Hello and welcome to the session. In this session, we shall learn how to identify the constant of proportionality that is unit rate in table, equation and variable descriptions. Let us consider the following table. Now let us see the ratio that is y is to x for each column. Now in the first column we have y by x is equal to 2 by 3 as y is equal to 2 and x is equal to 3. In the second column we have y by x is equal to 4 by 6 that is 2 by 3 and in the third column y by x is equal to 6 by 9 as the value of y is equal to 6 and x is equal to 9 and we get 2 by 3 again. It means the ratio y by x is same in each column. So we say that all the ratios are proportional equal to 2 by 3. This 2 by 9 3 is a constant term so it is called constant of proportionality. The constant of proportionality we mean that the ratio between 2 quantities is always same for example if y and x are 2 quantities if y by x is equal to k where k is constant then k is called the constant of proportionality and this relationship can also be written as y is equal to k into x and if such relationship exists then we say that the 2 quantities are directly proportional. We should also note that constant of proportionality often represents the rate. Let us take an example. The following table shows how the number of who has ever taken in high school depends upon the number of weeks she has attended school and we have to find how many tests that Shania took in a week and we know that the constant of variation which often represents a weight will tell us the answer. To find the constant of proportionality we divide total number of tests by number of weeks and we get and we get the constant that is y upon x as we denote the total number of tests by y and number of weeks by x so in column 1 we get y upon x that is 4 upon 2 and in column 2 we get 12 upon 6 and in both the cases we can see that we get the constant of proportionality as 2. So the constant of proportionality thus we can say Shania takes 2 tests per week. Now we can learn how to identify the constant of proportionality using equation. We know that the equation when two quantities are proportional is given by y is equal to k into x where k is constant of proportionality. Let us take an example. Write equation of proportionality for given statement and the statement is David adds $3 to the savings account every week. Now let us find the table for the given statement. In first week David has $3 in his savings account. In second week he adds $3 more so total of $6 and so on and we get for the first week David has $3 in his account. In the second week he has $6. In the third week he has $9. In the fourth week he has $12 and so on. Now let us see the ratio that is dollar per week and we get 3 upon 1 which is equal to 6 upon 2 which is equal to 9 upon 3 which is equal to 12 upon 4 and we see that each ratio is equal to 3. Now we see if dollar is d week is w and the value of k is equal to 3 then we get the equation d upon w is equal to 3 which implies that d is equal to 3 into w where 3 is the constant of proportionality. We can also use diagrams for finding unit rate. For example it takes 20 minutes to make 5 sandwiches. How many sandwiches can be made in 40 minutes find its unit rate. With the help of this diagram we can find how many sandwiches can be made in 1 minute. We know that the total time taken is 20 minutes. The bar is divided into 5 equal parts which shows that 5 sandwiches are made in 20 minutes so to make 1 sandwich will be equal to 20 by 5 that is 4 minutes. So now our diagram shows time taken for making 1 sandwich that is 4 minutes. Now we need to find that how many sandwiches can be made in 30 minutes. From this diagram we can see that 5 blocks are made in bar which we get by total time taken divided by time to make 1 sandwich. So in 30 minutes we can make 40 divided by 4 that is 10 sandwiches. Now we shall learn how to identify the constant of proportionality by verbal description. Let us take an example. Describe the proportional relationship between the two quantities verbally and the statement is test writes her bike 12 miles per hour where we are relating the number of hours test writes her bike to the distance she has travelled. We are given in 1 hour she travels 12 miles that is in second hour she would again travel 12 miles it means in 2 hours she travels 24 miles that is 12 miles plus 12 miles which gives us 24 miles. Similarly in 3 hours she travels 36 miles in 4 hours she travels 38 miles and we see that each ratio that is 12 upon 1 is equal to 24 upon 2 is equal to 36 upon 3 is equal to 48 upon 4 which is same and is equal to 12. So there is a proportional relationship between the two quantities so we have the equation m is equal to 12 into h where m is miles is the number of hours and thus we can say the unit rate is 12. This completes our lesson. Hope you enjoyed this lesson.


The army has rescued five of the dozens of students abducted from a girls school in Benin Kirby on Thursday. One teacher has also been rescued but a student was found dead in the forest. Those who were rescued were freed after an exchange of fire in the early hours of Friday. The teacher says more than 80 students were taken despite warnings of a potential attack. In the last few hours we've come across the kidnappers. They came to a blocking point and we've engaged them early hours of this morning. At that point we have, they have abandoned five of the students and one of the teachers. Unfortunately I think we've lost one of the, one of the students. I want to raise a song to praise my God for keeping us alive and also for giving me the courage to withstand whatever is going on because my husband is one of the kidnappers that they went with. Joining us live to discuss this is Adea Misaka, a security analyst. Good evening, Mr. Saka. Yeah, good evening. Thank you for joining us. The news, yes, the news we have is that out of about 80 students abducted, three teachers, five have been rescued, one found dead. How do you react to this news? Well, for me, excuse me. I think it's the charity news that yes, we were able to rescue some of the adopted students, but let's get something clear. You probably know my opinion. I've shared it on your platform a couple of times. We've been jigged this system, we've changed services like twice, we've had two sets of services. We're still combatting terrorism and it's not abated, it's rather increasing. And now, what is the question? Where does this, where is the failure of security? If you look at this charity incident, for two weeks there's been a trail of it. There was an attack. There was an abduction of policemen and what are these. And there's an NSA system in Abuja. There has not come up with anything. I think after the abduction series they go, the attack, or probably at the same time they go. I believe the security on that level at Treby State should be at the highest point. Treby borders Zanfar and Sokoto and Niger. We know how much Niger and Zanfar has been dealing with that abduction and kidnapping and banditry. Any right-thinking, security, SBAS, analysis, intelligence officer, NSA, we probably would have been called, we probably now would be coming up with these points or series of intelligence analysis to create an attack. And these would have solved, but these would probably reduce the way that our military actions is reactionary, are precautionary. And again, if we are smart enough, and we have intelligence analysis to work in, bank through, in, or to work with, that would end up reducing the combative and the non-combative collateral damage. Like one of the other guys, that would reduce the combative collateral damage incurred in the path of our personnel. So we have to keep passing ourselves. Why are we, what are we just, why are we beating around the bush, and not getting to any destination? As we speak, Zanfar, Kebi, Niger, and by extension, Karuna, should be in a mutualized zone. And in a mutualized zone, how do you want to tell me that kidnappers move the large numbers of students without, without encounter, yeah, they're starting to get out of the checkpoint. In mutualized zone, you should probably have what's going on over there. This is going in place. And there's a huge project to the office of the MSP, and demand a system down there, doing nothing, not giving the military guys on the field partable intelligence to work with. It's not because they're just coming down, we are losing land. We are losing Nigerians. And Mr. President is speaking, please, please, just a couple of times. So, Mr. Sakha, in this particular case in Kebi's state, we spoke to the police PRO in the state, and he mentioned that they had gotten prior information, intelligence, that, you know, bandits might strike, and their men had been stationed at some schools in the state, including that particular school. But the unfortunate thing was that they were overpowered by the bandits. So, I don't know, whose fault did you say that is, saying that they had already put effort in place to forestall the attack, but it failed? Well, you say that's a correct thing. We should not stop, we should stop this water down definition of these guys. These guys are not bandits. These guys are terrorists. These guys are active cells of Bukwara. I don't know why, I don't know why Nigerians and journalists and everybody's in prison, they were bandits. These guys are terrorists. And these, these, these are cells of Bukwara, or prison, they were certainly a center among the area of concentration away from the northeast. And they're not in north way. So, for me, it is not unless you, yes, they could put, you cannot cover, but it's not unless you say they cannot cover the whole of Kedin. They would have, you would have forethought these things if there was extra violence in place. And you cannot tell me, you can tell that they're coming to attack you. And not if these, in this, there's something called a roving patrol and a stationary patrol. All they had probably in Kedin, there was a stationary patrol in place. There was a roving patrol. And to make this patrol thing easy, you need an air providence. What are all the beds they have are there in, that's why some of us are clamoring to improve air wing of the harmony and water. What many beds they have in, in, in the sky, that night or that day, you cannot tell me one of four stories telling me to attack and there's no air providence in place. For recon. All right, miss. I, I, I was never in the DSS training screen about you. I was never, I, I, I never got, I've never been to NDE. If I can know this as a Nigerian, as, as water, as, as a Nigerian river, what is there to be doing? So, Mr. Saka, you're saying that you'd rather, you know, advocate for militarization of these zones rather than pain, you know, ransom for the release of these children? If, if this zone is militarized, that means you probably have, that means each presence of military. It doesn't necessarily mean the suspension of democratic laws and what that means. It gives you each presence of military, roadblocks, command posts and what that means. And each presence of operations, surveillance and counterinsurgency, with that, it should be easy for these Cuban historians to strike. Why is Kedi, why is Danfara, why is Niger not yet the militarized zone? And Kastina, this thing is not rocket science.  Some are even being killed. Ransoms are being paid for criminals that should be in body bags. All right. We should stop making a joke of our nationhood. Lastly, Mr. Saka, how do you think this would impact on education in Nigeria, seeing that the high number of out-of-school children is as bad as it is in the north? Well, it's not just even about education. Unless you want to deliver as well. I don't, I'm not trying to do a process of them. Yes, it's going to have negative effects on education. It's going to have a huge impact on food security. If you are not careful, the future of this country around August and September will be enormous. It's so high. People can't even go to the farm. Zansara, the freedom of Zansara families are upright. People can't go to farming Zansara. How many people can? The whole of second power to just a little of nicer things. It is not for yams. How many people can have gone to the courts to cultivate yams? Benway, Benway is a noble area. One wants to analyze it. So it's not just on education. It's even on every, it's a state, every state of our life. And the government will wake up. You've, you've regained the system for what it is. Which hasn't happened. They keep changing. They're changing everything. Thank you. Let's start from there. All right, Mr. Saka. Thank you very much for your time. Thanks for coming in and joining us on the news this night. You're welcome.


So, it's my honor now to introduce our keynote speaker for this morning, Tamika Butler. Tamika serves as the executive director of the Los Angeles Neighborhood Land Trust, a nonprofit organization that addresses social and racial equity and wellness by building parks and gardens in park poor communities across the greater Los Angeles area. She has to leave quickly today because she's opening a park in Los Angeles tomorrow morning at 10 a.m. Before her role at that organization, Tamika was the executive director of the Los Angeles County Bicycle Coalition. She has previously served as the co-chair of the National Center for Lesbian Rights Board of Directors. She serves as the institute co-director for the New Leaders Council Los Angeles and is a board member of both the Lambda Literacy Foundation and Trust South LA and is an advisory board member for the Legal Aid Society Employment Law Center's Fair Play for Girls in Sports Program. Please join me in welcoming Tamika Butler. Thank you everybody. Thanks for your patience. So good morning everybody. My name is Tamika as was previously mentioned and I'm super excited to be here in Denver. Part of the reason I'm excited to be here in Denver is because I'm from the Midwest. I'm originally from Nebraska. My parents were born. My dad was born and raised in the projects in Nebraska with his 14 brothers and sisters. My mom was born in South Carolina and moved to Omaha because her dad was in the military. And so I know Denver well. There's a very rich pipeline of folks from Omaha to Denver. Denver's a big city for us. I have some family here that I didn't tell I was coming since I'm leaving in a few hours. So I always put my Twitter handle and my organization's Twitter handle up here, tweet freely and I'll just deal with my family later. But I grew up actually predominantly in Okinawa, Japan. Like I said my dad was in the Air Force and so I was in Okinawa, Japan from second grade until right before I started high school and we moved back to Nebraska for high school. It was really exciting for my parents and it was devastating for me and my sister. They promised us Hawaii or California or Florida and then they came home and they're like, and we're going to Nebraska. And so we ended up in Nebraska and Nebraska was this really eye-opening experience for me because when you grow up on a military base overseas everyone's just American. And when I moved back to the states it was immediately clear that everyone didn't just see me as American. They saw me as black, they saw me as gay, they saw me as a woman, but it was no longer I'm just an American and the divisions and the lines were so present and though I knew I was black, I have black parents and my mom gave birth to me, it was still really hard as a freshman in high school to be experiencing this different world. And so I went through high school in Nebraska, I went through college in Nebraska, I really wanted to go to Columbia when I got into Columbia and my parents didn't have any money and so I stayed in Omaha, I went to Creighton and had a full ride scholarship but as soon as I graduated I knew I had to get out of the Midwest. So I mean look at me, I'm black, I'm gay, I mean I can't be in the Midwest. And then I went out to California, I went to Stanford for law school and immediately all my friends were like oh my god you're so Midwestern, stop talking to people. And so I realized that I'm actually very Midwestern. I practiced law for a few years, I was an employment discrimination attorney, hated it. I loved my clients, I loved the work I was doing, it was so important but oh my gosh being a lawyer was the worst. I married a lawyer, my wife is lovely and our relationship is much better now that just one of us is a lawyer. And so I kind of you know I went straight from Creighton to law school and when you're young and when you really have no marketable skills because all you did was go to school, the perfect place to end up is in the non-profit world and not because you don't need skills to be in the non-profit world but because the non-profit world has the creativity to see your ability to do more than just what your resume says. And so I worked at a number of different organizations that folks talk about but I'm currently at the Los Angeles neighborhood land trust. And so what is the Los Angeles neighborhood land trust? So we're an organization that builds parks and gardens and low-income communities of color. That's the easiest, most straightforward way to say it. We do policy advocacy too, we have a greenhouse out of high school where we do youth development and college readiness, we do a professional development and civic engagement program for adults who are the members at our parks and gardens but at our core we're an organization that builds parks and gardens and low-income communities of color and for us it's about park equity, food justice, environmental justice and racial justice. And it's really about centering the communities and all that we do and organizing those community members to lead our work and really to be the folks who are building and managing our parks. We don't build a park unless the community says they want to park. We don't design anything in the park unless the community says it's what they want and it's not that we're showing up and saying here's one picture, here's another, put a little sticker next to the one you like. We show up with a blank page and we let them conceptualize what they want to see in their community and through the whole process we're developing local leadership. Now, why you might be asking do we even have to exist? Why is there a Los Angeles neighborhood land trust? And I asked the same question when I was exploring the job because I knew my mom was going to ask me that question. Is she again lamented on how I just wasn't a lawyer anymore? And so I asked around and I was like, why is there a Los Angeles neighborhood land trust? And years ago in the city of Los Angeles there was a rule. It wasn't an official rule, it wasn't written down anywhere, but there was a rule. And the rule said that our department of recreation and parks, it's really hard for me not to say parks and rec like the TV show, but they get very upset. But it was very hard for them to ever keep a full budget. Whenever the city made budget cuts, it was always their department that got the cuts. So in order to get the most bang for their buck, they said we will only build parks if we have at least five acres of land. That's it. So if it's five acres, if it's less than five acres, we won't build a park there. And so in the abstract, that seems like a great idea. Get the most bang for your buck. And practice what it meant in a place like Los Angeles is that in the higher denser communities, which surprise, surprise, were often low-income communities, communities of color, they weren't building any parks. They weren't building any green space. And so now if you go to California and you're in Los Angeles, or if you do it the cheaper way and you just look at a Google map, if you look at the view of where there's green space in Los Angeles, it's golf courses, country clubs that are private. And they're mostly on the west side. So think Santa Monica, think Beverly Hills. And they're in areas where there was more space. And they have beautiful community gardens and beautiful parks. But in low-income communities of color, that doesn't exist. So our current mayor, Mayor Garcetti, who has brought the Olympics back to LA, despite what you know, there's people on different sides of that in LA, but he's brought the Olympics back to LA. And he is a person who, through his pursuit of the Olympics and in his early career, really believed in the need for folks to have green space, to be able to get outside and get active. And so he and his wife, when he was a young council member, got together with a group of their friends and they created the Los Angeles Neighborhood Land Trust. And we were never intended to be another Parks and Rec, but we were intended to help fill this gap and provide park equity because this policy was creating a situation where certain people were being excluded. And when we think of people being excluded from parks, we think about things like this, right? We think about not too long ago, when I was in college, the summer between when I was going from college to law school, I was working at a law firm. One of my white colleagues said to me, I didn't know you could swim. How do you know how to swim? And I'm like, well, I grew up on Okinawa. I know you don't know where that is, because you've never left Nebraska. But it's an island in the middle of the Pacific Ocean and so I learned how to swim. And she's like, that's crazy. When I was growing up, black people didn't know how to swim. I said, well, they did. But your parents didn't want you to have to be in the water with my parents. And so you just didn't see them swimming, right? And so we think of intentional policies like this, when we think of the ways in which policies keep people out. But you can have an unofficial policy, just like in LA. Not too many years ago, our organization is only 15 years old that also result in the exact same thing. So even though this is a picture from the 60s, and these are kids that look just like my mom did when she was growing up in segregated South Carolina in one of the most beautiful beach communities, but she couldn't use the best beach. You have children of color who are constantly on the outside looking in, wondering when they're going to get the same things as everyone else. And you could say, well, this is just an LA problem. We don't have anything like that here. This is a great state. Everyone likes to be outdoors. We have so many parks. But this is a United States problem. Has anybody ever heard of this book? Raise your hand if you've heard of this book. One person? So this book is written by Madison Grant. Does anybody know who Madison Grant is? Who's Madison Grant?  So Madison is the author of this book, The Passing of the Great Race. This book is a book that Hitler was known to say was like his Bible. So this is a book that talks about how people of color and immigrants are ruining the master race. And Madison Grant also happened to be a man who was in the inner circle of all the important people during his time. He was in the same circle as presidents, as elected officials, and he is one of the folks credit it with starting our national park system. He is one of the four founders of the national park system. And so is it a Alabama keep colored people out problem? Is it an LA we only build when we have five acres of land problem? Or is this a problem inherent in open space conservation and everything that we have embedded in our American culture? Were national parks created to preserve our land and welcome people in? I don't know if I believe that because it's not really our land. The national park system was created to take land from the people whose country this really is and keep them out of it so the white folks with privilege and power and money who Hitler loved could enjoy it without them ruining it. And this just isn't a park's problem. This is a problem for our country. This book, The Color of Law, it's a fairly new book. If you haven't read it, you should read it. And the subtitle, Forgotten History of How Our Government Segregated America. Now the guy who wrote this is a white guy. Super nice white guy, lives in Berkeley, so he's clearly like a dope liberal white guy, right? He's even Jewish, like he's great. I was on a webinar with Richard, and I said Richard. I didn't call him Dick. I said Richard.  And this book talks about the way in which governments pass policies to ensure that black people couldn't own land, couldn't buy housing. And he talks in detail and it's brilliant. It's a brilliant book. He talks in detail about the way in which I will never, as a black American, be a black American in particular who doesn't play sports or do music, I will never be able to accumulate as much wealth as my white peers. Because I don't have the same history of folks in my family having the ability to build wealth. There were policies written to keep us from building wealth. And when it wasn't housing, when housing wouldn't work, when the courts tried to step in timidly and say you can't do this with housing, then they used policies that said, okay, well we're gonna make this a park. We're gonna make it a segregated park, but we're gonna make it a park. And we know this. We've all heard of redlining. We've all heard about the ways that the government worked to keep people apart. And it's not just parks, and it's not just housing. It's the laws we have about what communities are zoned to allow for oil drilling and for toxic plants, right? This is a picture of the Exide plant in California that is in a brown community that has been having spills and hazards all the time. And nothing is really fixing it, except for the people organizing themselves. But then you think of a place like Porter Ranch, which is white in LA, and they had a leak. And they still, the news is talking now about how we're not gonna have enough gas to heat through the winter because they haven't been able to return to their normal levels of storage of gas at Porter Ranch because those white people ain't letting that happen, right? And so what are the rules that allow my community that I live in in LA to have the highest number of active oil drills in the country because it's a black community? What are the rules and policies that our governments put in place when they designed our interstate system? What are the pieces of the interstate that destroyed communities, that ripped through communities? And now when you're on the interstate, where are the communities that just get passed over with no exit because you don't wanna go there? How did we come up with this saying, the other side of the tracks? Because the people in power put in the tracks to keep some of us on the other side. There's a reason why, again, my community in South LA where we build a majority of our gardens, when I look around and I say, I wanna eat something healthy because I'm me, like when I eat, like I'm a chubby girl, I come from a chubby family, I gotta eat healthy.  And she's like, our neighborhood is great. There's a Taco Bell in every direction. I'm so glad you made me move here. But we know that it's because there are certain rules in place that allow this to happen. And it's about racism, it's about colonialism, it's about all of these things. And so when we're thinking about healthy living and active living and eating healthy, we have to be clear that we have to think about it in an intersectional way. We have to think about our work in an intersectional way because the reason that there are folks who are living at a disadvantage is because of the multi-layered ways in which white supremacy is constantly working to keep them down.  I thought we were talking about parks. And Kanye, I mean, Kanye is such an appropriate picture here because that's the look we all have every time he speaks.  But yes, we're talking about white supremacy, we're talking about colonialism, and we're talking about these things because in our work at the Neighborhood Land Trust, we realize that the intersection of these things are literally resulting in neighborhoods that are killing people. The resulting and things where your neighborhood is the reason that you can likely attribute your death, your cancer, your inability to get pregnant. And we know it's like that for so many communities. Now not all communities, right? When the Fresh Prince left West Philadelphia and went to Bel Air, things changed. There is a 12 year life expectancy gap from Bel Air and Watts. And even if you're not from LA, many folks have heard of the Watts riots. You know what Watts is. My best friend in LA is a teacher at a high school in Watts that is literally located in the projects where she regularly has to go under desk because of gang violence and shootings that are happening outside of her classroom. And that is about parks. That is about our policies. That is about the way that low income folks and folks of color have less access to the things they need. And as a result, they're more reliant on public facilities, but the public facilities aren't there. Because if you remember, there's those rules that have prevented them from being there. But at our organization, we really push back. And we try to say we're gonna look at it differently and we're gonna do our work differently and we're not gonna listen to what folks think about this community. We're gonna go to community members and we're gonna build the communities together. Ooni Dad Park is a park where we have a garden, it's a playground, there's barbecues. Literally, if you go to Ooni Dad Park on any day, by 7 a.m., there are people in that park. On a weekend, there are families staking out the grills so that they could barbecue. That mural in the middle on the bottom has depictions of folks throughout history who are Filipino and have made amazing historical impacts. This park is located in a Filipino community. It's a community that's quickly changing, but it's called Historic Filipino Town. And whenever folks come on tours from the Philippines, literally tour buses pull up to our park to take pictures of the mural. And that's a mural that we didn't design as a nonprofit that builds parks, but that the community designed. Because they wanted a place that folks could come and see themselves and be themselves. And the only reason we knew that was important is because we were able to have deep conversations about gentrification and racism and what it meant to be Filipino. We were able to do that because we pushed ourselves to do it when some people would be saying, shouldn't we just be building a park? We've done this in Fremont. This is a high school in South Central where we have a state-of-the-art greenhouse. No other public school in LA has this state-of-the-art greenhouse. We have a program with students where we teach them how to farm, we teach them how to garden, we teach black students and brown students who would never talk to each other, how to become best friends. One of my favorite stories is that one of our students from last year wrote us a letter thanking us for teaching her how to grow her own food, how to grow food from the country her parents came from, how to cook, how to make things with the food she grew, how to understand what food justice means. And as a result, she was not only going to college, but her part-time job was gonna be at Chipotle, not McDonald's because Chipotle was more responsible than how they got their food. So you know, it's not perfect, but we're getting there. And we really don't do anything unless the community asks us. This is one of our future parks. This is in Compton. A lot of folks have heard about Compton. This was a Shell Superfund site. Shell came in and in this really open field, there were homes and they knocked them all down. And the community got together. One community member in particular who said I was pregnant with my daughter when this happened and today she's about to leave for college and we still don't have a park. Shell told us they were gonna give us a park. The county couldn't build a park here because they couldn't take on the liability of their environmental issues. And so they brought us in and we led the community and the community didn't just wanna talk about the park. They wanted to talk about racism. They wanted to talk about the fact that they can't breathe. They wanted to talk about all of these different things. They were intimately involved in exactly how many trees there are. Exactly how many parking spaces there are because they want more people to bike and walk. It's about looking at all of the work together and realizing there's a real sense of urgency in the work we're doing. Sometimes people get intellectual when they think about being active or eating healthier in the environment. They think about science. They think about health. They think about medical things. But at its core, it's about people. When I took this job, my mom said to me, when did you become an environmentalist? I said, mom, I'm not an environmentalist. Do not say that out loud. But also when you taught me because even though folks constantly are saying that folks of color don't care, I'm pretty sure my mom and people in our community are recycling and at the recycling center more than anybody. I'm pretty sure my mom makes me rinse out everything and reuse it. We got a lot of plastic forks from fast food restaurants in my house. I'm pretty sure she told me that I can't have every light in the house on, that we're not air conditioned in the whole community.  Right? Like I'm pretty sure that low income folks of color understand the environment and they understand the urgency and they understand that it's better for their health. It's better for the environment and it's better for their people, for their community. So sometimes we like to talk about things in the abstract but we have to talk about it as it relates to people. And we have to realize that there's also some urgency because communities are changing. I was talking earlier and I said, I keep telling my wife, my wife is, our family's from Canada and they moved to Phoenix because they hated how cold it was. And she grew up in Phoenix and then in California. And she does not wanna leave the West Coast. She's just like, the weather's perfect, it's amazing.  Sure, California has spoiled me but I keep telling her Denver is our dream city. I'll send her job opportunities. I'm like, that firm you worked at in LA has a Denver office. You make the same amount of money but you live in Denver. Like I'm trying with every bone in my body to get my wife to wanna live in Denver. And when I was talking to somebody about this earlier we were like, yeah, everybody has that same idea.  Like, why are you making everything so expensive here, right? So I think we all understand the urgency, right? Folks of color, folks who have been in communities for a long time are seeing the craft beer signs go up. They're seeing the record store that all of a sudden is cool again. They're seeing the way their communities change. And then what happens to the folks who have been living there? Particularly if they're folks of color. No one cared about our communities, right? When I used to be at the bike coalition and people would be like, yo, you know black people don't like bikes.  And I'm like, it's not about the bike lane because black and brown people have been riding bikes. Black and brown people invented bike share. Ayo homie, let me hold your bike for a minute. I'll bring it right back.  So it's not about that it's a sign of gentrification.  The buses never come on time. We still don't have that grocery store you promised us. The resources aren't here. So who are you putting that bike lane in for? Because you didn't care about our community before different people started to move here, right? The community I'm in right now has that same sense of anger.  And I made sure she was okay.  At least he said hi. But we're all aware of what's happening and there is some urgency because it feels like we're losing our communities and when we lose our communities, it's so much more because all of a sudden the train that I ride every single day now has more white people on it.   And it's even more real because stuff is really, really urgent now. And sure, like our good friends, our good allies, they're uniting, they're having the biggest marches in history. They're showing up at airport saying, you know, hey, there might have been a retweet of fake news about Muslims but because it was about Muslims, it's okay. But I love my Muslim neighbor. I literally, this is, I Googled airport protest. This was the first picture that came up and I know that white lady in the picture. I have really good white friends. She used to be my boss. But for a lot of us folks of color, we're like a word, now you guys wanna show up because for us, we're still wondering what you're actually gonna do to help with some of those things we were talking about in the community.  Are you gonna be honest about the fact that the reason white supremacy persists is because white people who benefit from it, even though they might say it's bad, they're not willing to really do all it takes to get rid of it. And again, you're like, wait, aren't we talking about parks? Yes, this is a park. This is not only a park. This is called Emancipation Park and Charlottesville. This is where people rallied. So for some of you, you're like, wait, why are we talking about white supremacy when we're supposed to be talking about parks? This is supposed to be the park lady. But because for some of us, when we think of parks, this is what we think about. We think about how parks are spaces where people come together and convene and sometimes it's really great with the mural of your community and your culture that people come from around the world to see and sometimes it's about hate. And so that's why we have to talk about racism and white supremacy when we're talking about living healthy and being active. Because when you look at this picture, when you force yourself to look at it and not look away, how can someone be healthy and be active when a day at the park turns into this? And maybe you don't think about this stuff when you think about parks. I think about it all the time because I don't have the privilege not to think about it. And you have to ask yourself, if you're in this room because you care about this work, but you're not talking about these deeper issues and you don't feel like you have to talk about these different issues, then what kind of privilege do you have that you allow yourself to ignore it? And maybe right now, this is rubbing you a little wrong and you're thinking, but that's not me. I'm not a tiki torch racist. That's just not who I am. In fact, I don't even see race. You know, I'm out here fighting for racial equality, but we're beyond that. We're beyond wanting equality. You have to be fighting for equity. And the thing that's fucked up about all of these equity equality pictures, whether it's people looking over fence at a baseball game, whether or not it's people having different sized ladders and picking apples from a tree, why should any of us have to be on the stool for those resources? Why can't we just have the books and the knowledge and the parks and the apples at our disposal? Why are there even the barriers there? And if you can't think about a quality being different from equity, if you don't see race, if you don't understand why I'm talking about white supremacy, I mean, it's probably because you might have a little bit of white fragility. And you might be in this place where you're getting a little stressed out.  Or where they're like, oh, that's not me. I don't know what to do. And it's hard. It's hard to sit in that discomfort. It's hard to be honest about your privilege and your fragility.  Me doing anything to make you feel better is a gift. And I don't owe you anything.  So if we're honest, when you live in a world where you could be being honored as a native person and somebody could make a joke about Pocahontas, or where you can be a black kid, a kid just playing in a park and you can get shot because you look dangerous, or when you can be undocumented and just going to the park to play or the school to get educated and you can be deported because somebody has deemed that you are illegal because we think people can be illegal.  I don't need it to the right charities. ACLU man, I'm there. And you have to make them feel better about what they're doing. And when they say sorry, you have to accept their apology and you have to make it seem like they did you a favor. When in actuality, you're doing them the favor. So folks have to realize if we're really gonna do transformative work, then sure, be like everyone's favorite Canadian or least favorite Canadian, let's be honest. Except for Selena Gomez, she took them back again, but say sorry and let's move forward. Let's do the work and let's be honest about who you're gonna be. In this work, are you just gonna be an actor?  Are we gonna just show up and be actors who really aren't changing the narrative at all? We're just showing up and playing the role. We're just saying we're the good person. We're doing good work.  Are you actually going to engage in the verb of being an ally, of doing something? And if you get to this point where you are an ally, realizing that you might be in a room where somebody says something inappropriate, and do you go to Facebook and change your icon to a rainbow flag, or change your icon to I stand with, insert tragedy here, or do you say something in that moment? Do you take action? And if you get to that point, are you honest enough with yourself about your privilege and about what you gain from right supremacy to say that being an ally isn't enough? Because I gotta tell you, as folks of color in the current world we're in, I love a good ally, but I got enough allies. I'm ready for some accomplices. I'm ready for some folks who are not just gonna say something or do something in the moment, but then go back to their life and say, well, I did that good thing today, Bob. What did you do today? Well, Jane, I said something too. That's awesome. Great. Are you engaged in it every single day? Are you my co-conspirator? Are you willing to risk something? Are you willing to put it all on the line? Because I tell you what, every time a woman, a person with a disability, someone who's queer, and particularly a person of color, every time we speak up and every time we do something, we're at risk.  Because I'm black and I'm young and people see me as a young black man. And because I talk a lot and I'm not good at not saying what I think. I have to remind her I'm not good at that because she and my grandmother raised me to always speak up when things are wrong and to just do more than speak up, but to do something. So what are you doing? I have lost jobs because I've been willing to do something. I have got accused of crimes because I have been willing to do something. I have had people fear me because as long as I'm black, my skin is a weapon and they're mine. What are you willing to risk to do this work? And are you willing to be honest about the fact that you can't just do something and then be like hashtag woke?  We don't ever get to sleep. We can't ever step down. We can't ever give up. We can't even have a break. We gotta do our real job. We gotta do the job of making white folks feel better. We gotta do the job of code switching and being polite. We gotta tell a joke every so often in our presentation about white supremacy so that we still don't scare people too much. We have to stay awake all the time.  And even if you are new to this so you have to take a few naps, how do you make sure that you keep fighting in the way that the folks for whom so much is being taken from, the folks for whom it's expected that they do the work for you such that they don't ever get to nap?  Hashtag woke AF. Thank you.


Dear students, or potential students, my name is Brown Paper, I'm a lecturer at Tilburg University and I'm going to talk today about music as a social problem. You're probably well aware of the fact that everybody can have conflicts about or overpopular music. That people disagree about the habits or the taste or the values or the behavior and when you talk about music it's also usually a discussion between adults for the youth. When you're young you used to have another taste of music than when you're older. The main question for this mini lecture is the question, is music a social problem? And how can we understand moral panic around music? Because when you talk about a social problem you also can talk about the panic which arises in society around a phenomena which people don't like, a social problem. So if we go first a small dive into the theory you could say when we talk about moral panics about different stages in moral panic. First of all, something or someone has to be defined as a threat to values, something we don't like or interest, also something we don't like but for another reason. The threat must be depicted in an easily recognizable form by the media. That has to be something which can be easily written or discussed about in the media. And also there's a rapid buildup of public concern. Something is happening and within a couple of weeks everybody is talking about that issue or that phenomena that is problematic. Which leads to a situation that also the authorities and opinion makers have to respond on what's happening in society. And the result can be that the panic resides or that the panic starts to shift towards social changes. Well, let's look at a couple of different musical problems or problems people have with music. First of all, start with jazz in the roaring 1920s. There was a lot of resistance to jazz and there were also certain claims towards jazz. For instance, it leads to sexual excess, which means that music leads to sexual downfall of the youth. And the claims were made by parents, of course, educators, clergymen from the church, from religious perspective. And also jazz was something which was aesthetically incompetent because jazz was playing kind of free-floating using your instrument so there were no formal musical rules and those claims were made by musicians, classically trained musicians, musical critics and also educators. And third of all, racial inferiority, which means jazz was mainly performed and enjoyed by black Americans and increasingly also white Americans and the middle class white were a little bit afraid about this new form of music. And we look, for instance, at the critics on jazz music in that time. They say, for instance, jazz is at its worst an unforgivable orgy of noise, a riot or discourse, usually perpetrated by players who scant musical training. And jazz is at its worst often associated with files surrounding filthy words and unmentionable dances. Maybe you'll regularly recognize some of the critique your parents might have on the music you're listening to. If we look at the social context when jazz appeared on the scene in those roaring 1920s in the United States, there was a lot to say about what's happening in society, a lot of transformations. For instance, all kind of religious social norms about what to do in public seems to loosen up, more tolerance for drinking, smoking, sensuality, having a good time. There was the Protestant ethic of drift, of being very keen on what you just planned. And save was replaced by a kind of ethic of consumption and immediate gratification, no saving for rainy days with direct consumption and having a good time. Also, most of the time until the 19th century, 1920th century, a lot of leisure was centered in the home. And now it was replaced slowly by what we nowadays call mass culture. A lot of people going out, probably what you do also, going out, having a drink in the pub or going to a club to dance, which was a shift which happened in the 1920s. Therefore, also this small family-centered world where people were very much in control, especially parents were very much in control about who was going where, was displaced by a mass public society, also kind of a loss of control. And you see immediately a reaction by the authorities in 1922. For instance, in New York, there was a bill which had to regulate jazz music and dancing. And within a couple of years, these bills were carried out in more than 60 communities and cities in the USA. When we go 30 years later, 30, 40 years later, Saint George's and Rock and Roll in the 1950s, for instance, Elvis Presley, well-known was one of the famous Rock and Roll stars. And interestingly enough, he is seen as the one who more or less put Rock and Roll on the map, although he was just playing music which was made by a black American artist who were not played on the radio and he was a white artist who was played on the radio. Interesting, if you look at the last picture, you only see the upper half of Elvis Presley. Because at an important television show, the Ed Sullivan Show, he was only filmed from the head to around, to his shoulders. The reason why, because he was dancing very frantically with his legs and his pelvis, that's why he's called Elvis the Pelvis, and mostly female audience liked it very much, but it was seen as very sexual behavior, so it was not appropriate on national television. And when you look at what happens in Rock and Roll, you see the same kind of mechanisms happening which we already saw with jazz music. There are all kinds of objections towards rock music, from a racial and moral kind of perspective, especially from the radical right wing, the Kugelius Klan, or Christian Crusaders. From politics, we talk about the 1950s in the mid-20th century in the United States. Rock was also seen as an effort from the Soviet Union, a communist effort to undermine the social and political system of the United States, which is a pretty ground claim, if I may say so. But also, again, sexuality. The idea was that Rock and Roll leads to moral corruption of the innocent and vulnerable youth.  It also was associated already in the 1960s and 1950s, but especially more in the 1960s and 70s with drug use and also drug abuse. Maybe you know the song from The Beatles, the British rock group The Beatles from the 1960s, Lucy in the Sky with Diamonds, and it was actually standing for LSD, which is also known as a famous drug at that time. Then we enter the 1970s. And in the 1970s, there was a new type of music becoming increasingly popular, disco music. Most of you will probably know disco also because in contemporary dance music there's a lot of referrals to the old disco music from the 1970s. An interesting thing about disco music is that actually it's a kind of music which has as an side effect an emancipation of certain groups in society. In a way, it was realizing the dream of the 1960s, the dream of freedom and of maybe the idea that the hippies had in the 1960s, trying to get rid of the authority of your parents and of the government and then trying to live your life as free as possible. The more important, it was also dancing on the disco music was mostly done by homosexuals, Afro-Americans and Hispanics, minority groups in the United States. And this was a way of emancipating these kind of groups. And it was also a total change which was very important in the 1960s. In the 1960s you'll have all those protest songs, rock music, folk music, people like Bob Dylan and Joan Bays and so on. And it changed and those were politically loaded songs about, for instance, changing in society against the war in Vietnam. And disco was about dancing, was about escapism, hedonism, which means that the important lyrics in those protest songs were actually changed into bodily movements. Disco music is not well known because they have very political or social lyrics. Most disco music don't have much anymore lyrics than dance, dance, dance, or I love you or something like that. So there was a huge change. And interestingly enough, when you talk about emancipation, for instance, dancing with the same sex was forbidden in New York until 1971. And disco is also a club nowadays, it's a place where a lot of people men dance with men, women dance with women, or they dance together. But that was 50 years ago that was even forbidden. So in that way, disco was a form of emancipation and at the same time, a lot of people were afraid of disco, especially the older generations. The character of disco was described by Dyer as being erotic. The music was directed to the whole body, dancing with your whole body. It was about romance, especially the Philly soul of the 1970s. There were a lot of violence. There were songs on relationships, not on political issues, but on relationships and love. And it was about materialism, consumerism, etc. Think about the luxurious disco take like Studio 54, or maybe in the early 1980s, where Madonna had her greatest hits with, or her huge hits with material girl. So the interesting thing about disco is that on one hand it's a kind of underground sound, which for the specific ethnic minorities, but at the same time later in the 1970s it became a mass product and became mainstream. And disco was music for everybody. It was an enormous growth of the places where you can dance on disco music, growth of the now called disco takes or clubs. Movies which were promoting the music, for instance Saturday Night Fever, and as a result a lot of rock groups started to also change from rock music to a kind of disco influenced form of rock. Miss You By Drawing Stones, or I Was Made For Loving You by Kis, that were rock groups who combined their rock music with disco sounds. And also radio stations were switching to the disco format, which means most stations were originally playing adult oriented rock, rock music, and now they were switching to more and more disco music. So disco also became to be seen as a social problem by a certain part of society. For instance, the most extreme example might be the radio disjockey Steve Dell, who organized a disco demolition day in 1979 during the half time break of a baseball game. He asked all the people around the Kowinski Park in Chicago to come to the stadium to burn their disco records. And one of the reasons was he was a white male radio disjockey who used to play all kind of rock music, but his radio station changed the format to more and more disco and dance oriented songs and he got fired because he was not playing that kind of music. So there was a kind of critique and revolt against the idea that disco became mainstream. So we now enter the 1980s, again it's a mini lecture so we go rapidly through history. And in the 1980s there was a kind of conservative turn in the political climate. That's here in the United Kingdom, Ronald Reagan in the USA. It was less progressive like the 1960s and 1970s. It became a more conservative climate and there were all kind of social movements who were concerned with violence against women, anti-drugs, the first AIDS outbreak and the panic around AIDS. I mean we are now panicking about corona but AIDS can also be seen in that kind of light. It was a disease nobody understood at that moment. There were more and more questions there about pornography, missing children, child molestation, all kind of social problems, moral problems which were arising on the political agenda in the 1980s. And interestingly enough the question is who was getting the blame for these kind of problems. Well, music was one of the obvious candidates for taking the blame for all these social and moral problems in society. For instance, especially hip-hop in the United States of America. And there was the Genesis of the Parents Music Resource Center and one of the ladies here is also Tipper Gore which is the wife of El Gore, one of those former USA president candidates. And she started a movement against explicit lyrics in music, especially rap and hip-hop music. And probably you're well aware of the sticker Parental Advisory Explicit Lyrics. They tried to warn people, especially young people about all those filthy languages which were used in hip-hop and rap music. So the Parents Music Resource Center was focusing on this. The PMRC was focusing on these kind of problems in music. Basically they had several claims. They said that popular music contributes to a rise in teenage suicide, a rise in teenage pregnancy and also a rise in drug addiction, especially among young people. Interestingly in that account, you might know the movie Bowling for Columbine by Michael Moore who was trying to find out how it was possible that two students of a high school in the United States were killing their fellow high school friends. And one of the explanations was that those guys who were killing their friends and the other students were listening to the music of Marilyn Manson and that was one of those obvious, more conservative explanations of a social problem. A social problem was caused by listening to the wrong music. And at the end of the 1980s, early 1990s, you see the same kind of mechanisms arrive when house music started to enter the scene and also rave music in the UK. But mostly the panic around house music in the 1980s, early 1990s, was about the use of ecstasy or E. And especially when the first girl, in this case Leah Betts in 1995, was found dead on a rave party. It was immediately an enormous moral panic about the use of ecstasy pills by young people. Maybe nowadays you're accustomed to go to a pop concert or a festival and you take some weed or pills. But at that time there was an enormous amount of panic in the Netherlands, exactly the same. There was also a drug panic in the Dutch party scene. Although in the Netherlands there were also a lot of professionals who were checking the quality of the drugs which leads to a little bit different situation about the panic than compared to the United Kingdom. Also very interesting was the reaction of the government because one of the problems or the problems around drugs were connected with listening to house music and going to house music raves. They enforced the Criminal Justice and Public Order Act which explicitly stated that you give the authorities the right to remove persons attending or preparing for a rave. And the rave is also defined as gathering on a land in open air of hundred or more persons at which amplified music is played during the nights. And the interesting thing is that it's also mentioning in the law that the music is an emission of repetitive beats if you want to know how in the late 1990s music genres like drum and bass or break beats arrived that was also to do with trying to be not producing repetitive beats but slightly not repetitive so that you could escape this criminal justice and public order act. So when you look at house music and culture you will see that also house music like disco is breaking with the long-standing European musical tradition about clear strong structures and meaningful lyrics. That was also the difference between the 1960s folk music with political lyrics and social lyrics versus disco. We see the same in house music. Interesting thing is sexuality like in disco is not only seen from a male point of view. It's a kind of both sexes and it has an enormous mass appeal like disco music in the late 1970s. Increasingly amount of people are going to race and enjoying house music in the 1990s. So it's not only for small subculture which makes it even more scary for the older generations. And the interesting thing about house music which hadn't happened before was that it also was breaking down the barriers between different lifestyles and different social classes and different musical genres. If you think about terms like world music that only appeared on the scene in the late 1970s but had a breakthrough in the 1980s and 1990s and also the difference between generations who do like house music was way smaller than it used to be. Okay, well, I have to conclude because I'm already over 20 minutes so what are my concluding remarks if you look at music as a social problem. You could see that it's about that music is something which is attacking the existing order. Dancing and rhythm and songs without or no songs and no texts or whatever or missing meaningful lyrics. And the hedonistic idea that pleasure is the highest achievement is scary for the powers that be. And especially when you talk about sexuality there was the fear for bodily movement. So there's a beautiful quote from an author of a religious anti-rock book the same core bodily movements which led African dancers into a state of frenzy are present in modern dances. It's only logical then that there must be also a correlation in the potentiality of demons gaining possessive control of a person through the medium of the beat. And kind of racist remarks against African dancers and also religious connotation by pointing to the devil as kind of the cause for this kind of effect of music. Any interesting thing also from a sociological point of view is that music has to do with youth as an ambiguous category. On the one hand those usually older generations or people in government try to protect the innocent youth they're afraid of sexuality or bodily movements and also afraid that the fact that young people are easily influenced think about the parental advisory stickers but at the same time older generations usually are a little bit scared for youth because the youth is carrying new musical subcultures so therefore youth is a human category of transition, of change. And in a broader perspective you can say that the appearance of the popular music is an attempt to assert moral control of a world thought to be out of control. There are a lot of societal changes which are reflected sometimes in music but people who have difficulties with these changes usually point the finger to music and say well music is the cause of all the trouble and evil in the world. But basically when you look at all those examples I gave in the past century you see that there is something different going on it's not music per se music is only an expression of change. Well I hope you liked the mini lecture thank you very much for your attention and have a pleasant day.


All right lady, what is this? Okay, there's a couple products I'm testing out here at once. Two new Fabnew products this week. So I've got this really cute about like one inch diagonal 128 by 128 monochrome OLED. Yeah, it looks flickery, but of course in person it doesn't. And this is plugged into the new Feather ESP32 S2 with PS RAM. And I'm just testing out the iSquared C connections. It's got a Stem IQT that's vertical up and right off the top here. Battery power with Wi-Fi and ESP32 S2. So it's Arduino and Circuit Python. And this version also has a little sensor, the BME 280, one of my favorite temperature humidity barometric pressure sensors on the board. This is going to be a variant of this Feather. Not all Feathers will come with it because it's a little more expensive that way. But you can see it's kind of nice. It's displaying temperature pressure humidity and the battery voltage and percentage off this Feather. Nice demo.


You're twice as sure with two great names Frigidaire and General Motors Frigidaire presents Herbert Marshall as the man called X Whatever there is mystery, intrigue, romance, and all the strange and dangerous places of the world There you will find the man called X You're twice as sure with two great names Frigidaire and General Motors For Frigidaire refrigerators are made only by Frigidaire a division of General Motors And it is this association of Frigidaire and General Motors This association of experience with experience of skill with skill that makes Frigidaire America's favorite refrigerator Remember this when you choose your new refrigerator Remember that millions of Frigidaire's in millions of American homes have established Frigidaire's reputation reputation for complete defendability for lasting satisfaction Yes, you're twice as sure with two great names Frigidaire and General Motors For Frigidaire refrigerators are made only by Frigidaire a division of General Motors More Frigidaire refrigerators serve in more American homes than any other make And now Frigidaire presents Herbert Marshall is Ken Thurston the man called X Ken Thurston first saw the girl in the lobby of a New York building in which the offices of the bureau were located She was pleading with the elevator starter pleading in a dazed frightened manner Who's known as X? I must speak with him. It is about maggiore.  And please I must speak with him. I I must A few minutes later the girl sits quietly a little frightened in a private office at the bureau as Ken talks to her sympathetically so you want to talk with this man called X see the man who is X You know him senior. I think I can help him find him if you'll help me now Suppose you stop at your name my my name senior. Yes, that's right. I do not know my name Strange is it not I do not know my own name. That's not important. It'll come to you Do you remember? Why you came here to see him, but I have told you senior. It is about maggiore You understand senior about about maggiore Magiore no no you do not understand But this man who is X he will know see he must know of course But when we see him you must tell me where you're from what is troubling you But I cannot do this in your I do not remember I can remember nothing Only that I must see the man called X about maggiore Please Take me to him senior. He must help me. Please. Please. Yes, I'll take you to him First you'll rest a bit me here come with me come this way Miss Brooks will you see that the senior in a rest comfortably for a half hour or so and get in touch with The hospital I want her placed in his care Did you get it on the digital graph chief yes, I got it Ken and I miss you Casey sounds like it Hmm, I think it might be a fake dr. Beaumont will tell us mind if I use your office phone. She'll go right ahead Hello, Esmond first and The spot event or sale from Naples last week on route to New York the maggiore art collection was aboard Not your art collection, of course. They're not check on it and see where it is now. Will you thanks So you think the girl was talking about the maggiore collection they can could be What do you know about the collection chief? Well, it sees world famous looted by the Nazis recently recovered and It's coming over here for some kind of public exhibition, isn't it? That's why it's going to tour the country Proceeds going to a rehabilitation fund for Italian war often. Yeah, but if that's what the girl was talking about Why should she look for you the bureau hasn't any interest in an art collection I think we have chief. Huh that collection means a new life for thousands of Italian kids a Chance to dig themselves out of the mess the war left them in well sure kid That's why the collection is our responsibility We've got to see that those kids get that chance that they grow up as the next generation's decent citizens and not its storm troopers First in here. Oh yes Esmond Yeah, I see Thanks Part of enter a doctor this morning chief the majority collection went through customs about an hour ago And what do you want us to do can't keep the truck taking the collection to the notice out gallery was hijacked The garden driver killed And the paintings are gone Where are we going anyway, mr. Thurston? Well, I'm not sure you want to go big on but the chief thought you might do a little job for the bureau, mr Ex that's out definitely positively out. I don't want no jobs with the bureau. That's what I thought Well, can I drop you anywhere before I get to the Norris Art Gallery the Norris Art Gallery? Well, that's where the majority collection is that's where it was going to be before it was stolen stolen But that thing's worth 10 million bucks. Yeah I'll drop you this corner pagan 10 million Samolians Should be a pretty good reward for getting that stuff back. Hey all the insurance company will pay off pretty well sure Not as long as you're not interested Why should we be so hasty mr. X naturally, I don't want a job, but I'll be glad to help you out Yeah, just for old lying time you understand and 20 bucks a day and expenses, of course You want it straight now pagan? Oh sure. It's a cinch while you talk to the manager. I make like a big shot art expert. Good There's the gallery. Let's go in There's the office mr. Thurston says Muriel bone manager. Yeah, okay, I'll see you back at the car You understand miss Bowen that I consider the loss of the majority collection to be the result of unforgivable negligence on your part I'm not particularly interested in your thoughts on the subject. Mr. Cameron Well as manager of this gallery you should be the dividing line between unforgivable and Criminal negligence may be a very narrow one. Good day miss Bowen Certainly a sure May I come in miss Bowen find out your practically and now thanks Did you enjoy your little eavesdrop sorry, I didn't mean to move in on a private conversation That was JB Cameron wasn't it one of the Sponsors of the majority collection. I'm sure that mr. Cameron, and I don't know nearly as much about you Oh, my name is Ken first time. I'm interested in the collection too. How nice an official interest Let's put it this way There's a good deal of money tied up and it'll be lost if it's not recovered Only an insurance man would be interested in the money involved. I gather that Cameron seemed to think that you might be What else have you gathered mr. Thurston? Only that you're the manager of the gallery and that your name is Muriel Bowen I'm 28 single and I've been here ever since I left art school six years ago And I know absolutely nothing about the robbery. Does that help you with my If I could rely on that information you will have to decide that for yourself mr. Thurston miss school That is a problem with which perhaps I may assist you Oh, I am looker a cell is in your representing the Italian organization which sent the majority collection over here Well, I'm glad to know you a silly your a silly is also a carbon copy of JB Cameron in a way, mr. Thurston Go ahead Luca Tell the man how dishonest I am. I do not say that's in your ear I accuse no one of anything and only that it is a vital import that those paintings be recovered You sound like an art lover art.  Thurston placing the interests of Italian orphans above that of your company This is a very unusual case miss Bowen Yes, I know You see the real insurance man was here 15 minutes ago. That makes your interest in this matter most unusual No, I pay on what luck did you have can always depend on his elsewhere? You know that Cameron guy? What about him? He thinks I'm a big shot art collector.  What's so important about that? Well, maybe I can pick up a bit of change after all I've got a friend who paints Da Vinci's even better than Da Vinci I think you will make a better deal with Cameron. I can't how find the Maggioli collection for him That's got two genuine Da Vinci's in it Hurry up call for me to come here to the hospital. They're going to get some answers from that little Italian girl Oh, and she was faking amnesia. No, no bowman's given her an extensive examination She's undergone traumatic shock with loss of memory Yes, but where does the connection with the Maggioli robbery come in chief? I'm convinced that girl's mind holds the key to it. We've got to unlock it But if she's got them knees you're bowman's going to try sodium pentothal Sodium pentothal the stuff the army psychiatrists use for battle fatigue. Yeah, this girl has what amounts to the same thing Some horrible shock has blocked her mind But bowman's going to get her now and within a few hours. We should have the answers to everything. Oh Hello, Bowman all set to go. I'm afraid not person. What's the matter? Something wrong? Well, I went to get that girl a little while ago a room was empty empty Well, how'd you get out? I don't know. I ordered a search It's failed to turn her up. I'm sorry Thurston, but that girl's disappeared Just a moment. We continue with Frigidaire's man called X created by J. Richard Kennedy This is Wendell Niles speaking Here's something to remember about the new Frigidaire refrigerators. They're made to fit Made to fit your kitchen made to fit your needs because you see Frigidaire offers you a wide variety of refrigerator types and sizes There's a size for small apartment kitchens a size for big farm families and many different sizes in between These wonderful new Frigidaire refrigerators give you more room up to half again as much space for storing foods Yet take up no more space in the kitchen. There's lots of shelf room Special places to keep things like tall bottles fruits and vegetables meats eggs and other small articles generous room and all models for safe storage of frozen foods And to fit the most important requirement of all your need for utmost dependability Every one of these new Frigidaire refrigerators is powered by the famous Frigidaire Metamizer the simplest cold-making mechanism ever built Remember how the new Frigidaire refrigerators are made to fit into your home into your way of living and Always remember ask to see the name Frigidaire when you ask to see a new refrigerator And now to continue with Frigidaire's man-called X starring Herbert Marshall the Maggiore art collection has been stolen Thousands of Italian war orphans will be without rehabilitation unless it's recovered And the girl who didn't remember whose mind holds the key to the mystery has disappeared Now an hour later at the Bureau office Ken is talking to one of the Bureau's agents over the phone Yeah, keep the knowledge gallery cover this one. I want to report on everything the murial bone and look over a cellar do right Call me back when you have anything Well, hello chief anything new not a thing can the girl seem to have dropped off the face of the earth We've got to find our chief before it's too late. Can are you sure? We're not kicking up a big plot of dust over nothing those paintings are bound to show up when they're offered for sale They'll never be sold on the open market There are collectors who will buy them purely for personal satisfaction Yes, oh For you, Ken. Thanks. Hello. Yeah, I recognize your voice How'd you get this number I might have known Nobody's home What are you doing here Pagan? Oh, I just came back to get mr. Cameron's address I got a painting to sell him a brand-new da Vinci Trickly a part of my job for the bureau you understand. Yeah, well forget about it your job's over, huh? Imagine all your print paintings have been returned. They're in the gallery now. Oh, no, they're not what do you mean? Oh, I was just inside there by accident the key I just happened to have in my pocket fitted the back door and I know a Bellini or Da Vinci when I see one and I didn't see one. Let's get to that real door Sure. It's right down in the back of this driveway. There it is mr. Thurston right where that big truck is parked Yeah, let's take a look at that truck So it's a truck so what the closed panel job? With a few bullet holes in it bullet holes Mr. X. Yeah This is the truck that was hijacked. Hey, then maybe the paintings are still in there. Oh, mr. X. Are they? No, it's something else is What a bureau agent named Eston With a bullet in his head Mr. Thurston may I come in million why of course mr. Thurston.  I misunderstood thinking he met the painting. I Called you before I checked. Yeah, that could happen to anyone Who should have told me we're going to drop in I'd have had the apartment more presentable, or you wouldn't have been here at all And how can you say such things those suitcases and half-packed clothes said them first the evil finger of suspicion it moves it right and Still spelled my name Why not try erasing it never erase the line once drawn seeking perfection the line may be improved But the soul of art destroyed My art teacher taught me that once art school the Matisse and Picasso on your wall Painting means a lot to you doesn't it Miriam? You've uncovered my scarlet secret Mr. Thurston This means almost everything my job at the Norris gallery I wonder if you can understand how I feel about it As though it were a sort of trust I can understand that then can you understand how I felt when the majority Collection was stolen the collection. I was responsible for you can't run away from responsibility Miriam there's no law that says a person is a criminal because he can't face his own conscience But there is a law against kidnapping Kidnapping that nurses uniform on the Devon port too bad. You didn't get it packed before I came in Where's the girl Miriam in the bedroom? Yes, can Yes, she is Give it mr. Cameron. Where else could you pick up such a bargain a genuine Da Vinci? And for only shall we say a five thousand bucks that is quite a bargain mr. Zell Schmidt Why let it go so reasonably you hit the nail on the hammer mr. Cameron Yeah, you know how it is when you need some ready care or need to get rid of a stolen painting stolen But I swear by the father of my father. What about that for Sally?  Cameron. There's a mr. Ken Thurston to see you. Oh, no show me in please William. Yes, sir This way please mr. Thank you Hope it on my mind barging in are you like this mr. Cameron? No, not at all mr. Thurston You're the insurance man. Roselli was telling me about aren't you? I'd like to talk to you about the collection Oh, yes, of course. Roselli dropped in for the same reason Frankly, we got nowhere and we're just amusing ourselves listening to a sales talk about this Da Vinci copy copy Any fool would know that Zell Schmidt will look look at the necklace on the portrait the links in several places are not even joined Now do you think that Da Vinci would ever make a mistake like that? But the copy is bound to look pretty shabby compared to the paintings you have here Cameron. Yes They are pretty fine aren't they? Yes, that sounds house for instance One of the best I've ever seen I practically had to kidnap the owner in Amsterdam to keep the Frick collection from getting it and that's a coil I don't think he's ever had a finer feeling for the haze of twilight than in that one No No, it cost me 10,000 more than I wanted to pay old man carpenter was bidding against me But I got it. Oh, Senorus, please. This is all very interesting But we should be discussing the majority collection Art is not as important at this time as those children in Italy. You all right, senior vaseli And i've good news for you. We found a young girl an amnesia case Who apparently knows all about it. Why that's wonderful Thurston, but if she has amnesia, how could she tell you anything? She's going on the sodium pentathlon with the hospital tonight I think she's going to tell us all we need to know 62 lights please nurse All right, Thurston. She's ready. We can begin now. You understand the procedure I think so doctor They've got to make a face the thing they brought on a traumatic shock bring it out in the open You're here because the man called X is the one thing she's clinging to So when she talks directly to you answer her But when we reach the point where the trauma began I'll take over and reconstruct the situation with her. I understand. Good. I'll ask her if she can hear you Can you hear me senorina? This is the man called X Can you hear me? I can hear senior X You were looking for me senorina I was looking for you friends of yours told you about me children You helped them ask her why she needed help. Why do you need help senior? It is about my jewelry About my joy the majority art collection The painting I've come for the children Nothing can happen Nothing You must help You must help help with what? What help did you need where the boat? The boat from Naples You're aboard the boat senorina. You understand aboard the boat. No No aboard the boat sailing from Naples to the united states Abort the boat with the majority art collection No, you cannot do it. You cannot do it. Why can't I do it? What do I care about the children? What do they mean to me? What can you say that you of all people? How can you say those children mean nothing to me? Only those paintings matter. I do not believe you No After the war what we've been through together You cannot steal it. You cannot. I'm going to steal it. Do you hear me? I'm going to you can't stop me I will not let you What do you care whether I steal those paintings or not? What does it matter to you? Why do you care? How do I care? Are we not enough? Why do you care? Why do you care?  You're in danger. The patient's welfare do not endanger your own welfare by any foolish moves All right, that's all right. There's nothing to do I'm afraid of quiet now Everything's all right No, do not move it. I'll first I will not hesitate to use this gun.  No russeli.  Yes That's why she tried to get me out of town She was afraid you'd find her and kill her to keep up and talking and you would have to wouldn't you russeli She's a fool senior. Why should I not kill her? Sure? What a little murder compared to money Eston your sister thousands of kids in italy whose future depends on those paintings Well, you're not going to get away with it russeli. Oh brave words senior first But the words will not stop me from pulling this trigger and disposing of all of you. I figured that Okay, chief, show them the lights All those men watch it chief. He's going to shoot Nice going ken Trap worked out perfectly. That's all the proof we need except one thing He didn't tell us where the paintings are. I think you'll find what camera and chief Cameron yeah in some secret gallery where you can sit and gloat over them They didn't represent out to him any more than they did to russeli to one Possession the other money and it's all over. I can no chief. It's just beginning Some thousands of kids in italy You know Those kids are like a blank canvas And we're the painters What we put into that canvas will determine his future Maybe a masterpiece with effect will be felt for generations Maybe a worthless smear or wind up in the junk pile of the world I wonder what it's going to be And call back since presented each week for the best wishes of your frigid air dealer We invite you to come in and learn about the famous line of frigid air electric appliances refrigerators ranges water heaters home freezers the new automatic washer drier ironer and many other frigid air Refrigerating and air conditioning products for homes farms stores offices and factories mr. Niles You mentioned frigid air electric ranges just now not only mentioned them But invited you to visit your frigid air dealer and see for yourself How wonderful it is to cook with a fast clean fully automatic frigid air electric range And our frigid air star herbert marshal thanks for being with us Next week the story of 100 displaced people who dream of a promised home in berma Only to be rudely awakened by someone's ruthless desire for power as usual Leon belaska will be along his big on zelchman So join us won't you where next I return as the man called x. Good night This is cbf the columbia broadcasting session


Hello, everyone, and welcome to this week's Bite Size Talks. With me is Matthias. He is working at the data center of SILAP Lab and is also our infrastructure guru. And today he is going to talk about the new blog of NFCore. And off to you. Yes. Thank you very much. Hello, everybody. Yes, NFCore blog. You might have seen this blue little dot on the about page that we are now part of the blogosphere. Back to the early 2000s blog of the new cool thing. And yes, if you just go to NFCore slash blog, you'll find the initial blog posts. There will be more coming soon. And also it's a real blog. So we also have an RSS feed. And this RSS feed is also piped into the NFCore posts slack channel. So if you don't want to regularly look on that page, but still want to know when there's a new post, we will write probably also in the announcement channels. But every post will also be coming up in that channel automatically. Yes, with that, OK, so we have the blog. But why do we actually need a bloggers NFCore? And actually a long process and part of the whole website rewrite, Phil was always talking about, we should have a blog. We should have a blog. And other people were like, hey, why did you as NFCore decide this and this thing? And then we didn't really have a platform, except for the announcement channel to kind of write down. But once like it's a bit difficult sometimes to write longer texts. So we needed a place to write longer texts. Also maybe with some screenshots and everything nicely ordered, which should be like documentation because it's more time sensitive. But yeah, something like a blog maybe. Also for events like hackathons, we didn't really have a place to kind of share what we did during the hackathon. That was like the video, the wrap up video. But usually the photos are taken, stuff happens, and it just disappears. So with this, we hope you can also capture that a bit. Also like from us, from the infrastructure place, it is nice when we add stuff to tools that we have a place to kind of show it off a bit more besides the announcements or the tools channel. And also to the wider community, like if you have a bigger pipeline release with like a big new feature or something like that, would be a place, we can imagine, to post about it on a blog or other community-related things you think should be on a blog. So yeah, this is why we now have this platform and how do you add stuff to it? Well, you make similar to how you get a new NFCore pipeline. You make a proposal and new blog posts as like channel. You don't have to provide a tube map for this. You can just write down what you would like to have. Then if you get some thumbs up, you can make a card on our project board. It's the blog post project board on GitHub, on the GitHub organization. Then you assign yourself to this topic and you open a PR and that's it. How should this PR look like? Well, you know our website, it's Markdown. It's Markdown everywhere. Actually, it's Markdown and MDX. So to the MDX part later a bit more. But first, yes, you write a Markdown file. When you write it, it should be in the slash blog and then slash year directory and the contents directory. And then you write your Markdown and it needs this special front meta you see here, where some things as usual are required, some are not required. No worries too much about this. We have some sanity checks. So if you try to build your page with something missing or something incorrect, it will just not build. So you will not break anything. It will just not appear on your development platform. But let's quickly go through the front meta. So this is separated by three minus signs from the actual rendered Markdown text. You have the title and the subtitle, which is quite clear. Then you have an header image, which is like you saw before. Just an image which appears in the car, but also then in the blog post. There is then a requirement implemented that if you have an image, here for example, you can just use unsplash. You need to also have an alt text. So we make it a bit more accessible the whole thing. So that is something we check. If you have an image, you also need to have an alt text. Then also very important is the publication date, because that's when the Markdown is actually coming up on the website. It needs to be in this very nice iso format. So keep in mind, all the UTC offsets and stuff like that needs to be correct there. Otherwise something will be off. And then the authors where you just write an YAML array with your GitHub user names, which are then nicely rendered in all the different places. And also we have optionally a field for labels. We don't have so many posts yet to actually need filtering. But in the future, we are thinking of using these labels to filter your posts into different sections. And yes, and then you just write Markdown. And it is, of course, not just Markdown. It's the NFCORE flavor of Markdown. So you can write some callouts or admonitions. You can have fancy code blocks with file titles, highlighted lines, line numbers, whatever you want. And also you can use MDX. So you can take whatever component we have on the website, add it into your Markdown, and get it rendered. That was too fast. Sorry for that. Yes, main authors for this block are, of course, the core team and the outreach team, but also maintainers in general. And whoever in the community wants to contribute to it. We are quite open. Who wants to write, we, of course, don't really want too much advertisements for companies there. But in general, if it's of interest for the NFCORE community, I think we're pretty open to certain entries there. And when you then write your blog post, how can you actually look at it? There are two ways. The first one is more, I think, the easier one. Just on your local machine, run npm, run def, then go to the blog site on the local host. And you should see your blog post appear there. If you set the date correctly, be aware about the publication date. And also, then, when you submit the OPR, it will be built. And if the publication date is in time, it should also appear there. Yes, with that, are there any questions this whole new initiative of the NFCORE block? Well, this was very quick. You know my binds us talks. They are really bite-sized. Could you maybe elaborate a bit more about the publication date? Where do you give this publication date? Yes, so it is the front matter of the O. So here you just have pub date, which is then rendered. And if the current date is after this date, it will appear on the site. So if you want to actually schedule something for the future but still want to preview it, you need to first change that. I guess you could also change the local time on your machine. But maybe it's easier if you just change the public date to one day before. It actually should be published. And then don't forget to move it back. Otherwise it will be live. And as usual, our sites are built twice per day at 9 o'clock in the morning and 2 o'clock in the morning. And after this, they will appear. So they don't appear at midnight. If you said midnight there, they will appear the next build because everything is statically built. Cool. We also have a question in the chat from Bill. Do you have any ideas in queue for the block to give an idea of the kinds of topics we expect? Yes. So we have some like, I know that Satish, for example, is working on a bigger blog post about NF tests, about all the different fun things we want to do with NF tests, also a bit to support the documentation that we have a bit more of our reasoning for NF tests and how we see NF tests used. And that is one idea. Then other community events happening or surrounding NF core are also planned out. Another question is, how can I see updates? And do they go to Slack? Yes. As mentioned, there is the Slack, sorry. There's the Slack channel NF core posts and also the RSS feed. So with that, you can automatically announce that. Also, you have the blue dot on the website for one day after the post goes live. There's a blue dot here. And if you open next to the blog section, there is a new post. Actually, if you want to find the blog and don't remember the URL, it's in the about section. And the last question, when should stuff be a blog post? And when should it actually go in docs? That's a good question. And I think that's also something we ourselves need to find out a bit. But I think if it's more like time specific, it should be a blog post or also a bit less like less for a general audience, but more for some specific things. I think the blog post will be more helpful. And the docs should be more for general things. Right. But there could also be something that is both a blog post and docs. Yes. Or yes. Cool. Do we have any more? There's one more. No, it says blog posts don't need to be kept up today. That's correct. Yes. So blog post is just up to date at the moment it's published. Afterwards, it's updated. While the docs, of course, are always up to date. Right. People could also unmute themselves. I was a bit taken aback for how short it was, so I couldn't in time allow this. But if anyone has another question, they could, of course, also unmute themselves now. But yes, everything is still quite new. So we are also still thinking this platform out a bit. But it will, I think, also be fun and helpful to have this new way to document things, not like code documentation, but also like event documentation, which we were missing. I feel like, and of course. So if there are no more questions from the audience, which it seems like, then I would like to thank you for this talk. And as usual, Dijon Zuckerberg for Funding Bites I Stalks. And you all for listening into this Bites I Stalk in particular. Thank you very much. Bye.