Hello, welcome everyone. My name is Mona Amirai. Welcome to No Summary, Golden Threads live stream series of conversations with artists that do not fit in a box. For those who may not know, Golden Thread is the first American theater company devoted to plays from or about the Middle East. We are based in San Francisco and will be celebrating our 25th anniversary this year. My name again is Mona Amirai. I'm a writer, theater maker, and critic from Lebanon. I'm currently a doctoral student at the theater history research and criticism program at the University of Washington. I'll be moderating today's session of No Summary and I am pleased to be in conversation today with Iman Aoun and Melody Brooks, the initiators of theater from the streets program, along with Lupe Gehrenbeck of Teatro Lacomarca and Malika Sarabay of Darpana Academy of Performing Arts who are also curators of the project. But before going into the project, allow me to introduce both our panelists today. Iman Aoun is an award-winning theater TV and movie actress. She holds a bachelor degree in social studies and a diploma in psychodrama. She started her acting career in 1984 with Haqawati Theater Company. She's the co-founder of Ashtar Theater in 1991. Iman has received various notifications for her work from different countries and international organizations and festivals, including the fact of her being recognized as a finalist at the Gilder County Award in New York in 2020. She runs Ashtar International Youth Theater Festival since 2012 and she is an international theater of the oppressed trainer. Melody Brooks, our second panelist, is the founder and artistic director of New Perspectives Theater Company. She is an award-winning producer, director and dramaturg who has been working in the professional theater and various educational institutions for 40 years. Brooks received the 2018 Trailblazing Woman and Arts Institutions Award from Rhythm Color Associates and the Spirit of Hope Award in 2015 from from Speranza Theater Company for her career-long support of woman theater artists. She is a board member with the League of Professional Theater Women and was co-chair of the Frienial LPTW Gilder and Cogni International Theater Award in 2014 and 2017 and executive producer of the virtual 2020 program Hello Melody and Hello Iman. I'm so happy and thrilled to be here with you and to talk about theater from the streets which is an international pilot program creating conversations across borders. So tell me more about it Melody Mona, thank you for having us. I'll just do a quick summary of how we created the program. Edamon can certainly you know add her thoughts to that. As you mentioned a couple of times, the Gilder Cogni International Theater Award is a program run by the League of Professional Theater Women and it's every three years and it supports women who are not U.S. citizens who are doing work that is artistically acclaimed but that also has an impact on their communities and in particularly supporting women and one of the things that happened in 2020 was that we had to make everything virtual and so the silver lining of that was that we were able to maintain connections to all the nominees which had been more difficult in previous years when everything was live and in pursuit of maintaining those connections and figuring out how to use an international network we had a meeting in May which was right when Gaza was being attacked and so our purpose in coming together was to really look at ways in which we could all work together but this was a much more immediate need and we decided that we would have a small group try to come up with a plan for what we could do and in the meantime the ceasefire was declared and the small group there are about eight of us including Iman and that as we talked about what we wanted our work as theater artists to do it became clear that the issues of what was happening on a humanitarian level extended beyond Palestine and that although Palestine was very much in the news at the moment and ongoing that there were in particular other nominees who were living in areas where we weren't getting the true story and that there was media bias in you know how the issues were presented there was government oppression in some areas in terms of what was really going on and that we realized that theater is uniquely suited to tell stories that can show what's going on instead of trying to just tell people and although all theater is inherently political that the stories themselves would do the talking for the most part so that's the that was our initial impulse Iman if you want to correct me on anything or add anything to that and yes Melody first of all thank you so much for this introduction to the idea and I think that it was really that was the the root that we have taken together and what I wanted to to add only the fact that usually it is not taken for granted that people can come together so often and so easily to work together on one idea the what happened with this project and although it was still called the pilot project it was immediately the fact that we all felt that there should be like an answer to a quest that was put alive on our tables by by the reality that we were living so as Melody was saying Gaza was under attack when we started to talk and the Palestinian had sent out a call internationally for reaction artistic reaction a sorry that it was a point of view that would support the people and and their oppression and so that was like the answer immediately that we should do something and and it has to be theatrical so that's the beauty of it the the second beauty of it is that we were able to use the multimedia that is that is there that had made our life quite easy and we got together and we started to really present these these stories yeah and the like the the zoom world was lucky to have 12 sessions and we'll be lucky because there are four other sessions that are accessible to everyone wherever they are and those 12 sessions so in order to explain to our audience what we are what we are having in hand is writers and playwrights from Venezuela from India from Palestine and from Lebanon sharing their texts that were written according to the call that you have made and if we want to go back to the call there are like three main areas of focus which is correcting the record combating the the hegemonic narratives that promote oppression and of orthocratic regimes a day in the life of people and what will it take to make the collective humanity engaged in making a difference so you highlighted those three main points and you made that call and you received many texts from those countries how how was the response and if you can give us a little bit of of an idea about the the the issues raised I have attended a couple of sessions and I have read many of the texts and I have a lot to say about that but as as a starting point how was how was oppression depicted in those texts and how you can see commonalities all over these areas between them so I just want to give credit to Iman because it is it really is a pilot program and she went first so she had less time than Lupe or Malika who are doing the next day and we we thought originally that we would record these and then just upload them to YouTube to New Perspectives YouTube channel and and let the work the rest of the world in but we discovered in both the technological limitations in Palestine and somewhat in Venezuela but also that the need for the conversation was was much more far ranging than we thought it would be and so we had limited the amount of people that could attend the actual session that's been growing and we've opened the doors a little bit more but the response has been tremendous and we're we're really excited to see where it goes from here and I'll let Iman talk about the response that she got from the artists and and how you know we've seen a range of work some that's comedic some that use satire and irony some that is very graphic and it's raised a lot of issues both in Palestine and now that we've finished with Venezuela there is a lot of commonality because it is the human story what human beings are actually experienced so Iman you were our guinea pig as I like to say it's not necessarily a a polite thing to say but you know what I just also want to say too is that when we decided to do this New Perspectives decided that we were just going to do it we didn't do it through the League of Professional Theater Women although they are a partner but we didn't we didn't want to get permission we didn't want to have to figure it all out we didn't want to so we just started and Iman was a great team player in saying yes and and making it happen within a question of weeks maybe six weeks or so to to get ready for it and to and to do her be the first curator so you can speak about that if you want Iman yeah of course yeah that was really brave from you as well Melody because the fact that you've given us all the technical support and and so for me it was like I had to really act very quickly and I had to jump on the idea and start to call my colleagues and my friends and put on the call like translated what had been written in English into Arabic and disseminated and then different responses started to appear and and some artists even wanted to to share two three four pieces not only one like some of them were so excited that that there will be people hearing them from around the world and and they wanted so especially those in Gaza they they felt like hello world we're here and thank you you're hearing us so that that was the feeling reminding ourselves that it was a time when when Gaza was under attack so so they had an urge to tell their story and this is how we started so I started to collect first thing came first week was from three people from Gaza and because they were the first to share and then slowly others came into the light and and I think that if we had more time we would have also had more developed pieces but the pieces that were presented maybe between the first piece at the last piece there was a piece that was written that is the sand mountain that was completely and totally different and it was much more developed the idea was also taking us towards something new and more abstract more more theatrical in in the sense of the writing of the aspect while some of them were right were writing about their life their daily life like the woman who wrote about the incidents of of the attack at her house at night so there is a variety of of issues but saying this the the other day when I was hearing the presentation from Benzuela for two weeks in a row I was feeling like yes there's so much commonality there that as if they are speaking about our life and many things are are alike just because oppression is oppression everywhere and and we are human beings that that have feelings and and so we want to eliminate oppression and when we raise our voices then we have a strong a strong presentation a strong a did to to really say it from the heart. Thank you Iman and I have to add to your point the fact that not only there is a variety of texts and forms and aesthetics what I was able from what I was able to read and see I realized that there is also a variety forms of oppressions and different layers of oppression so it wasn't only it didn't fall into binaries of oppressor and and the oppressed and the political sense you mentioned Saint Mountain by Emil Sabah and if and allow me to give one moment to speak about Saint Mountain it speaks of a woman and a man and the woman all what she wants is to create her palace from sand and there is it's a very abstract text by the way and the end is is kind of amazing on the other hand you would find the oppressor of the brother the the religious oppression the the the the oppression domestic violence in a way or another and you you would find the political oppression that took place in Gaza and the Israeli attacks on Sheikh Jarrah the uprooting of 28 families so we have all these layers together which is really very very interesting what what are the the different aesthetics that came out if you want to speak briefly about aesthetics and that sense when it comes to the text when it comes to the representation of violence in itself uh so I wanted one oh did you want to mount it I was just going to say from I just wanted to throw in here too that part of our goals with new perspectives is you know a really educating a more western audience right especially us in Europe because we get such a skewed narrative all the time and so it's one of the things that that that we the discussions that we had after the presentation of the pieces that really became much more wide-ranging and more again the the non-binary right that so many of these issues you've just mentioned and that's what led us to think about the fact that we really want to take all this work and figure out what we're creating before we put it out for public consumption later on but um but the the as iman talks about you know that things might have been more developed if there was more time it really didn't matter because the content of the pieces was very moving and very powerful um and and because it was a closed group we weren't saying this was you know polished work for the you know for the public but that it was really about the work itself and the text and and the messages and the stories and I think that came through very clearly and very powerfully for everything that was presented um in the first four weeks so iman um and aesthetically too a wide variety of of approaches to to how this would be done so iman i i didn't mean to cut you off no no no don't worry i mean um as you said it was um a variety of of presentation from from the person who uh who had written about the social issues and like in a farce mood to uh the the person who had written about the martyrs and who had given voice to the martyrs themselves who were talking after their death and so um there's and there's also uh in the um in the piece uh some of them had used uh like uh more classical use of the of the writing others had had used more abstract uh use of of the writing so so it was uh very rich and very enriching but i wanted to say something um a little bit on the side but but very much connected it this um this project this pilot had also reminded me when we did the gaza monologues and we disseminated it uh all over the world um the fact that the stories of the people the stories from uh like a first person story um the the very um real emotion that comes out and immediately like a reflection to their life it tells a lot to the people who do not know sometimes we we put so much censorship on what we want to say and what we don't want to say as artists because we want to appear really sophisticated on on stage but when you are really telling stories of from the street stories of the people so much um so much uh like growth let's say and immediate then you don't really think twice you just put it there you just say it you just become uh real um really uh authentic if you want and it really touches the hearts of the p of the listeners of everyone that that really gets in contact with with these stories yes definitely and um what is also important uh to to to highlight is the fact that aesthetics can be found in situations where uh there are no means at all no means of support no means of funding there is a oppression you know because there is this idea that hey we are doing a theater or a form of art that is socially uh that that that has a social objective so we want to focus on the content but I do believe and I think this was uh pretty much found in many texts that there is a beautiful aesthetics and there is an artistic aesthetics even in and forms that are socially or oriented in a way or another um also we have John D. Firestone who highlighted that we are this we also discovered a commonality in the restricted funds available in each of the countries and it opened up the possibility so yes thank you for highlighting that and Melody I want to go back uh to a point that that you raised around the reception which I wanted also to highlight how did the western audience receive the texts throughout uh until present moment we had um around how many sessions around eight nine sessions we've had eight sessions so we're starting okay our night sessions will be on Sunday okay um you know the first few sessions took us a while to find our feet in terms of getting people to attend and and really it's signing up for and coming um but even within that um there's been a combination of artists the artists themselves other artists um in the region in particularly uh in Palestine and then other people from around the world through the different partnerships that we're working with the reception has been very positive but to be more specific that even in pieces you know we we've dealt with because zoom is wonderful but there's also the issues of the technical limitations um in Palestine and in Venezuela connectivity is hard electricity is spotty um finding places uh to be able to to speak from um finding actors who could speak English so there was a tremendous generosity I think on the part of all of our attendees that no one was saying oh well that wasn't very good or I couldn't hear that or you know why did their their their connection keep going out the people truly listened and then the conversation that was able to result from that first of all was that we had people who could put the theater pieces in context so if there was something that was more abstract or something that wasn't quite clear either Iman or other moderators and and in the Venezuela um Lupe and moderators could say here's what's going on and then when we knew that and could see that we just let the theater pieces all go first we didn't explain them up front so it led to people really um really having a new understanding and expressing that they did and learning but the other thing for me that was important is that I wanted our conversations to understand the context to be able to reflect on the power of these theater pieces but also to find some practical steps that we could take so that when we create our follow-up to this which now things seems to be that there will be different ways of using this material that we can actually be saying if everyone in the globe that watches this does this thing do this do that do the other thing and so we've had a wide-ranging discussion one of the most powerful for me has been an understanding of of who the audience is when we have the finished product or what we want to do with this work so one suggestion is really targeting universities theater departments and universities the next generation for them not to just understand the work as theater but to understand the agency they can have as theater artists in making change we've had requests that all of the work be published together in an in one volume or that we do an international festival a rolling festival where these works across the three regions are presented or some selection is then we represent those in a more you know polished way with more rehearsal that we do another program so there's a lot of possibility and to me that's that's really exciting and when we just did venezuela the last venezuelan session was the first time in all of the eight uh you know gatherings that the three pieces were all very much about the oppression of the state directly state behavior and what was being done whereas throughout the other seven pieces even with palestine there we understood what the state was doing but it was still really about the impact on people and or people's resistance and so it was interesting to me that the discussion from that watching those three pieces was very much about people wanting more information that when we asked for feedback or we asked for people to ask questions and there was not a lot of them that the comments were that they felt like that conversation could go on for hours because they were learning so much and that they had never understood at all about the situation in venezuela so um so that was a it was interesting because the pieces still were highly theatrical and um different stylized pieces but that was the one moment so i'm really curious to see what we get from the pieces in india because we're less inclined to think of of i think the oppression in india because for so many years um we didn't see it that way but with you know the hindu government and the oppression of religious minorities but now it's extended into defunding of artists artists really being endangered for speaking out um so it'll be curious as to what forms they take as well thank you thank you melody one more sentence is is that the importance of of this pilot or this project let's say is that it is creating a momentum a momentum in in following and in in getting different countries and different artists like in a network whether we intentionally we want to create like a network or unintentionally unintentionally but we are networking somehow together and we are getting to know more of each other and of each other's countries and this continuous getting together in itself is an important artistic factor yeah so and uh in a way uh what you just said falls in under the the point of what will it take to operate the change and how to what extent is it important to make networking and highlighting all these forms of oppression and i have to say as well that there is here the role of gilder conny what was the role of gilder conny and linking you together uh because i know iman and uh also malika you were also um finalists in the gilder conny awards so how how what is what is the importance of networking today in a moment where in a momentum around the world uh where we are all feeling different forms of uncertainties so i'm just gonna say quickly about the gilder quanie award and then um which was founded in 2011 by the league of professional theater women and it's named after rosamund gilder and martha quanie who were for decades leading american involvement in theater and artistic exchange collaboration with a view to the fact that on the ground people to people artists to artists communication working together and network was really the the only avenue for peace it was the organizations they work with were started during the cold war um and so the idea of the award which is really an award program because yes there is one person who gets the award and there's an award ceremony but there's a range of activities of panels and discussions around it and what what the the significance of that in creating leading to this program was our ability to maintain contact with all the nominees there were 27 nominees for the 2020 award there were three finalists in the winner and then um the for the first time it was easy to put out a call and say let's have a meeting on zoom um not everybody can attend not all 27 nominees are are continually involved but there we are in communication with all of them so that's a first um and and it also brought a tremendous amount of attention to the program because it was all virtual and it was a global audience and that's being carried forward there is an international committee at the league under which this uh gilder quanie program falls um and they are really taking the reins and trying to move the idea of international networking forward with other projects so they're a partner in this one it's a new prospectus is really um doing this um but there there's an interconnectedness obviously I'm on the board of the league and involved with the gilder quanie award so um I think the networking aspect is is huge and Iman what you just said a few minutes ago is also really important about the momentum yeah I think I think without the the award we wouldn't have been here together or this project wouldn't have been the same because the the fact that we were all part of the of the call and the award that made it possible but also one important factor is the fact that we are all female theater makers and female theater makers are strong in making connections there is no uh kind of um like a rivalry there there's complicity in in the work and in the vision and that is the beauty of it and this is what I wanted to to stress out yeah and and also uh this is one of uh the the the very few uh positive aspects of incarceration modes because we have to act in the virtual world rather than seek uh other other levels uh if you are just joining us this is no summary golden threats live stream series of conversations with artists that do not fit in a box we are in conversation with Iman Aoun and Melody Brooks around their project theater in the streets and you may post questions to golden threats facebook live for our artists to respond to and we will handle them in a few minutes from now um Melody you already answered the final question I wanted to ask which is uh what's next and how can we really correct uh or or raise the final point which is the role our role as human beings all over the world and you just highlighted a few points and I wanted really to ask because I am an educator I teach at a university and I wanted to ask about the possibility of um sharing those texts with the students so uh you mentioned uh university uh like uh links with universities uh you mentioned also publishing possibilities of publishing what are the other possibilities that you are considering for these texts so one of the things um there's you know we're we're collecting suggestions or ideas so one is this idea of doing uh internet some festivals in different locations that we make the texts available um and that theater companies around the world could produce a festival because there are the pieces are all short they're three to five minutes um the sand mountain is a bit longer and a few may be a little bit longer than that um but to do live theater festivals in a context of then engaging in an audience discussion afterwards and that it could be promoted either a rolling festival it starts somewhere I mean it could start even at new perspectives in New York um and and then other places pick it up um we do the idea of making the texts available and publishing them um is is really attractive because we also want to be able to distill some of the things we've had talked about in our conversations what's important to understand what are some practical positive steps I mean Joan Firestone who is actually the chair of the international committee at the League of Professional Theater when she talked about that we learned about the restrictions on funding uh from US and European um funders that make it impossible for the artists to really be free to do their work so one positive thing people could do is you know um everybody write to the the foundations or the people who are supplying the funding and say stop putting these artificial barriers um because they're ridiculous they're like oh you might be a terrorist or you might be supporting terrorism or and and this is really kowtowing to this larger media narrative and the you know the western government's view of things um we also talked about uh in terms of making texts available to universities of not just sort of handing them a a collection of these pieces but again this ongoing conversation that we're having to include that and and perhaps it could be a catalyst for university theater departments to engage their students in a similar kind of project to to even locally because I think that that what this shows is that we we are all the world is an oppressive place right now um obviously it's some more life-threatening than others but you know I say even in the US but we've been an oppressive place for a very long time we just haven't been so public about it um that maybe they would go to their neighbors or they would do something locally and and and try to do a similar kind of project so that the the the ideal my you know dream as I am an idealist is that we get hundreds of thousands of people who are engaging in direct action um you know because they and and and what we create to put on YouTube because it's the um even though the corporate media is still um that it has a wide reach and that that we can put in there at some you know call this number and complain about the funding you know give this script to your local theater company or support your local theater company in these areas if you can make a donation or attend their performances so that's what we still have to think through and and and there's just a you know my brain is sort of going in lots of different directions and we we have a partnership of eight people the three curators um Fania William Sousa at the Brighton Theatre in England the league um Malini Singh McDonald who is with Theatre Beyond Broadway here which is a company of very diverse artists so when we reconvene where there's a new planning session um that needs to happen getting some other folks involved to think about what are the products that we can create from this and also what Iman said too um we haven't even begun to think about the next round because this has been successful we know better what we're doing now so we could certainly pick three more countries or regions and do the same thing with a you know a break in between to give people time to to get organized but I think the the momentum the the connection with the artists um also with the in the conversations we've been having it's not just the outsiders but the artists themselves seeing their work uh reflected in the other artists work so that that that camaraderie that um you know a community of artists so it's a community of artists and we hope eventually a community of activists who who are all focusing on making change thank you Melody Iman would you like to add something yeah I I also would like I mean Hanna in the chat just written that uh translation is also very important hello Hanna and yes absolutely um there there should be translation into Arabic and into Spanish and and Hindu probably or whatever language possible but but one more thing that is important uh I I believe at least from where I am um our people never have read or seen a Venezuelan play and they were never exposed to Venezuelan stories so I believe that one one thing that I would wish to see when we finish is that I would do a focus on Venezuela in Ramallah to read the the plays it could be all the plays but but in like a mini festival reading festival or something or even producing one or two of the plays and the same for India and and that would be wonderful if we exchange our the stories that we have been presenting and every country would present something to the people from the other from the other side that also is another dimension to to this project and it could add on to the knowledge and to the awareness that we aspire to see and the solidarity that we are wishing to to establish among artists in the different parts thank you Iman um I have a few more questions but I will stop now because we need to make room for our guests and the people who are attending our event on howl around I think we do have a question already and it's Hanan I'm not sure this is Hanan Hajj Ali or am I mistaken yes Hanan is a winner of the Guild Aquarium Award this is what I wanted to highlight she's the winner of the Golder-Kanye Award Hanan we are all ears for your question yes I'm very happy to see you all and hello I was very happy to know that you are participating in this gathering I wanted to say I would begin by the last point that Iman raised it is the same suggestion that I put in the chatting about preceding the dealing with the text with with a Zoom with Malika or Iman or Lupe or together to do a kind of focuses because for example for me it was very interesting to to know about what's happening in Venezuela especially that I saw by chance before the first session and the second session of Venezuela text a documentary about Venezuela and I was really shocked to see the similarities between the situation of Lebanon for example and Venezuela and it was very very very for me very informative and very very essential to begin with as a knowledge so the your suggestion Iman it is very valid and I can see the progression of the of this program and how we began and how little by little piece by piece the ideas are will be will be numerous and we will have a difficulty maybe we'll have a big task to to to select among them and to see what could could could make a strong homogenous action next action what what could be so I'm very very hopeful about about the future of such such initiative so thank you all thank you Hanaan I just wanted to say one word to Hanaan that and to mention to the people to the audience with us that Hanaan was also I mean curating the the text from Lebanon we did not talk much about the texts from from Lebanon and because maybe we were focusing more on Palestine and Venezuela at the moment but but of course we had also three texts from from Lebanon that were all also very powerful and and they spoke about issues that are either political or social and one of them was also about the fact that we were living in under the the covid situation situation yes that's that's a good situation for the pandemic that is eating us up allow me Iman to to say that in the beginning and through the the beginning of the of the initiative Lebanese participants were a little bit lost because the announcement in the beginning was for Palestine and then Lebanon was added and but for me it was really maybe better to focus on Palestine and maybe and another on another level and another step would be for Lebanon because but I find it I find it more logical to do it like this and just to tell you that there are two participants who delivered two texts very very strong but it was so so subjective and so risky that they asked me at the last minute to withdraw them so there is this kind of fear still especially from from women yeah from from we also had with one of the Venezuelan artists they used to pseudonym because there had been an incident in Venezuela a crackdown on artists a few days before we did it and so for our presentation they did not use their actual name because they felt it was too risky so this is another you know common a thread already in the in the two regions we've visited and we'll see you know how that plays out in India but you know there's always the artists being under attack comes at some point in all oppressive regimes and whether it's starting with limiting funding or literally arresting people for their expressions and it is it is it's everywhere right so it's another reason why this program is so important yeah well where there is oppression artists are the most fragile individuals artists and children and women which also leads me to one of the Lebanese texts which is by Dina Salim if i'm not mistaken who spoke about the green door the panda and the pepper this is the title of her text and she speaks about domestic violence which was really very interesting throughout the the areas that you focused upon which is Lebanon I repeat Palestine and Venezuela and in the coming weeks it will be India what is the level of domestic violence and gender-based violence i'm being aware of the questions of the audience but in case we don't have any questions so i'm going to ask my question I think what we've seen through the pieces in the conversation since the level of domestic violence is very high maybe some of it is prompted by different reasons there is a religious element to it in some cases there is you know we know it anywhere when there's financial difficulty and great distress in the community domestic violence really increases we learned in Venezuela that there's a lot of young women because so many people are trying to leave the country that they are fooled into thinking that they're going to Trinidad in particular for real jobs and they're brought into prostitution rings many of them are murdered and this came to light because one of the boats that was going to Trinidad sank and all these young women were killed and so there's there's you know we do three pieces each session so a total of 12 from each region but there's clearly we've only scratched the surface I think when it comes to the impact on women that's been a through line in different ways but also domestic violence it is a crisis and we are all theater women that are working on this project so you know it's something maybe to dig into a little more as we move forward with the with the project as a whole thank you yeah if I may add the I would say that that usually it's I mean violence is a vicious circle so whenever there is violent state violence whenever there is economic violence or economic despair let's say and people are attacked into impoverished or in a real dead end situation then they become really very violent and and the the first thing that they do they become violent against the segments that are weaker than themselves and usually it's the man against the women and the women against the children or the man against the children and so this is how domestic violence grows and spreads for us I mean there are so many studies done about domestic violence but one big aspect of it the fact that the men are frustrated the people are frustrated but men are really frustrated and so they are also they've been on checkpoints they are harassed so all the emotions they get back home with so negative emotions and then they explode at home and so that's how we should really when we look at violence we should look at the whole spectrum if you want of where we are living why things are so bad yeah and it's not a surprise then to when I first attended the Venezuela session the first Venezuelan session there was a question among the audience who said that what's common between all the texts is the woman-centered oppression or the woman-centered world and I can see that through other texts that I have read in Lebanon and also a little bit in Palestine do we have any questions I do want to just point out that not all the writers are women yes we've had a combination of men and women but yes the the women-centered violence or and also women bearing the brunt of the oppression right because women are all the elements that Iman just talked about but but women care for the family they try to keep the pieces together they have to feed the the kids and keep the house you know in some kind of functioning you know way whether it's needing water or electricity or you know cooking fuel any of those things that women are at the center of managing the oppression they don't have the luxury of blowing off steam because they're frustrated and you know going out and committing a lot of violence because they're they're so constrained by just trying to keep it all together and I think that that's you know across the board that whether a country like the United States is perceived as you know having that level of oppression we certainly have our share and more of domestic violence here and for many of the same reasons and so looking at sort of the beginnings of what oppression does to people and looking at sort of really full-blown complete state oppression in Palestine Lebanon and and Venezuela is could hopefully be a warning you know cautionary tale for the rest of the world that thinks we're immune to this right Sahar has a question uh Sahar uh would you like to ask the question or shall I I'm gonna ask it how would they envision the project coming to life in person if that's something they want to do and how it can maintain its international aspect so we've already talked about a couple of ways in which to bring it to life to do live theater it is the ultimate goal one of the ways is making the text available to theater companies around the world organizing some kind of joint adventure in terms of doing festivals of either all of the pieces or some of the pieces a and iman just talking about producing work from the other countries that are featured in this program if she wants to produce some pieces from Venezuela and vice versa and then where we provide the text or provide some additional resources you know maybe a questionnaire guide or a list of things to do or explore that the hope would be that people would take that and do it live do it in their communities and maintaining the international flavor I think as long as zoom remains accessible there are other streaming platforms this is being done on facebook and howl round I think that we can continue with some refinements to continue doing this just the the the weekly if you know if that's too much biweekly or whatever outreach to other areas around the globe and and have a similar kind of conversation just to keep going that's my thought Iman what do you think yeah I think the last thing that you said is very important to keep to keep this like once a week or twice a month meetings and and readings that would by itself take us into something deeper and and probably it will grow it will slowly grow this is how I feel I feel that we should not be pushing it towards going somewhere but we should be trying like a like a baby nurturing it to grow and printing a volume of the different or a book whatever of the different place that would be a wonderful thing and going into universities as we said all of that is going to happen slowly maybe not everywhere but maybe it will happen in one place not every place but maybe each one of us coming from the different countries will choose the way to to use this the material or to use the way to enhance it in in their society so that that is another way possible as well it doesn't have to be all look in one way one direction but certainly the material needs to be gathered and it needs to be translated that's yes thank you very much Iman we have reached the final minute of our session today I wish we had a little bit more time to discuss further many thanks to our guests Melody Brooks and Iman Aoun please stay connected with Golden Thread by signing up for our weekly email and follow us on Facebook I'd like to thank HowlRound for hosting this live stream event recording of this session will be available on both HowlRound and Golden Threads websites and many thanks also to our live stream technician Wendy Reyes and Kristi for managing the live stream on Golden Threads Facebook page and many thanks to all the people who attended this session and thank you for joining us today goodbye and maybe see you next time bye thank you thank you


Today, what I'm going to be doing is comparing the Juve Solo Relight Therapy device with the Platinum Biomex 900. It's 0.075, 12, 32, 60, 76, but it had a flicker percent of 29 percent. Hello, it's Alex here from AlexFegers.com and have I got a video for you. So today, what I'm going to be doing is comparing the Juve Solo Relight Therapy device with the Platinum Biomex 900. Now, why am I so excited by this video? Well, last year, late last year in 2019, I did what I called the best, in search of the best body panel for 2019. And I looked at six different Relight Therapy panels, including the Juve Solo. And I looked at companies like Mito Red, Mito HQ, Red Therapy. And I also included the Platinum Biomex 600, which is slightly smaller than this. It has 200 LEDs compared to the Biomex 900, which has 300 LEDs. Now, the Biomex 600 came out in first place. It won that whole competition, beating Juve, the Juve Solo. And I looked at various metrics such as power, radiance, flicker, EMF, all sorts of things. If you want to check out that entire series, I'll put links below or head over to AlexFegers.com and you'll find that article over there. But I didn't have the Biomex 900. And I actually think the Biomex 900 is a better value panel compared to the Biomex 600, just because from a dollar point of view, you're getting more bang for your buck. You're getting more LEDs, you're getting more power per dollar. Plus the panel is slightly bigger. But what I want to do in this video is do a direct head-to-head between the Platinum Biomex 900 and the Juve Solo, which is probably the most famous, most popular in terms of well-known red light panels out there. Biomex, the Platinum Biomex range not as well-known, but those who are, you know, well-informed and at least well-researched in this space are well aware of the Platinum Biomex range. And those who have watched my video series I was just talking about before would also be well up to speed on the technical advancement that this panel has. So what I'm going to do today is we're going to compare these two panels across a variety of metrics. We're going to look at price. We're going to look at shipping. We're going to look at peak power. We're going to look at wavelengths. We're going to look at flicker, sound, and everything else. Anything else I can think of. We're going to compare them here to here. So if you are in the market and you were thinking of buying a Biomex or Juve or some other company's panel and you just wanted to check these out and see which is the better. And one thing I should mention, I am affiliated with Platinum Biomex. I used to be affiliated with Juve, but unfortunately I'm no longer affiliated with Juve. They decided they didn't want my referrals and cut my affiliation. And that was after my previous epic roundup series I did. That was after the Biomex panel came out number one. And when I filmed that, I was affiliated with every single panel. So there was no biasness. You know, I didn't really care who came out number one. You could argue that now like I'm going to be a little bit more biased with Biomex. But hey, I'm going to be doing these tests. I'm going to show you the results. You can, you know, take it, the whole idea is to give you the data to make an informed decision. So right now I am affiliated with Platinum. If you go off the Platinum Therapy website and buy this particular panel or any of their panels, you can use discount code LXALEX.  With Juve, there is no discount code and there is no commission. With round one, we're going to look at price and shipping. Price in USD, US dollars, and shipping to mainland America. So first things first, shipping, this makes it easy. It's equal time for both parties. Both Juve and Platinum offer free shipping to mainland America. So that's easy. There's no points to be awarded there. We'll just keep you around on zero. So let's look at price. The Juve, Juve Solo is $1,195 American. There are no discount codes to be had either through myself or through any other affiliates because Juve don't do discount codes. So that's the best price you're going to get. With Platinum, the Platinum 900, the price after using discount code LX, which saves you 5%, is $1,091.50. So that is a saving of $104 between the two of them, which is a big saving. I mean, that's a huge percent difference. So at the end of round one, this was a nice short easy round, wasn't it? Platinum, Biomax 900 is going to take one point as it has the better price. So in round two, we're going to look at the EMF and ELF levels of these devices. I've got here my Cornet Electrosmog meter. This is a $2,300 device. That is surprisingly accurate. I've had it compared to professional $10,000 plus meters and it's held up very, very well. So what I'm going to do is I'm going to test magnetic field at 6 inches and electric field at 6 inches for both panels. And we're going to see who's got the lower readings. Lower, the better. All right. High levels causing the high load on a stress load on the body. And like I said, I'm testing at 6 inches because that is the recommended treatment distance from these panels. Yes, you can go right up to it and get a much higher power radiant, but 6 inches is the norm. Okay. So I've got a 6 inch ruler here. I'm going to be testing, like I said, magnetic field and electric field. So let's test the Juve magnetic field at 6 inches. All right. So you're not going to be able to see this, but the reading on the screen at 6 inches is 0.07 with a slight fluctuation up to 0.08. We'll call it 7. So that's great, but very, very safe levels. It will be interesting to see how the platinum can guess. All right. Let's have a look. We will start with the magnetic field at 6 inches. For the magnetic field, we had 0.09, which is also a very, very good reading, and it's still in the green zone, but it is ever so slightly higher than the Juve. Now, interestingly enough, all right. So we had 0.07 for the magnetic for Juve, and 0.09 for Biomex 900. So the Juve comes out on top. Let's compare the electric field. And we have 8 volts per meter, which is also a really safe number. Notice it's in the green zone there, and it's actually identical to Juve's number. So at the end of round two, looking at EMF and ELF levels, we have the Juve. Ever so closely, like a fraction of a fraction, having a slightly lower magnetic level than the Biomex 900. They both had identical electric fields, both in the green zone. So for this round, Juve gets one point, and Biomex gets zero. That brings the total after two rounds to one point for Juve and one point for the Biomex. Next up, we're going to look at power output. So for power output, I'm going to use my spectrometer meter here, which costs me a few thousand dollars to get. It also tests for flicker, which we'll be comparing these units later on. So what I'm going to do is I'm going to turn on these units, one unit at a time. I'm going to measure at six inches, and I'm going to go across the panel in a diagonal way to see the peak power output. That's typically what most manufacturers are doing. They're looking for peak. I know it's not the best way to measure power. It doesn't account for drop-offs and all that sort of stuff, but that's just the easiest way to do it. And I think the fairest way, if you want to see all my thoughts on this potential test, be sure to check out my 2019 body panel comparison, where I go into a lot of detail about this. So we're going to start with the Juve, and I will be firing up this unit, and I'll try to read out the highest numbers I see as I go across, and then we'll do a comparison afterwards. Alright, let's do the Biomex 900. Again, I'll be measuring power irradiance, peak power irradiance at six inches as I move diagonally across the center of the panel. Five, 12, 32, 60, 76, 64, 62, 66, 65, 62, 58, 59, 54, 57, 44. Alright, so after doing that test, the peak power output for the Juve was 48 watts per square meter, and the Biomex 900 was 76 watts. So that is a big difference. It's a huge difference, actually. And if you're looking for a panel that has the most power, out of these two at least, then the Biomex 900 is a clear one. So that means for round three, Platinum LED Therapy Biomex takes the point, and now we have a total of Juve after three rounds, Juve on one point, and the Biomex on two points. We're going to look at flicker frequency and flicker percent. Alright, personally, I'm not a big... I don't worry too much about flicker. I've got an article on my site, everything you need to know about life, flicker and health, but some people are. So I'm going to test the Juve first and we'll go from there. Alright, so the Juve had a flicker frequency of 100 hertz, and a flicker percent of 18 percent. Lower is better. Let's test the Platinum Biomex now. Alright, so the Platinum Biomex had a flicker frequency of 100 hertz, same as Juve, but it had a flicker percent of 29 percent, which is a little bit higher than Juve. That means for round four, if you're looking for a panel with the lowest or the better flicker, then Juve takes the cake and the point. So that means after four rounds, Juve has two points and Platinum also has two points. It is close. Alright, next up, let's look at sounds. So now I'm going to test sound with my sound level meter, and I'm also going to test that at six inches. Now it will be interesting to see how the Platinum Biomex goes, as it has five fans. The Juve only has four, so you would expect the Juve to do better. Alright, let's see how we go at six inches. So with the Juve, we have 56.2 decibels. Let's now test the Biomex. Remember, the lower the sound, the better. With the Biomex, we had 51.5, which is substantially lower than the Juve. So if you're looking for a panel that has less noise, is quieter, Biomex is the one to go for, and that's interesting because it has five fans, compared to the four and the Juve. So for the sound round, we have to give the point to the Platinum Biomex 900. That means after five rounds, Juve is on two, Biomex is on three. Now we're going to look at total LED counts, and this is a clear winner. You can see visually that the Biomex has a lot more LEDs. Obviously, the more LEDs in there, the larger the treatment zone, the more power that's been emitted, more jewels that have been absorbed from the body. So the Juve has 150 LEDs, and the Biomex has doubled that 300 LEDs. So yeah, I mean, that's a huge, huge advantage there with the Biomex 900, especially because that is a cheaper panel as well. So that's quite interesting. So that means the Biomex gets that point, and we now have the Juve on two points, and the Platinum on four. All right, now it comes to round seven, and we're going to look at the wavelength emitted. Now, typically red light panels offer two wavelengths, 660 and 850 nanometers. The newer machines out in the last year or two allow you to alternate between or select which wavelengths you want emitted, whether it's just 660 or 850. Now I can tell you right now that both panels have this function. You can choose if you want infrared or red light or both. So that's cool, makes it easy for comparison. But the interesting thing is the Biomex is the second generation Platinum LED panel lineup. And that means as a result of that, what they've done is they've actually introduced more wavelengths into their lineup. So their first generation panel had the 660 and 850, which is exactly what the Juve Solar has, 660 and 850. However, the second generation Biomex, what we have right here today has five wavelengths. 80% of the power is going to 660 and 850. 20% of the power is split between 610, 630 and 830. I think it was nanometers. All the details are on my review, the Biomex review over at AlexFews.com. Now, those wavelengths haven't just been pulled out of the air and, you know, as a marketing employee, there's actually a lot of decent research showing that those wavelengths do have a therapeutic beneficial effect. And I've written about this over at my website in an article on the health benefits of neurophoretic and red light therapy. So check that out as well if you want to. So that means the Biomex is going to take around seven as well with five wavelengths and the Juve only has two wavelengths. So that means the updated score after seven rounds is two for the Juve and five for the Biomex. Lastly, we have Warranty, which is, I think it's a underrated feature if you want to call it that. A lot of people don't look at returns and warranty and whatnot, even support. And when you're spending the thousand dollars or thereabouts on something that you're going to be using multiple times a day, you want to know that you're going to get the support and care and have the warranty to back it. Now, both of these companies are quite well known in the LED space. However, platinum LED have been around for much longer than Juve. They've been in the LED space for eight or nine years now. They've only been in the red light therapy space for about four years. Don't quote me on those numbers, these are just rough numbers. Juve have only been in the LED and red light therapy space for about four years as well, three or four years. So platinum LED do have a bit more experience and know how when it comes to making these panels. They support that experience with a three-year warranty on all their Biomax panels, which is quite extraordinary, a three-year warranty. The Juve, on the other hand, only have a two-year warranty on their panel. So for this round, again, it's quite a clear winner. The platinum Biomax 900 takes out the point. All right, so that's nine rounds, nine hits a hit rounds. And it is very clear the overall winner with six points against the Juve. Two points is the Biomax 900. The only areas the Biomax lost against the Juve was on the EMF front and the difference there was so minuscule. I mean, I don't even know if this is accurate at the points difference there. You know, some people could argue that, hey, it was a tie, but that's what the numbers did put out. Both panels are perfectly safe at six inches from an EMF ELF point of view, but the Juve was slightly better. And then the Juve was slightly better from a Flickr point of view. But if you're not worried about Flickr and you want to get the best, the highest-powered panel, the quietest panel, the panel with the best warranty, the panel with the most LEDs, the panel with the most wavelengths, and the best price, then the Platinum Biomax 900 is the obvious choice. Not only is it bigger with 300 LEDs compared to the Juve's 150, it is also $100 cheaper. It has a three-year warranty compared to two years. It has five wavelengths compared to two. And it has really good EMF levels as well, because I know a lot of people are concerned about that. So that's it. That's my hit to hit between the Biomax 900 and the Juve's solar. Now, if you're watching this and thinking, all right, well, how does the 900 compare to the Biomax 600, I have actually recorded a video on that as well. So hit subscribe below. Look at all my other videos. And you can see the comparison between the 900 and the 600. If you want to know more about the Biomax range, head over to Platinum Therapy Lights and have a look at their website or Google Alex Fergus Biomax review, and you'll see my in-depth review on these panels, where I look at all the science and technical details. I'm much there, much greater data. Otherwise, leave a question below. If you do want to buy the Platinum LED panel, be sure to use discount code AlexALEX. It will save you 5%. I do get a little bit of commission and it helps me purchase fancy gadgets like this, so I can do these reviews. I hope you found this interesting. Give me a thumbs up if you liked it, and be sure to check out my other videos as well, as I've got lots out here. Alright guys, bye.


Born with health martyrs, chairman of the Nigerian Medical Association in River State says there is the need for the country to make provision for a bank where organs will be kept and given to recipients whenever they deserve it. This call was made on the sidelines of the fixation we can put hack at the state capital. Now worried about the continuous organ harvesting in the country, especially the sale of kidneys, chairman of the NMA in River State, Dr. A. B. Robinson, said the association is advocated that no donation of organs should be done for profit or economic reasons. In fact, we are focusing that there should be an organ bank in the country where people organs are being kept and being given to people as well as when they deserve it. So we need strong legislation to ensure that we control organ donation or organ addition donation in this country. Speaking on the theme, these is our chance to get it right in the health sector. Some public health specialists at the federal government needs to incorporate medical specialists before making decisions about health care. It is also important that the government will also be strategized to get things right. We as medical doctors, we are on top of the value chain. It's a call to action. This is about internalizing this conversation and running with it. Our chance to get it right in the health sector. The theme for this year's event is, this is our chance to get it right in the health sector. The sub themes are the Abuja Declaration, 22 years after. The medical issues in human organ donation. These themes were carefully selected to address the living issues, affected the sum of operations of the organ system and service the living room.


Disney made a lot of interesting announcements on its earnings call Wednesday that it would team up with Warner Brothers Discovery and Fox on a sports streaming service this autumn. Is this what court killing sports fans have been waiting for? I think that it is less what everybody has been waiting for and more an answer to a problem that they are going to really feel acutely over the next 10 years. You're gonna be outside of the realm of bidding when Apple and Amazon come to call. And the larger point I wanna make is why would this only be true about sports? Why would this not be true going forward? And while we look at this grand game of musical chairs that is being played throughout all of the streaming services and the companies that may or may not wanna be in them, one of the thoughts that people have had is that at a certain point, all of the dinosaurs, relatively speaking, are going to join together because they know that together is the only way that they can stand up to the apples and amazons of the world.


Happy Monday November 8th here with your day trading recap for Monday November 8th Green day today to start the week plus 626 Did three mighty 90s to and Roku booked 180 on one booked 400 on the other and book 246 on Apple and my only loser was a runner. I tried to do in a firm minus 200. So let's go over these I'll show you what we did Starting with Roku expand Roku here for you So and I was done before 10 a.m. Today, which is always nice. All right, so Roku was pushing higher pushing higher I got this little spike in volume got short right here Got out of three quarters of my position at this pivot because I was afraid it may bounce Started to but then rolled over so I ended up closing out of my last piece down here and then when it came down to unchange broke through the lows of the day also with a little volume pop got long right here and and On this little bounce here got out of three quarters of my position and then my last piece I was holding it rolled over. I was considering adding here But I was kind of done for the morning. So I ended up just holding and so when I caught this little bounce got out of my last piece so booked 180 on that one 400 bucks on the first one and then Apple Apple was acting really weak especially compared to what the Some some of those similar times on the overall market bounced up to unchange I got short right here started to push higher And then so took a little bit of heat there just for a minute and then came back down rolled over Got out here booked a nice profit on Apple and then and then my only loser was in a firm and Affirm and a nice little volume spike here. I Sometimes I'll buy the pullback here look for a continuation higher that didn't work But when it came down to this pivot it kept holding the pivot and I was getting a little bit rising volume here so I got long looking for a bounce and just never happened kind of pushed lower and So ended up cutting out pretty quick just taking a small loss and that's my only loss of the day So plus 626 on the day. Hope everybody else has a good rest of your day We will be streaming live tomorrow and we'll be using the navigation trend trading Indicators and setups for the day trading tomorrow. So look forward to seeing you in the live room talk to you then


URL. Display web links. With Moodle it's very easy to display for all learners links to websites or links to files uploaded online. This saves them having to go and find them themselves. They get a direct link which you the teacher have chosen. If we turn the editing on in our course and then in the section where we want to add our web link or URL we click the link add an activity or resource. It doesn't matter if you choose the wrong section because you can always move it afterwards. This brings us to the activity chooser. URL is a resource and we can click to go straight to the setup screen or we can click to get some information and then press add. Here we can put the name that we wish to give our URL. It doesn't have to be its actual name or address but a descriptive term that the students will see on the course page. We can also add a description and if we want display that description on the course page by ticking the box. And then in the external link box we actually paste or type the name of our URL, our web address, the link to the website or uploaded file. And if we don't exactly know where our uploaded file is we can click the choose a link button and that will take us to the file picker. There are several other settings that you might like to explore in your own time for instance appearance, how exactly you would like this URL to be displayed. But for now we scroll down, click save and return to course and we can see that we very quickly added a link to our website for our learners to access.


What is going on guys welcome back to the channel critical overload here So this would be a spoiler for you for the latest live adaptation reimagining of goosebumps Which we know obviously is going to be appearing or debuting I meant to say on Disney plus this week on October 13th This Friday Friday the 13th actually we know it's based on Arles Steins classic material books that iconic show if you grew up with that too and It is being developed by Rob Letterman and Nicholas Stoller It is starring Justin long on a yee Miles McKenna will price Zach Morris Issa Briones Rachel Harris and several others This show is revolving around five teenagers who after accidentally releasing supernatural forces Must find a way to work together and recapture them while discovering their parents secrets from their teenage years Now I will start by saying as someone who loves goosebumps loves that material Loves the work that Arles Stein did to help create a nice soft spot for my horror obsession as a kid This show it's not hitting it. It's it's not hitting the mark at all Goosebumps is a tonally uneven showcase of some of Arles Steins best hits Trapped in this melodramatic teen drama that's constantly falling flat the further the show goes on This latest live adaptation attempt demonstrates exactly why this property Needs to stick to being an anthology series of contained stories that are not overlapping in this sort of capacity and Sure, I can admit that the series offers a group of teens with likable qualities But it also has a mystery involving a boy named Howard who died in a fire 20 years ago That seems to be sidelined in favor of exploring these teens troubles a little bit too much I will say we have Lucas a kid struggling to live up to expectations of his parents Regarding sports and his future in as a football player Then you have Izzy a girl who feels invisible to her peers Lucas someone who has lost his father and copes through extreme stunts James a character that struggles being gay and is also Lucas's best friend and And another character named Margo who kind of is just there in the middle as a neighbor to Lucas trapped in between him and his girlfriend now if this were to grassy I'd say job well done because of how it establishes our characters and lets us get an understanding of them and obviously grow Attached or invested in them to some degree But goosebumps is failing as of now due to the inability that it has finding the balance between the soap opera aspects and The mystery surrounding Howard and Howard's connection to these kids parents the dialogue is not the best at times But it didn't completely ruin the narrative for me You do get a jab at the patriarchy and who doesn't love that how the series is Incorporating these iconic childhood classics like the Haunted Mask Cuckoo clock of doom the say cheese and die camera, etc. Is far from terrifying While they do tie into the teen struggles goose bumps just cannot seem to make their inclusion Genuinely scary the scares in these scripts are mostly coming in the form of jump scares and questionable visual effects The jump moments come in the form of unexpected dialogue bits that catch you off-guard and then loud screeching music Characters appearing in mirrors or showing up behind someone There is no consistently eerie atmosphere that leaves you on the edge of your seat that they utilize to try to build terror They use all the cheap tactics on top of just being very uninspired and annoying when those tactics come on your screen So instead again of doing that There's such a massive focus on the teen drama that it begins to lose its appeal because I'm thinking about the mystery that the show Takes pleasure in sidelining all the while it continues to just keep continuously focus on the teenage drama The teenage drama part that's good and dandy you need that for me to be able to invest and care about the characters However, when you keep on Focusing solely on that and you're not putting enough attention into the mystery Not to say that the mystery isn't relevant at all But they're not giving it as much attention as they put into the drama with these kids and their parents One pair of parents is actually hooking up with each other and it's like okay. Why does this matter so much? Why are we focusing on this so much? Most of the tone issues with this show they're thanks to the soundtrack the goose bumps uses and they even have Travis Scott's titular song goose bumps a cringy choice if you ask me For as catchy and likable as the songs are some are even on my playlist The songs are coming in at the at the most unreasonable times and they take away from the series being dark in any sort of capacity In fact, I go as far as saying that that early on the soundtrack is the series biggest problems in terms of being consistent with its tone Acting wise goose bumps has a mixed backup performances for every good one There's a bad one the actor who plays Isaiah Zach Morris being the worst one out of the bunch and surprise surprise guess who's the best just in long Look, I love goose bumps just as much as anyone else who grew up with those books in the classic show that I still revisit any chance that I get But this show is not capturing the spirit of oral Steins work very well It's just another teen drama that's massively convoluted unfortunately and squanders the concept of what goose bumps is I feel as though when I'm watching this they're struggling to Commit to being a tribute to oral Steins work Commit to the mystery that it's setting up and also commit to checking off boxes on whatever checklist went into making this show Stuff just seems like it's not very Genuine it seems very hollow. It seems enough unauthentic I don't know really what is going wrong with the show so far But as I went on because this is only for the first five episodes mind you episodes six seven and eight They could actually improve the show but so far. This is not it. This is something that completely Demonstrates again like I started the review mentioning. We need to go back to the anthology stuff We need to have contained stories. We need to have Characters Limited to those contained stories let them get to shine with their own story in those singular episodes and just tell different stories each episode because what's happening now is a Little bit too convoluted. It's a little bit too crowded in the narrative and It loses its appeal when it's constantly focusing on the teenage soap soap opera aspects and putting the mystery to the sideline But you guys can limit what you think about this down the conversation below I'm going to give goosebumps right now a five out of ten if you haven't record make sure you subscribe turn on post notification There's a video in the description. I'll have links on social media accounts I am on Facebook Twitter and Instagram you can message me there, of course Let me move these news reviews let me cover in the future and with all that in mind guys I will see you in the next video


Hey everybody, it's Brian. Welcome to the 31st Flutter tutorial. We are going to be looking at the switch Which is very similar to the checkbox Or the radio button even in the fact that it has an on or off It's graphically different because it switches back and forth think of it like a light switch It's just an easier way of letting the user know what's going on here So typically you would use this for like a setting of some kind, you know, like do you want to? Give feedback yes or no turn it on or off kind of thing So we're just going to dive right in here and we're going to say import package import material Make our main function here And then let's extend the stateful widget and then we're going to Extend the state of that state for widget And you notice they're kind of deviated a little bit I see underscore state instead of my app state just so it's a little easier to understand what's going on in the hood I had some questions about the difference between the two and remember in Dart anything It starts with an underscore is private. So that's not accessible outside here. So we're gonna say Run app gonna make a new material app. We're gonna set the home to new my app and here we're going to just simply Override this and we're going to say I screwed that one all up. It's been a while since I've done a tutorial I took a little break over the holidays.  All right, so pretty simple design pattern we got going on here We have our main function which creates a new material app through the run app. That's what's gonna actually run We have our stateful widget Which is going to hold a state the state of that is going to be called by create state and here's the actual state Now in the state We're going to call the build function, which remember whenever we build Quoty fingers We're gonna actually render something on the screen. So we're gonna return new scaffold and This is where the real meat of the program comes into play. I'm gonna say app bar Yeah fat-fingered that we're just gonna say switch demo and in the body We're gonna say new container and we're gonna have some padding in here And then we're gonna have an array of widgets inside of a column here And in here, we're just going to make a new Switch And you see how it has it value in an on change. So automatically it wants to know. Hey, what's going on here? So with that you should understand that we got to actually set some things here So let's say bool Value false. That's our initial value. And then we're gonna say void Then we're gonna set the state here now in set state. We're gonna actually set the value So I'm gonna say value equals the value Pretty simple So we get our initial value here and then the on changed. We're going to say maybe if I could actually type All right, so then we're gonna say Onchanged value. So then we're gonna just simply set the value here. So if you've kind of skipped the previous 30 tutorials basically what's going on here is we have a Private variable called value that we're holding in the state When the slider, I'm sorry when the switch is actually changed It's calling this on change using the value of the current value of the control whether it's on or off Shoving that into this function here as you can see we're calling it there and we're setting the state That's very important to call set state because if you don't do that. Well, the state is not saved and then when the screen's refreshed Nothing happens or I should say if you don't call set state the screen never refreshes That's actually more accurate here and the initial value or the value that's bound to it is this underscore value So we have this private variable here Let's go ahead and fire this up run this on our emulator here had a lot of positive feedback about the flutter tutorials I'm actually pretty happy to see that. I was kind of wondering when I first started these how How many people would actually even be interested in it and turns out quite a bit of you guys actually are I was really shocked For such a new technology, especially in alpha. I mean, it's not even in beta yet. It's still an alpha There is just you mungus amount of feedback on this Alright, so here's our little switch You can see we turn it on turn it off turn on turn it off And it follows the design pattern very similar to what we've seen previously with checkboxes and things of that nature So with that we're also going to check out the You guess that the switch list title Has the same signature here. So we're just gonna copy and paste this and we're gonna break this down a little bit more Screwed that all up. So embarrassed All right, there we go. So with this we're gonna actually add in a few little things here We're going to say a title Now someone did ask With titles you're saying new text. Why wouldn't you just put in quotes because it's actually expecting a widget So for the title you can put anything you want you can put another switch and put checkbox and put the image You can put custom control anything. I'm just putting a text in there because it's very easy to do that All right, so we have our title Let's set the active color Equal we're gonna say colors red and for secondary We're going to say just a home icon here You notice how often left it actually previews it a little bit rerun this bad boy and now we have our switch and Because they have the same value that they're bound to it doesn't matter which one that we click The difference being this you would have to add like extra text or whatever Well, this is all one control so you can even click on a little house here and it turns it on or off So that's it simple easy to use If you found this Tutorial educational or even funny. Let me know Be sure to visit my website boydromes.com click on tutorials for the source code for this and all other tutorials it takes your right out to github and Note that this website and everything that you're watching is 100% funded by your donations That's why I don't have advertisements on the videos So if you are a corporation or if you've just got some extra money, be sure to you know, feel free to donate a lot of that Times that goes towards funding the website running the host and all that stuff So thank you for watching and I'll talk to you guys later


Penguin Random House Audio presents the every, or at last a sense of order, or the final days of free will, or limitless choice is killing the world by Dave Eggers, narrated by Dion Graham for V. Give the people a new word and they think they have a new fact. Philip Cather. If at first the idea is not absurd, then there is no hope for it. Albert Einstein. Is there not also, perhaps, besides the innate desire for freedom, an instinctive wish for submission? Eric Frohm. Note. This story takes place in the near future. Don't try to work out any anachronisms of time and physics occur on purpose. All errors pertaining to technology, chronology, or judgment are intentional and exist to serve you better. 1. Delaney emerged from the dim subway and into a world of sterling light. The day was clear and the sun struck the bay's numberless waves and threw golden sparks everywhere. Delaney turned away from the water and walked a hundred feet to the every campus. This alone, taking the subway, making her way to the gate unaccompanied without a vehicle, made her an anomaly and confused the gate's two guards standing in their booth. Their domain was glass, pyramidal, like the tip of a crystalline obelisk. You walked here? Asked one of the guards. Rowena, by her badge, was maybe thirty, raven-haired and dressed in a crisp yellow top, snug like a bicycle bib. She smiled, revealing an endearing gap between her two front teeth. Delaney provided her name and said that she had an interview with Dan Faraday. Finger, please? Rowena asked. Delaney put her thumb on the scanner and a grid of photos, videos, and data appeared on Rowena's screen. There were pictures of Delaney she hadn't seen herself. Was that a gas station in Montana? In the full-body shots, she was slouching the burden of her too-tall teenhood.   Rowena said. Still short, though.  Sample complete. Ready to continue?


Not all men are looking for something real. You're right. You're right. About 13% of men are not looking for something real. And like I said earlier, if he sees you, it might not be that he's not looking for something real, but it might be that he's not looking for something real with you. And you need to figure that out. Which is another reason why a lot of guys won't... If you talk to a guy really early on, and you're like, hey, you know, what are you looking for, right? And you haven't connected with him, with your personality. You guys haven't had any kind of real conversations, and you're just like, hey, what are you looking for? You know, he's going to look at you, and he doesn't want to give you the wrong impression. And so he's going to tell you something that you may or may not want to hear, which for a lot of guys will be like, well, you know, it'll either be something like, well, I don't know, you know, it kind of depends or, you know, I'm not really sure yet, you know, or it'll be like, hey, I'm just looking to like, have fun and hang out and, you know, like whatever, right? Because that is more likely to get him to a relationship, believe it or not, than saying that he's looking for a relationship if you guys haven't connected and he hasn't gotten some... So what you want to do is you want to wait a little bit longer and have a connection with him before you start asking him about these things. Because if he looks at you and he sees that you're physically attractive to him, but he's not sure about your personality yet, he's most likely going to tell you that he just wants something casual because he doesn't know about you yet.


Personal finance practice problem using Excel. Graphing bond price part number one. Prepare to get financially fit by practicing personal finance. Here we are in our Excel worksheet. If you don't have access to it, that's okay because we'll basically build this from a blank sheet. But if you do have access, there's a little bit more action going on down below. We got part one, part two and part three. But here we're focusing in on part one, which has three tabs. Example, practice blank, example, answer key. Let's look at it now. Information on the left, calculations on the right. We're gonna be looking at the relationship between the year or as time passes and the bond price. We're gonna be wanting to graph that out. Now with a normal bond, that gets a bit confusing because we have two things going on from a cash flow perspective. One, on annuity payment, the interest payments that we're receiving on a periodic basis. And two, the face amount that we're receiving at the end. So to break this out, first we're gonna look at, in essence, basically a bond, which is like a zero coupon bond. So that we can look at just the end payment that we're going to be receiving, graphing that out. And then in part two, in a future presentation, we'll basically look at an annuity, which is kind of like similar to a bond that just had basically the payments and not the principal at the end. So we can graph that stream of payments out, which is a little bit more complicated. And then we can put those two together and think about a bond, which has those two streams in place, graphing it out, looking at the relationship between as time passes, as we get closer to maturity and the price of the bond. Okay, so let's first go back on over to the example tab and then we're gonna go to the practice tab. This has some pre-formatted sales. So you could work through the practice problem with less Excel formatting. The blank tab is blanks, except for the data on the left. If you don't even have that, you could just open in Excel worksheet. You could select the whole worksheet. I would lay down the baseline formatting first by right clicking on it, format the sales. I would go then to currency, bracketed numbers, dropdown, no dollar sign, no decimals. I'm not gonna hit okay because I already have this. I'm gonna X out of it, then add your data, change the sales as necessary. For example, percentage sales here, put a skinny C down and then we're ready to go. So we've got a bond. We're gonna say the face amount is 1,000. It's a 30-year bond, annual payments. The rate is zero, basically a zero coupon bond. This is basically, and we might not always have zero coupon bonds that are that long, like a 30 year, but our idea here is to do this so we can compare it to like a long bond and we can have a graph comparing as time passes and what would be the impact on the bond price. So then we got the discount rate, in essence, the market rate. So typically, if we have a bond, then that doesn't have any interest that it's going to be paying out, then it's gonna have to sell the bond at a discount because that's what's gonna incentivize people to buy the bond so that they get the face amount at the end or maturity of the bond and no interest payments. So that means we're gonna put less money upfront and we're gonna get the full amount at the end maturity. Okay, so let's go ahead and first calculate the bond price. So I'm gonna go up in D here and say this is the bond price and let's just do it for year one this time. So if I was just to purchase the bond, I'm gonna make this a little larger.  We normally have the present value of interest, interest, interest payments, but we don't have any. So it's zero because we're not gonna get any because we're not gonna get any interest payments. All we have then is the second part of the bond price, present value of the face amount, which we're gonna discount back using the 9.5% way out 30 years out into the future. So it's gonna be pretty low. So we're gonna say this is negative present value, shift nine, the rate is gonna be that 9.5. It's not semi-annual, but annual. We don't need to do anything funny there, comma, number of periods. We're just gonna pick up the 30, comma, comma, because it's not an annuity. So we want the future value, which is the thousand dollars we're gonna get in the future and enter. That's the 66 dollars. So it's probably got some decimals. Does it have some decimals there? There we got, so we got the bond price is then for year one is the sum of these two, adding it up. So we'd have to put 65, 70 down or so in order to get the 1,030 years out into the future because it's way out there in the future and we're not getting any interest payments. So let's go ahead and make that bordered and blue. So I'll hit the dropdown. If you don't have that blue, it's in the color wheel. Standard, there's the blue that I'm gonna use. The standard blue. So now let's do that same thing, but now let's imagine we go from 30 years out and we bring it all the way down to each year closer to 30 years, 30 years. So I'm gonna then, let's make another skinny C column or make a skinny F that's like the skinny C. It's the skinniest C. So home tab font painter, format painter, skinny F, which is now skinny. And we're gonna say, let's say years, let's say year and price. We want year and price calculation. The price is gonna be easy to calculate because we just need to do this one here, the present value as the years pass as time goes by as we get closer to maturity. Why aren't you close to maturity yet? I don't, maybe I'm just different because whatever font group time passes and you're not getting any closer to maturity. Whatever, so any case, we're gonna say then this is gonna be zero, one, two. We'll take those three, we'll copy it down to 30, putting our cursor on the fill handle, bring that on down to 30 and then let's center that. And let's just do our calculation right here again. We just need to do this one, the second one here. So we can just say this is gonna be present value shift nine. The rates that 9.5 comma number of periods is gonna be 30 comma, wait a sec, number of periods, let's do the number of periods this way. I wanna get to that 30 but I'm gonna do it this way. I'm gonna go all the way down and say we wanna take 30 minus the zero, 30 minus zero because that'll allow us to copy it over, copy it down. So in other words, this first one is outside of the data, it's over here. I wanna make that absolute because I don't want it to move down when I copy it down. So I'm gonna say F4 on the keyboard, dollar sign before the B and the seven, you only need a mixed reference but an absolute one works. But this one, I want the 30 to remain the same subtracting zero and I want the zero to move down. So it would be 30, 29 and so on and so forth. So I'm gonna say this'll be F4, this one making it absolute minus the zero and then comma, comma to get to the future value and the future value is this 1000, that 1000's outside of our data set. Again, when I copy it down, I don't want it to move down. Therefore absolute reference dollar sign before the B and the two, you could do that with an F4, selecting F4, enter. So there we have it, we should get to the same number if I add some decimals. So we got the same number there. Let's just say, without year one, we'll say take that off. So we got period, at the first point of purchase, 65.70. So then I can copy this down. I could just double click on the fill handle button, see if it does what we think it should. So I'm gonna open this up a bit. So let's double click on the next one and check it out. So now we've got the negative present value. We've got the rate, which is that 9.5, it looks right. Then we've got the number of periods, which is now 30 minus the one, which is 29 periods. And then we've got the future value, which is the 1,000. So that looks good. So now as we get closer to maturity, because really, like if I was two years out, then I'm closer to getting that $1,000 at the end. So you would expect the price to go up. Because as I get closer to maturity, I'm willing to pay more for the investment, because I'm closer to getting that lump sum payment, the full amount at the end, the 1,000 at the end. So you can see, if you look at that kind of component of a bond, then we're willing to pay more and more. And by the time we get to period 30, we've got the full $1,000 that we're willing to pay because now it's at real time by the end. Okay, so let's graph that out then. Let's graph that out and see what it looks like on a graph. Is it a straight line kind of relationship? In other words, we could say, look at the difference here. The difference, let's make that black and white. Let's make that black and white. And I'll make that a little larger. And I could say, let's take a look at the change, which is gonna be the 71.94 minus the 65.70. Let's make that a little wider, or a little, add some decimals and copy that down. So here's the change that is happening. So you can see it's not exactly a straight line relationship we have here. So we might wanna graph it out. Let's graph it out, let's check that out. So I'm gonna select these two data sets here. Gonna select these two. And we're gonna go up top and go to the insert. And I like to choose the charts so that I can actually graph out the X and Y axes. And I usually choose this one that has little dots and the line. So let's pick that one. And so if I pull that over, let's say pull it over here somewhere. So now we can check it out. And so I'm just gonna delete the title so that we have a little bit more room. And then I like to look at the data just to see what the data, see if I got the right data set. So here's the data set. If I edit it, I could say, is that picking up what we want? We've got the X axis are the years. That makes sense. The years at the bottom, the Y axis is the price. The price related to the years, that looks good. I'm gonna close that out and say, okay, here. So that looks pretty good. I might wanna add the axis titles now. So I usually hit the plus button there. We're gonna say plus button. And let's add the axis titles. So now there's the axis. Now you can click on this axis right here. And you can't really tell right now, but it'll allow you to enter a formula by saying equals. And so you can see up top, you've got the equals now. And I want this to be the price. So now it's got this formula. If I hit enter, it'll populate there. So it's a little tricky to see it that it's working that way until you actually hit the enter. But this is the same thing. I'm gonna say enter or equals. There's the equal sign and this is the years. And enter. So there we have that. And then you can play with basically like this end, this end point right here. Maybe I don't want it to go up past 30 because I'm gonna stop at 30. So if I click on this item, we get the data on the right. We want the three bars. I'm gonna stop this at 30 and say tab. And so now you can see it widen out a little bit. So that looks pretty good. And then you can also adjust how many periods you want. Like so it's got every five here. You could say the major. Let's say we put it up to like every two years or something like that. And you can adjust the table thusly. But let's keep it at that too. We'll keep it at the two. And you could see closing this out, making this a little bit wider. That looks pretty good. And you could see that as we get towards the maturity, then the price is going up. But again, the relationship isn't basically a straight line as we're getting closer to the maturity. And that's assuming that we got the same basically discount rate that we're using the whole time. And we're just adjusting of course, the timeframe, the level until we hit maturity. So if we're at 10 years here then, if we're 10 years in, we're closer to that maturity date, which is why we would expect to pay more because we expect it to mature in less time than the 30 years that we had basically up top. Okay, so that's that relationship. Now also, when we look at the other kind of thing, which we'll take a look at next time, which will be the annuity payments like the interest payment portion of the bonds, you would expect the chart to look something like this, right? Because as time passes, you're going to get less interest payments if you're talking about a series of payments. And then you got to kind of combine those together to see what the relationship is with regards to the bond itself that has kind of both of those components combined within it. So you got to keep both those things kind of together when you're trying to think about what is the impact over time with the bonds? Because you got those two kind of cash flows that are taking place. Okay, so we'll do those in future presentations. Let's go ahead and put some brackets around this and make it blue and bordered. I'm going to make this bordered and blue. So that looks good. And then of course, you could adjust, say, the discount over here. You could say, well, what if it was like four or something like that? And you could see the impact on our curve here. What if it was zero? Then we'd have the straight line. If it was then eight, you could see the impact on the curve. So we're going to bring it back up to the, what do we have it at 9.5? I think it was 9.5. So there it is. Let's do a quick spell check. We're going to go to the review up top spelling and check out the spelling. Looks good. Okay.