and more changes occur until these animals go to land and then accrued, fumbling, four-legged creature which eventually goes upright and then eventually develops weapons and suspicion and anger, bows and arrows and animosity. This creature, later, wears a lauren yet, is sophisticated, smokes a cigarette, walks in a more sophisticated way. This creature then creates the internal combustion engine. Cars, more and more cars, more and more ways to destroy this new world that has been created. More and more things arise on this created world. Things that are seen, things that are heard. Looking out the window I look and I see and I call on the phone and I watch TV in my heart pounds as I see what has happened to this beautiful world.  All the trees destroyed, all of the animals extinct. There is nothing left in this world for us anymore. The purpose for our presentation today, the title is known as building blocks of storytelling. And I know that these three days you've seen many fascinating pieces of literature produced for you. And today we're going to be talking about the what and the how of it all. And I thought, well, I would like to talk about some of the technical strategies and techniques of expressing stories. My purpose today will be to identify and define some terminology and then my sister will be illustrating the points that I am making. Many of the stories we will be sharing come from stories that our family and friends have shared with us and passed down through the generations. Most of these stories are original stories rather than translations. First of all, I'd like to talk a little bit about the history of storytelling for among deaf people. There's no research that's really been done with it. And there is a body of information about ASL, linguistics regarding morphology and syntax and all those types of terms. But when it comes to poetry and discourse and things like that, not much has been done. So I'd like to encourage perhaps some of the researchers to take that on. So what I'm presenting today is not something that's based on research. It's based on things that I have observed and both my sister as well have experienced. And when we've seen good stories, we've analyzed those stories. And perhaps you'll think that what we share with you today is incomplete and that you might have some other aspects that need to be added as well. That would be nice and we would encourage that kind of feedback. Now in terms of the history again, I went to residential school for the deaf and back in those days we didn't have TV and caption programs and of course that's available now, but as children we didn't have that. And remember in the dormitories, in the evenings of the residential schools we used to take turns telling stories to each other. And whenever someone had a really good story then we'd ask more children to come and watch that person to repeat the story and we took turns doing that. Now we have other family members who are deaf and I wanted to let you know that my mother, it was a phenomenal storyteller. She often took stories from books and shared those but she also always would read the stories and then figure out how to tell the stories herself in ASL and we look forward to those times. We often would hurry to get into our bed close so that we could watch mom telling her stories to us. And when she had taken a look at a book and she would share with us, we would ask for more and she always would say you've got to wait for the next day and I'll tell you some more from this book because she'd read a few chapters at a time and deliver them in ASL. And we often would watch these and there were friends of hers who said that they always used to be fascinated with the way that she would tell stories as well. So these stories we have not yet published but we have been carrying them on as a perfect world tradition. They're very natural and of course over time they're going to change somewhat depending on the style of the particular person who's delivering the story. Now, you might wonder why we wanted to focus on storytelling. What's the value of storytelling? If you think about America and sign language, yeah we look at language but that word language, that's a way through storytelling that we can preserve the value of our culture and our belief systems through carrying on stories and sharing them with others. Well, there are different purposes for storytelling, perhaps teaching a moral lesson or something about our world, maybe for entertainment and there are a variety of purposes for storytelling. And sometimes we tell stories to teach a lesson. Or simply to share language. The first thing we have to think about is the goal, the reason for which we're telling that story and that it should drive how we deliver that story. We have to think about how we're going to share it. We have to think of the purpose is it to teach, is it for entertainment, is it for explanation, is it for teaching and so forth. And in order to make people think, is it to make them think or for them to enjoy the sign language itself? So we have to really analyze for ourselves the goal before we produce our story. Now hearing people have a term that's called intonation because their voices change with inflection to show emotion and things like that. Well, deaf people have that built into American sign language as well through visual imagery. For example, if you're walking, there's a way to inflect the sign for walk and show whether you're walking in a slow way or a fast way and we call that visual imagery and that's our equivalent of vocal inflection or intonation. Now the purpose of that is that we want to deliver information visually for the eyes to see. We want that expression to be delivered to deaf people. We don't want to focus on something that they cannot hear. We've shared a little bit about the purpose of storytelling and it's something that's for people to enjoy with their eyes. And before I continue, we have to have a plan. So what do we want to share with our audience? Who are our audience, our listeners, our watchers? Are they people in the dormitories? High school students? So it's important are they adults? Are they somebody from a club for the deaf or who are they exactly? I do have an outline that I can share with you if you would like later on so that you don't have to take notes. It's also important to think about who the audience is. Are they males or females? What are the ages of this audience? And what's the culture? It's very important to understand their culture and people from the south and North Carolina have a different type of culture than people up in the north. So we need to adapt our stories to meet the needs of those regional differences. How do you know if you're familiar with the sign Easter that I've just shared? Other people have different signs for Easter, okay? There's some common agreements here but see, I have several different signs for Easter. Yes, I'm showing a variety of these signs that represent Easter, okay? So we have to find out what your regional signs are and then use those and incorporate them into our stories that we deliver. Now, let's talk about Easter. Maybe we've got a story related to that and I have to think, I have to plan for my audience and now I could share that in the best way. According to techniques and things that we need to put into it, maybe you'll think that, oh, I've forgotten, I'm going to share with you the techniques I think are important to do this. First of all, we have 11 of these strategies or techniques and when we talk about signing space, we mean we have to have a right perspective. We can't have a limited signing space unless the person, of course, is shy and timid. Then we would want a very small signing space but if we got a person who's very bold and so forth, we'd want to use a larger signing space, everyday conversation. We want to change our roles on the stage itself, change positions. That's what I mean when I use the term signing space and when we talk about sending a scene, we're talking about something that occurred quite a while ago in history. We might want to change our appearance through clothing, having something freely and having hair that looks befitting the time that we're talking about. For example, women used to have a bodices a long time ago and we might want to think about how the environment was back then at the period of time that we're trying to emulate. Maybe the houses were row houses and just stretched on forever and then we'd see a steeple at the end with one church in the town so we have to give that kind of visual information to set the scene before we tell the story. Now, also in terms of characters, some characters are shy, some have an ego and an attitude. We have to show that so when we tell a narrative and we have a person who, for example, a guy falls in love with a sweet young thing, we want to show the character within each person so we can show that through our posture and how we move and just emulate the person so we have to shift our roles by actually acting out the character within ourselves. Now, the period of time is very important to make sure that we've got everything matched up correctly, never make assumptions. For example, back in that period of time when you tell a story, perhaps there was no electricity at the time so we have to take that into account so alarm clocks would be different so you have to explain those kinds of details. So it's important to emphasize and make sure that people know what you know. For example, back a long time ago, there were different types of vehicles for transportation so we also talk about role shifting and I mentioned about moving before now we're talking about times when we have to actually step to a different part of the stage to indicate different characters on the stage so we incorporate more movement into our delivering when we talk about changing perspectives we have to move as well. Let's say if we were going to talk about wrapping a turtle when we show the turtle going very slowly and then show the rabbit from a higher level and very rapid kinds of movements in a slow way we can show perspective that way or if an animal is up in a tree or a bird is up in a tree that bird needs to look downward and the animal needs to ease upward into the tree and that's what I mean by perspective and we also have a thing where we can have inanimate objects take on personality for example, the moving beauty and the beast you have a teacup and that teacup has a little baby teacup and so the mother teacup walks along and she tells her little baby to hurry so we can take on the personalities of the two teacups when we're describing that in sign language so we can incorporate personalities into inanimate objects now these are, I also have four things that begin terms that begin with E that would help us to make the story come alive and the first term that I use is elaboration and I mean describing something by elaboration for example, if I'm a small child and I'm gazing up at Abraham Lincoln, the statue in Washington DC and I need to go up the stairs to go and see that statue I show as I'm climbing how long and how high those steps are to me as a child and when I get to the statue I have to look way up to show the perspective involved and that's what I mean by elaboration and the second term I have with an E is that of enhancement and by this I'll give an illustration if we want to show feelings or emotions or personality it's very important to elaborate on that for example, if a girl is shy you just use the sign you have to show how the person would move and how she would hold her head or if a person is a braggart how they would walk in a very braggadocio way and so we need to emphasize that and then we move on to employment and that's very important as well we have to show conflict of good and bad and dark and light we show anger and happiness we show contrast and we have to somehow weave those together and also of course we expression is very important as a fourth term it's something to think about we have to show our emotions some of you when you've told stories you show how a person can be plump or if a person is scared and how they manage to walk along when they're scared it's very important how you carry your body and show expression through your face also we look at time we can inflect our signs in a way that shows that time was a long time ago or that it's going to be a great distance in the future great period of time in the future or if we are hearing something we can show the rhythm that something's coming closer to us and we can show how scared we are it's very important though to look at these aspects of storytelling and we have to watch our audience as well and see how they're reacting to the way we're telling our story if we're not getting the kind of facial feedback from our audience that we would expect in listening behavior then we need to change ours accordingly so that we can make sure that we're meeting the needs and expectations of our audience so that is very critical in terms of our delivery of stories to an audience now if I were presenting on stage like this and I do it one way but if I'm in a classroom then I have to tell a story in a way that suddenly I could get the classroom to participate as well and ask people who stole our hat and somebody said I know, I know so I could actually stop the story and ask for people to participate with me and respond so make it interactive in a classroom situation now I'd like to put an overhead up at this point in time to set this up and then we're going to pick some of these strategies to incorporate into the story to show you to demonstrate okay, you can look at this picture it shows a lot of different movement in a different place and you want to set it up for an example how would you sign some of those things if you were going to use this picture in the story you see the rocks you see the people's clothes there how would you describe some of that? oh I'm sorry you can't see me over here on this side for example you have a character changing that like the rocks are real heavily laid out up over the hill and they can see the dragon with the big teeth and the scales on it and everything and you can see the night see the night with his sword and everything and you have the dragon with his tongue hot up there and the soldier looking at that and you've got the ram up there with his horns hanging over there describe the dragon with the eyes bugging out and his tongue flicking out of his mouth and just breathing these heavy breaths and big claws on the ends of his claws and just fire coming out of his mouth and flames shooting across and the soldier drawing his sword out and finding that perhaps it was stuck in there and he finally gets his sword drawn and he's looking at the dragon and contemplating cutting its head off and the girl you know maybe you'd describe the girl as having nice clothes and being a tractor sweet young lady with a big headband on and the fellow acting extremely macho and pushing the girl aside to protect her and stepping out in the path you can see the kinds of changes that I made as I described that okay and now I'd like to talk about the term genre I still think that many of our stories we're trying to fit into the forms of folklore and legend and so forth that are already existed in the spoken English language but I'm not sure that we have really collected all the possibilities for ASL literature and there are a lot of there's a lot of folklore folk legend examples available I'm sure there's some things that are similar between both English and ASL don't get me wrong but when we do talk about folklore I took the term and the definition from the dictionary and this is what we came up with and that is something that's been passed down orally practices and beliefs tales from people so it's been passed on over time and becomes a legend and we don't know whether it's true or not so there are always questions about it now Eileen is going to be sharing some of her stories that are within that realm many many stories as I was growing up I saw and I watched and I've just kind of picked a few of them that I would like to share with you would you please step forward there are many many stories that various adults have told oh wait a minute you interrupted me it made me move here and I could get my train of thought back alright when I was a small girl I was always fascinated by the story that older folks would tell I'd say please teach me those there was one story a man who had told the story that really impacted me and I thought wow this is really something the story was just terrific there's a deaf king in this country and all over the land that the king had let me get started here self was deaf who was deaf called all the villagers together I said come on over here and the villagers assembled wondering what was wrong and the king said I'm really angry somebody stole my crown where is my crown and the people were all like gee I don't know I have no idea what happened and the deaf king looked out over all of his people I've got an idea alright all of you folks get in a row and the men and the women all lined up and there were different folks there there were human people and there were big strong heavy people and there were some folks who really looked emaciated in that and the king said somebody's got to be lying here he said ok this prisoner out from jail so this prisoner came out and he was shackled and the chains were wrapped around his arms and the king said you see this fella's guilty for stealing and he's been convicted of that already I want all of you folks I don't know who stole my crown but I want you to see there's this big pot of water here and it's a very special water it's not your normal water it's a special it's very unique if somebody does something bad and they dip their hands in the water they'll come out blue and that means they're guilty of doing something and if they dip their hands in and come out and they're uncolored that means they're innocent and villagers were all looking around and thinking oh wow this is something special and the king ordered that the prisoner immerse his hands in the water and when they came out they were all covered with blue and the king said you see you see what happens when you're a guilty individual and now he ordered bowls of water to be set for each person in the crowd and one man was standing there thinking to himself what am I gonna do oh boy I know what I'll do I'll just act like I'm dipping my hands in the water and just barely touch the surface of it so the king said are you ready everybody immerse their arms and all of the villagers immersed their arms and the king said raise your hands and they raised their hands and the king looked and the first one was blue and the second was blue there was one person whose arms weren't colored and everybody else's were blue and the king said you're the one who did it now a second story you know imagine the king the king is hearing now and his hearing king thinks I've got all of these villagers again deaf and hearing coming old in the community and the king assembled everybody and all of the villagers came and they were wondering what was up and the king said I want all of you to tell me a story something that I can enjoy understand tell me a story I don't want you to stop I'll decide when the story ends myself I will tell you when it's the end you can't decide that so the villagers got together and said what are we supposed to do we have to create a story we can't stop we have to continue telling this story until the king can tell us to stop what are we going to do so the king commanded one man to step out front and the man stepped down and he started to spin this tail and he came to the end and the king said behead him and other men were like oh my gosh the second guy came up and he was trying to tell a story and go on and on and on and he ran out of things to say it came to the end and the king said behead him and the next person and the next and finally there was a deaf woman who stepped forward and she thought oh boy the people have dwindled our numbers are getting fewer and fewer she had an idea she said I'll tell the king a story king said fine stepped forward so the woman stepped forward and she started talking about the tree that was over there and there was a baby bird in the nest it was in the tree and a baby bird was so cute and just chirped up in the tree and a baby bird sitting in the nest and was just growing and growing and tried to fly as it got bigger and stronger and it was finally ready to fly and it practiced and practiced and it's launched itself out of the nest and flapped its wings and it was really thinking oh gee I just can barely fly and was getting stronger and ready to do all of this and trying to get out of the nest a little more it was inspired and finally looked at the ground and flew out and thought oh I can do this I'll be able to fly and flew up just a little higher and felt good and started to travel all over and was just soaring above the land and flying down on all of the trees and the scenery and saw the rivers as it soared through the sky and the mountains she looked at had all across the land and the various animals and was just flying over the trees and soaring back and forth and enjoying all of the sights in the world and the king started to become sleepy and said that's enough over and the woman was like had saved all of the people in the land and the people were so elated that's the story a man told me when I was very small and it really hit me what did it mean he taught me something I learned something from that story it's a true story about what happened it's a true story you know my family my sister when she was very small you know she had to hold the mom's hand when we were walking along and my sister would always be bothered by my mother and hitting her and saying mom what's this and my mother was constantly being interrupted by my sister saying what's that she was so curious so one day my mother decided she was just going to ignore my sister she had had enough of this and my sister just kept poking her and finally my mother was exasperated and she looked down to see what happened and here my sister had been looking up at a bird flying in the sky and a bird pooped right in the middle of her face there's another one that story really happened I mean you know my mother you know we worked at residential school it's a true story I don't know if this is true or not but it makes you think about something a small girl you know in the girls dorm you know I have a line up getting ready to go to the bathroom and brush her teeth and wash her face and get ready in the morning and a darn parent or supervisor this very sweet soft hearted woman saw what was going on and she would always sit in this corner in a rocking chair and she would watch as the girls filed into the bathroom and they'd all wave to her and she'd wave she's just such a sweet woman and the girls all loved her and in the morning they'd take care of their toiletries and get ready for school every day she'd sit there and watch them come by it was the same old routine and one day she was absent she wasn't there and the girls as they were lined up going to the bathroom wonder what happened and a superintendent of school came out and said have some very sad news you know the dorm mother who was always here has passed away and the girls were just astounded to hear that she died and they looked over at the empty rocking chair and the next day as they filed in the morning to go in the bathroom and get cleaned up and ready for school they looked at the rocking chair it was empty the chair was still rocking and the girls looked at the window to see if there was the windows were open and there was a breeze doing that but the windows were all closed and still the chair rocked and the girls all thought about that and as they grew up it was the same they'd come in in the morning to go to the bathroom and that chair was always rocking I'm thinking about this here okay okay have another one I've got one more story I can tell oh that story about the small girl wait wait wait wait turn off your voice please the interpreter's been ordered to be quiet how many minutes do I have left 10 minutes alright okay I think we'll move on to mystery we have a lot of different examples for example the rocking chair could have a little bit of overlap between legend and mystery another story that I really enjoy was about my mom my sister but there are other ones there are mystery stories and some are scary and might not be appropriate for young children so we have to think about the age of the children that we're telling the stories for now my sister will tell another one that's a mystery just at the end of it and kept walking and it just seemed such a dark one at the end of the long wall and kept approaching it and it seemed like an interminably long and he got it all tuned in and then watched the program we'd like to talk about romance and how much time do we have left seven minutes I think we'll move on we have a good story that's about romance during the war the german war and it's about jews it's very touching so long though about a couple that were separated during the war and then met again after the war so we do have romantic stories like that and that is available in ASL literature and we also have stories that have repetitive lines that are good for children because they can learn how to give and take in a chorus and rhythm we have examples of that and like the teeny tiny teeny tiny house and had a teeny tiny cat and the teeny tiny cat liked to eat what little teeny tiny mice and that's repeated and there was a little teeny tiny mom lived in a little teeny tiny house and what did she have she had a little teeny tiny cat who liked to eat what small teeny tiny mice and so that's how you play that kind of story with children and we have lots of samples of that like there's a person who came with a man with a yellow hat and who came? yes, the man with a yellow hat you're correct he came to eat dinner so we have lots of examples of that they're more interactive and then we have rhythmic clapping stories and Barbara Campbell has a story that she tells that's just amazing I don't know if you've ever seen it involves rhythm and clapping please show this for us and then I'll explain about it you know like a bunch of small children maybe three or four years old and you have a nursery you get them to clap, they can clap they love that action kind of a story you know for example Easter is near so you can talk about the Easter bunny you can say the bunny has what it's got this character and it's got the long years and you say fine you pull somebody out you can say the long years it's got the big whispers something feed and of course a cotton tail on it and you can get the children involved in that kind of a story and they really enjoy that so follow me by clapping and rhythm clap, ears hop, whiskers hop, a cotton tail and that's it, that gives you the idea of how you can get the children involved children just love that three and four year olds can do that and have a tremendous amount of fun with that it's only for children that's not right because there are people who really do like that, who are older and even at Gallaudet for example they use rhythmic kinds of songs and cheerleaders use rhythmic kinds of songs in their cheerleading so we've seen samples of that and there's one that's called Rai Whisky Rai Whisky, yeah Rai Whisky because they are familiar with that song that has a rhythm of clapping to it and older people enjoy the rhythm of that sense of rhythm when it's repeated and perhaps it's difficult for children when they're young when they don't have a rhythm so if you give them stories that have rhythm incorporated into them it helps them to learn a sense of rhythm for themselves now there's this word that's visual soliloquy now excuse me interpreter era visual in English we have sounds and the term onomatopoeia that refers to that but also in ASL there's a form of onomatopoeia that's visual in nature for example alarm clocks and shoes tapping and watching the repetition of that, that's a form of onomatopoeia sometimes you just look at a leaf and you see it swish swish swish swish and so that's an example or an example of visual onomatopoeia now I've given you a lot of different genres and you may wonder how can I start to create stories before I finish though I almost forgot there's soliloquy and that's when a person it's a very complex kind of genre where a person delivers a solo kind of performance and you probably saw Julia Feld when she was telling her soliloquy it was just fascinating and Patrick Grable told one about the evils of chewing tobacco and so I would recommend that's a real tough one to master so you might want to start with something a little bit more simple now if we talk about fingerspelling and stories I'd like to make some comments about that it's important when you think about fingerspelling not to use too much you have to really restrict how many things you go ahead and fingerspell if you want to emphasize something you might go ahead and fingerspell or like alien or something like that that would be used in a story so you don't really use it that much and when you do fingerspell you should do it very slowly though in a very pronounced way and other things I've seen is that when you're telling a story you have to know the difference between pantomime and telling a story itself we certainly can incorporate parts of pantomime when you're telling a story for example talking about monkey if you take on the characteristic of a monkey and just jump around that's not really part of the story that's a description of the monkey itself and how it does that that's fine if it's a part of the story but if you just become completely the animal itself that goes across the line into pantomime rather than storytelling now one thing I hadn't thought about before in Nancy Drew's stories you see that things come in and mime is at it and maybe that's important I'm not so sure so we need to do some research in that so I have a lot of suggestions with strategies and they're all included in the outline that I have available for you here you might want to take a look at them yourselves and think about them thanks so much and I would also recommend that if you look at cartoons that have no words to them and I'll show you one here on Overhead those are good to start with grabbing them in the mirror one of my favorites is once I've done it I look in the mirror and look at myself and then I realize it doesn't look so great so I test out my children and my family and people who know ASL and if they look at me like they don't get it then I know I've got to do something else to make sure that it really expresses it well so I keep trying until I've got it adapted to a point and of course these things are never the same and you're always working on them to make them better okay so if you take a look at this cartoon up here there are no words and so you could use something like that to get you started on how to express things because that way you don't get bogged down in the English if you look at English then it's very hard to be creative so if you look like so something like this without English then that makes it a lot easier you might want to look at a couple of things that have just a couple of sentences or look at folklore and try to take on the character of the person and change before characters or perhaps you might want to look at children's story books that have one or two lines and ponder how you can tell those stories and I do have a book here that I really recommend and it has some really good story telling things in here and it would be good to practice them so if you'd like to know more about it I do have an address where you could get hold of this book if you'd like I'll put that up on the screen now I've shared with you some ideas and on the overhead how you can start but I want you to think about children who are being mainstreamed and aren't, I'm so concerned that maybe we're going to lose this the children are going to have the best story telling so we've got to do something more and so I realize it's really critical to encourage people to go into the schools and tell stories to their children and to pass on that oral tradition through the generations I have some other strategies of how to do that and I'm sure that you could think of some yourself and even if you don't work in a school or a community you could still volunteer your services to tell stories to children maybe in a public library or at a carnival stay fair go with an interpreter into it we really need to get this word out and do more of it for children where am I I enter through a portal and walk along a landscape over there a stately deer regards me and as I look at this landscape and work my way through it I notice the portal is diminishing getting smaller and fading into the background a beautiful glittering stream flows nearby I crouch near the stream's waters and gather it in my hand to refresh myself and as I reach down for more water I see reflected in the water the shape of ears and a snout glittering eyes and the salivating mowl breathing heavily as I move the wolf moves and I retreat and then start to run the wolf in hot pursuit I run as fast as I can feeling his panting breath behind me as I make my way through the trees through the forest with him so close behind and I see another portal and I run towards it as fast as I can to escape the wolf who's gaining on me faster I go until I throw myself through and arrive on the other side of the dark space all around me and I look at myself as if separate from myself this portal has disappeared and I'm lying there all this darkness and I feel somebody tugging at my arm hey hey tugging at my arm yo you slept too late come on get up we gotta get out of here what leave me alone and then as I sit up in bed and my friend turns I see behind him a wagging long furry tail


Hey guys, welcome to another PayPal update. I have here on the chart PayPal of course, and if you've been tracking it off the lows it is up about Roughly 20% which is really good You know what can I say the S&P if I run this PayPal divided by S P X PayPal has actually outperformed The S&P so you could say you can beat the market just by trading Undervalued Value stocks the Buffett way. Let's see. What was the low in PayPal May 25? If I look at S&P Wow, so PayPal is up twice as much the S&P S&P is up only 8 to 9% I actually think that PayPal could pull back and maybe give another buying opportunity. I took some off the table 20% on average is good. You can take if you can get 20% a year you're killing it. You're doing fantastic So taking some off the table not a bad idea. I Still think there's a chance PayPal could Get more of a sell-off Down the road 40 so I would love to buy it. This will be the year for PayPal. I believe $800 price target in a decade. What's the five-year price? I don't I don't I think the five-year price might be around 300 bucks. Maybe goes back to the to the old valuation, but I'm really in it for the 10-year price That's I think that's about a 14 or a 15 bagger if I could see PayPal drop Down to the 40 man. Merry Christmas. Hallelujah. That would be an excellent entry price because then it would be a 20 bagger so Just wanted to give that quick update The S&P might be slowing down so Why not ring the register high five pat on the back?  They're gonna do a rebalance something like 55% is gonna shrink to 38% so guys watch out for that, but We'll have to wait for a new opportunity the ball We swung we hit and now we look for a new entry and look at our other Stocks, let me know what other stocks you're looking at. I'll do some analysis. I will keep trading PayPal Because it's it's gonna earn about five bucks a share so that's that's a good deal. We'll see cheers


Music is powerful, and music is a way that we connect in a big way with each other. It's a way to communicate, and it's a way to communicate in this raw, pure form. SoundWalk is a GPS-driven work of public sound art. You download an app, and it's a free app, and you put on your headphones, and then you just start walking. And the app follows your GPS to trigger sounds that should illuminate the landscape around you. I designed musical themes to kind of fit with the themes of the layout of the park. So there's a water theme that comes in themes and variations anytime you're around a water feature in the park. And then woven through that, I was doing research about current and historical events of things that have happened in different locations in the park and subtly weaving clues about those things into the soundscape. We're now in Central Park, which is the most iconic park in the world. And I have the privilege to oversee 30,000 acres of parkland here in New York City. When you come here, most people don't know that this was designed and developed. This did not exist. And so this is now a green oasis where people can come and escape. It's really the lungs of the city, and people are really using it that way both centuries ago as well as today. People come here for a personal trainer, we have festivals, we have walking tours, birthday parties, picnics, bachelorette parties. Everything happens here in the park. There's something about being in nature that just really makes you feel better. I tell people, don't take a mental health day, just take a walk in a park. Minescapes is an international cultural project that explores what mental health is, how we think about it, how we tell stories about it, how we interact with it. So many people in a large city have multiple experiences within a park. And this very spot has all of these layers of experience of urban life and this richness that comes with urban life. I wanted to create a project that lets you kind of sit with that richness and explore that richness through sound and through stories and through individual sonic experience. Central Park never gets old. This is a park for all people. Regardless of your race, your income, there's something here for you to do and you walk away with an incredible experience time after time after time. To add music is just another element. It's another one of your senses that make you escape from New York but it just transports you away and helps you reduce that stress. So music, walking, parks, they all go together. The way that we've had to put Soundwalk together has been this really unique experience that's created a large international team. We have the New York Philharmonic. We have an incredible New York-based jazz band called Pool and the Gang. We have the Young People's Chorus of New York City. We have a small team of me and an assistant sound designer, Dante Green, who have been coming to the park through Thick and Thin to test these sounds. My hope going forward is that we can continue to invest in parks. When you do that, you invest in your residents, you invest in health and you invest in present and future generations. I believe that music helps us connect with parts of ourselves and process and hold space for some challenging emotions and challenging experiences. And this project is so special because you're fully surrounded by music and as a listener you can control exactly what sound world you want to be in. So in a way, we've created this structure where the listener gets to be the composer.


What do we use V for in VIM? We use it to make visual selections and we can do that in a number of ways. What's up? I'm Jantastic and welcome to another day in our short course on the VIM alphabet covering VIM from A to Z. Today's letter is V and V is how we make a visual selection in VIM. Now this is an actual mode so like insert mode or replace mode or all of the other modes V enters you into a unique mode. Now it allows you to make selections before running a command. So we've seen in a lot of our letters before we can use like C or like capital C to change all the way to the end of a line the same with S. We have ways to like change all the way through to the end of a line. However we can also use VIM to make visual selections much like the same way that we would take a mouse and kind of grab some text. Let me show you by opening a editor we'll open VIM with the quick brown text file. Now there are a handful ways to use visual mode. The first is the lowercase v so if we hit V it'll take us into visual mode and we can see that in the bottom left hand corner. Now we can use our navigation so like E will take us to the end of the next or the current or next word. So we can use E to make a visual selection. We can also use B to go back. We're in visual selection mode. So instead of just moving our cursor we're starting our cursor to place and then kind of deciding where else we want to take that. We can use J to go down, K to go back up. We can do dollar sign to go all the way to the end of a line. We can do anything that we would in VIM navigation to make a visual selection. Now once we have our visual selection made up we can use editing commands like S to delete that and put us into insert mode to write something else. So I can hit escape, undo and we're back where we were before. So that's lowercase v. We can make a visual selection using all of those commands. Now uppercase v will do a full line visual selection. I can't remember. I think this is called like block wise or line wise. That's what it is. A line wise visual selection. So we would do capital V and we can just go up and down. But this will select these full lines. If I hit D right now it'll delete those three lines. This is very handy if you want to operate on lines not just text. We'll hit U to undo that. I want to show you the third way to make a visual selection. That is with control V.  Now you can see that this is a little bit different. This is a visual block selection. And with this I can go across lines. It's kind of like a hybrid. So I can go across lines. I can go down and then select the end use E to select the end of this word. So I've selected this word across all of my lines. Now I can use S to substitute that with something else. Say the quick blue fox. Now it doesn't change all of these in place yet. That'll happen when I hit escape out of insert mode. It will go and we'll pray replace all of those across those lines. So that's pretty much everything that you need to know about V or at least the ways that I use it most often. If you need help you can do the command colon help or H for short type V and boom you have all the information about V. Now this command does select account if you wanted to use it that way. You're free to explore that on your own. Now that's it for me and V today. If you have any questions throw those down in the comments. If you have any special ways that you love using V feel free to reply or put those in the comments too for anyone else who decides to watch this video. Thank you so much for watching. I will see you tomorrow with W


Hi everyone, welcome to another live video. I'm out here at Scarborough Castle in North Yorkshire. So I did a premiere the other day. It was called Free Things That Will Happen Before the Narcissist Returns to You. And I think it's important to know that certain things will happen before they return. They do take certain things into consideration. First you've got to look at why they left in the first place. The reason why they left is because your supply lost its potency. And then they went seeking out another fresh source of supply. And they go through the love-bombing phase with this new source just as they did it with you. And then before you know it, they're devaluing the new source. And that is when they might consider returning to you. Once things start going wrong with the new source. But of course there are other conditions that need to be met. You need to validate their false self. You need to believe in the illusion, the lies that they're portraying to you. You need to be susceptible to their manipulation. Because the last thing they want when they do return is for you to start questioning and confronting them. If they think you're going to do that, that's one of the main reasons why they won't return to you. And in many situations, even if you are still susceptible, even if things aren't going right with the new supply, that doesn't automatically mean that they're going to come back. As we know, narcissists have a lot of pride and arrogance. They have to feel like they're in control. They have to feel like they're winning. They have to feel like they're on top of you. And in many situations coming back makes them feel like you have the power. It makes them feel like they're beneath you. In their minds, resistance means more power to them. And then there's also the smear campaign. Towards the end of your relationship with them, they started talking to people about you.  To save their image, only problem is, a lot of times when they do this, they end up shooting themselves in the foot.  As though they are the problem. Because if you are so bad, if you were really this horrible person who didn't treat them right, who couldn't do enough for them, then why would they ever return to you? When it comes down to it, it's a choice between their image, their false self, or you. And no narcissist is going to choose a source of supply before their image and reputation. Because that's all that really matters to them. And that's why many of you, you may be waiting for the Hoover and it's just not coming. You're not getting it. And the reason why is because those conditions are not met. And even if they are, then there's the smear campaign. They've made it impossible for themselves to return to you. Let me know your thoughts on this. Let me know if the narcissist did return to you or not. And I'll read out your comments here and we can discuss this. Four of the kind words there. I'm glad you like the new haircut. Beautiful view in the background here. Got a comment here from Adele. Horrible people. You never can understand unless you were in such a relationship. Sadly many don't get it. Or narcissistic personalities themselves. So true. Joshua J sending love brother. I'm in court with my narc now. Lovely Anna says my ex-narc hoovered me this week. Wanting to go on dates to talk things through. Yeah, that's what they'll do when they come back. They're just trying to return to the love bombing phase. And the hopes that you're still susceptible to the manipulation. The false character. Adele says COVID's launched sneaky smear campaigns. Very true. They can be very sneaky compared to the overt smear campaign. Sometimes a lot of people don't even see it coming. Thank you Nala. So I'm just going to continue looking around this castle here. I hope you're all having a good day. And maybe there will be a live video later on on the spiritual secrets channel. So if you're not subscribed to that yet. Search on YouTube spiritual secrets. And I will see you there later.


moved between the two levels of economics and politics during this period, and they very much look forward to discussing with you and to hearing what you have to say. Basically, my intention was to give a different interpretation of the political economy behind the crisis beyond the standard one. So I will use an economic language, but the message would be mainly political. And the beginning is pretty consensual, the consensual view of how the crisis sat in. And basically, we all know financial integration brought interest rates down, especially in the so-called periphery. Nominal rates converge towards the German level. Credit standards eased pretty much throughout the euro area. And this amount of credit strengthened the economic activity, increased imports, pushed up wages. We all know this story and brought current accounts on a divergent path around the euro area. And this is shown in somehow, apparently, in a critical way in this figure in terms of divergence between core countries, current account of the balance of payment in core countries, and in the periphery. On the basis of the economic matter of facts observation, what came up was a number of more political interpretation. The root cause of these divergence was found in the divergent path of UNI's labor cost. And we see many of the countries of the periphery diverging in the first 10 years of the euro area. Well, we know Germany was capable of keeping UNI labor costs at a pretty stable, at least level or below the rate of increase of productivity. It is the only way to interpret how political economy reacted to the first 10 years of the euro. My idea is that we have moved beyond this static analysis of demand and the effects on the current accounts. What we have introduced is an attempt to interpret the crisis as a divergence in the political capacity of single countries. So which kind of indicator can we use to say how good a government is in reacting to a situation of predicament? Well, I try to use this total factor productivity, which is the way you combine a certain environment of capital and labor. So the way you reform the labor market or the accessibility of capital or the competition on the capital market in order to get an efficient combination of the two production factors. This is total factor productivity. And if you see the variation in the first 10 years of the euro, you see that those countries who had a lower, worse being of total factor productivity are exactly the countries that are suffering the most. So you find Portugal, Spain, Italy, Ireland, Greece, and so on. So apparently the crisis is not only a matter of UNI labor cost. It's a problem of political capacity. But then there is a further step, which is even more disquieting, more troubling in terms of, and this is a second step. Is it not only political capacity? Is it politically inferiority? And obviously it's a troubling question. And how can you get this indication? You use a variation of total factor productivity as an indicator of political capacity. And on the other axis, on the horizontal axis, I use an indicator which I call institutional quality, which is an indicator which is produced by the World Bank, putting together a quality indicator about corruption, transparency, government's accountability, freedom of the press, and so on. I wouldn't buy at face value this kind of indicator at all. I've seen inside this indicator and it's a mess the way it is constructed. I don't rely on it. But still, it's very common to hear it mentioned in technical and politically counter-armic analysis. And the two things actually work pretty well. It's not only a certain delay in political implementation that makes you slow down on the road to reforms. It's really a problem of a society which is not responsive enough. Maybe the media are not good enough in saying it's your time to react to politics, must feel the pressure, and so on. Or maybe the people are in denial, who knows. But the point is, there is something in this troubling picture of Europe as an area with different cultures and different quality in the societies. But as I told you, I'm not sure this is solid enough to be accepted as a conclusion. And in fact, if you take a step back, you see that this old construction is a bit wobbly. This is, again, current account balance in the larger countries. And you see that the explanation about divergence in unilever costs and current account of France and Italy, for instance, is not convincing. France and Italy until 2008 are not really divergent. So how is it possible? How can we put together the two things that we see, unit level costs? This is in Italy. These are two indicators, real effective exchange rates based on the green curve on unit level costs, the one which we have seen diverging so much from the general level, and the other based on the price levels. Two standard indicators that the IMF publishes. And you see that there is this enormous divergence. So unit level costs in Italy were way off the German level. But the price level remained the same. And this is consistent with the fact that the current account of the balance of payment was not really going down the drain. Well, what happened in between? There are many explanations about the compatibility of these two indicators. But unfortunately, there is a nasty one, which is Italy succeeded in keeping its competitiveness at a decent level during the 10 years of the euro, unfortunately, by increasing the unobserved economy. And between this is a table produced by the Bank of Italy, the Italian central bank, that shows that between 2005 and 2008, an incredible amount, 6.4% of GDP becomes unobserved. So in order to keep up with the competition, you need to hide away from official markets, which is obviously very disturbing. But it's not unique. But first of all, how did it happen? Basically, exploiting immigrants, whose number tripled in the period between 2000 and 2008, almost tripled, these two curves show entirely flexible wages and contracts, level contracts. And you see the upper curve is the one pertaining to the immigrants, the other are official Italian workers. So the entire flexibility needed to keep the economy in sync with the competition in Europe is unloaded onto immigrants. And who are immigrants? Unknown voters. They do not vote. So this is a politically very efficient way to unload the costs of adjusting to the global competition onto known voters. And this is exactly what happens in other countries as well, also in a different way. This is France, which grows faster than Germany, almost throughout the whole existence of the euro area. As we know, the difference is basically given by the contribution to GDP growth, given by net exports is plus 0.6 in Germany throughout this period, minus 0.2 in France. So the possibility to grow is granted by domestic demand supported by states' transfers of income. And this is compatible with the fact that also the level of growth in France is persistently above the potential growth rate, the French potential growth rate. The deficit is never balanced. The public deficit in France is constantly too high relative to the stability pact rules. What does it mean? In the 10 years between 2000 and 2010, France buys the equivalent of 20% of its GDP in public debt, which was not justified by the rhythm of growth of the economy. But again, what is public debt and due public debt is unloading the cost of adjusting the economy and making it grow onto future generations, known electors again. This is the same pattern that happens throughout the euro area in different ways. In the south, costs are diverted to minorities of non-voters. In Spain, 2 thirds of the level force has full coverage and safety in the level contracts and the flexibility is provided by a minority, again, a minority of voters. It's a politically efficient way. Similar things have happened not only in Italy, but even Schwarzarbeit in Germany has increased dramatically in the same period. So black market in Germany as well. So you find people who are normally a minority to unload the political costs. In France, we have seen different pattern, future generation. And similarly, it happened with an outsized increase in the public budget in several countries. We are probably familiar with the criticism against Ireland, Luxembourg, Austria, and the Netherlands about a strategy that other countries adopt as a back-of-the-neighboring, adopting regulatory regimes or fiscal regimes that draw away from other countries' taxpayers' money. But what happens in northern Europe and in Germany in particular? Well, in this case, we do not have really a strategy, a gimmick. It's a real strategy, and it's an intelligent one. We know that between the 90s and the 2000s, after 2000s, the addition of expert imports on GDP in Germany grows from 52% to more than 90%. It was lower than in France and Italy. It's now three times higher than in Japan and the US. This produced through an enormous amount of domestic net savings, which was re-invested in high-yielding government bonds in other countries, and produced in a cautionary estimate, would be roughly 1% of GDP adding 1% of GDP to Germany through foreign taxpayers' money paid through the yields of government bonds that was the object of investment by the German banking system. As you may know, according to the Bundesbank, 87% of the German banking system has some relation with the state. It's not private, in a way. And most of it has statutory limit to the profitability. What happens? They collect the savings domestically. They re-invest the money. 1 trillion euro invested in the periphery of the euro area. This brings back, let's say, 100 billion each year. But this cannot remain in banking profits, must be distributed to firms through long-term low-interest trades or through investments in local infrastructure in the lender through the Landesbanking, which obviously increase political consensus. And again, it's a way to preserve political consensus through foreign voters, foreign taxpayers. This system has characterized not only Germany. These two graphs show that most of the euphastas growing countries applied the same strategy have high national net savings. So they live, as we say, below their own means. They save more than we would expect from a standard macroeconomic model. And they invest even less at home. And you find exactly all the usual countries that you mentioned as faster growing countries, among the others. So Finland, Netherlands, Austria, Denmark, Belgium. I can't read because I can't see. And Germany. And you find, again, the same countries on the other graph as countries that do not invest at home. They invest abroad and bring back the yields from outside. So this is my interpretation of the crisis. We were not prepared domestically to understand how interdependent we were, how many effects our political decisions at home had on neighboring countries. And what we have done was trying to substitute monetary policy, which was an extremely powerful instrument to keep consensus, think of how we adjust tradeable and untradeable sectors through inflation or devaluation or recovering competitiveness without making people notice it too much. Simply devaluing, well, this was a very powerful political instrument. We substituted with less visible political tools as we have seen. But when the crisis broke, the system was so fragile because we abused of those tricks. And the system was trained exactly in those points. So German banks, intermediating so much, were almost bust in 2008. French fiscal policy had no margin anymore. Italy's growth collapsed because the economy was fragileized by this bad adaptation to the new production composition required by global competition. Spanish unemployment went through the sky. What does it mean in political terms? If I have five minutes. What is a lesson of this incapacity to adjust to the new environment? Well, basically, we have not been able, in a way, democracy has reacted, but democracy has national borders. And we were not prepared to consider that the effects of our policy choices would reverberate neighboring countries and eventually come back in the shape of such a dramatic crisis. Why? Well, my understanding is you are so kind as to mention the book published in 2012. And now I open an advertising space saying in the next month, a new edition, a larger edition of the book you mentioned is coming out for Brookings Institution. And I elaborated the book is a narrative. So these analyses and these graphs are not contained in the book. It's simply a narrative of the crisis. But I felt the urge to go farther and understand what had happened in a more analytical way. And what this book will present to the public as a possibility is that we are actually victim of the past much more than we understand. Basically, what we have pretended to do was to consider our countries as self-sufficient, as not so interdependent in political and economic terms as they really are. And why that? Because self-sufficiency is a mindset of people who have legitimated the nation-states as the actor of a conflict, of war. In a way, the past, the European past is still with us. If we have a source of legitimation of the nation-state, it's still the defense of the people in conflict that have forged European history. But when you are in a war, you don't want to depend on the other countries. We are still in this mindset. We don't want to open our mind to interdependency. And interdependence has crushed the gates and entered into our homes with this major crisis. And my understanding that we are still far from understanding how interdependent we are and that the solution of the crisis is still hanging on this cultural gap. I guess I'll, oh, sorry. Chacun Sainer is a reaction that the first episode I tell in the book was meeting at the beginning of October 2008 between Chancellor Merkel and President Sarkozy on the stairway of the Elysée. And Sarkozy tried to convince Merkel to put together money and fiscal backstop for facing the banking crisis. As you, more than anybody else in this world, know what Merkel answered and said no. Everybody has to take care of their national problems. And so Sarkozy turned to an aide and said, she doesn't want. She said, Chacun Sainer, each is unmerged. Well, this, in a way, has continued to be the rule during all the crisis until intergovernmental practices have taken over, think of how the fiscal compact has exited the EU legislative framework. And while the very first episode of intergovernmentalism was May 9th and 2010 when the EFSF was established outside the EU legislative framework as an intergovernmental treaty. And I'm not going into the details, but it's a long story of breaking the idea that we can all decide on the majoritarian principle, both in the majority. And what has taken over is hierarchy between creditors and debtors that Mario Monti dubbed as creditocracy. Unfortunately, this fits with the intergovernmental structure of decisions. And this, again, is often a way to deny the interdependence of consequence. I'm not going further. I had a few things to say, but this is basically what I wanted to discuss with you.


The purpose of this program is to take two time intervals, for example, from 5.10 in the morning until 7.45, where the times are expressed in military time notation, and our second interval is from 8.20 until 10.15 in the morning. We want to find out how long it gave restart. The purpose of this program is to take two time intervals expressed in military time, for example, from 5.10 in the morning until 7.45, and from 8.20 until 10.15. Find out how long each interval is, and compare them to see which one is longer. Our first step is going to be to split the numbers into hours and minutes. Let's take the number 510. If we divide it by 100, we get a quotient of 5 and a remainder of 10. There's our hours and there's our minutes. That seems to work with all of the numbers. Let's take 10.15 in the morning, which we read in as the integer 10.15, divide by 100, and we get 10 hours and 15 minutes. So we can add this to our list of things to do. Divide and remainder by 100. The next step is going to be figure out the interval length. The question is how do we do that by hand? Well, let's take our hours and minutes, and our first interval began at 5.10 in the morning and ended at 7.45. Subtract them, and that's 2 hours and 35 minutes. At 60 minutes per hour, that's 120 plus 35. Our first interval is 155 minutes long. For the second interval that began at 8.20 and ended at 10.15, we have a problem. Because the way we did this in school, we were taught we can't take 20 from 15, so we have to borrow an hour and add the 60 minutes here, and now we can subtract and get 1 hour and 55 minutes. That's 60 plus 55 or 115 minutes. The problem with doing this borrowing is that that could be pretty tough to say in Java. Let's look for a different way to figure out the interval. Here's the trick. We're going to take each of the times and convert it into a number of minutes past midnight. 5.10 in the morning is 5 hours, which is 300 minutes, plus 10, which is 310 minutes past midnight. Our ending time of 7.45 is 7 times 60, which is 4.20 plus 45, which is equal to 465. Subtract those numbers, and there's our 155 minutes. Let's try the same technique on the other time interval. It ends at 10.15 and begins at 8.20. That's 10 times 60 is 600 plus 15, which gives us 615 minutes past midnight. 8.20 is 8 times 60 plus 20, which comes out to 500 minutes past midnight, and that comes out to 115 minutes. That's exactly the same as the numbers we got when we did it the way we would have done it in school, except this time there's no borrowing that has to be done. We'll add to our list of steps, multiply hours times 60, and add minutes, and then subtract start from end. Our third step will be to compare the resulting length, and then we have to find whether they overlap or not. And the way you can tell if they overlap or not is if the start time of the later interval is before the end time of the earlier interval. In our case, the start time of the second interval, 8.20, is well after the end of the first interval, and that means that these intervals don't overlap. There are some important things to notice here. First of all, I haven't been anywhere near a computer while I've been doing this. If I were at the computer, the monitor would be whispering, look at me, and the keyboard would be whispering, type something. By working here at the table with no computer anywhere near me, I can focus on the task and not be distracted by the computer itself. It'll avoid the temptation of jumping in and starting to write code before everything is planned out. The second thing to note is that I took an actual set of intervals and did the math by hand. It's really hard to explain to a computer how to solve a problem if you don't know how you're solving it yourself. Additionally, as I solved the problem, I wrote down what the steps were. I can now use this to refer to when I write the actual Java code. This is the power of planning. Always plan your programs before you start them. Solve the problem by hand. As you're solving it, ask yourself, what steps am I doing? Why am I doing it this way? Is this something that I can translate into Java? Is there a better or easier way to translate it into Java? The minutes that you take planning can save you hours when it comes to writing the program in Java.