The work of my studio has always been guided by the principle that urban space is public and democratic like air and water and it's up to us. We're responsible, I think, all of us to protect the public realm. Architecture is so slow, it's so geo-fixed. How can you imagine architecture of distinction without generic form? Diversity Plaza is a little patch of ground right outside the subway in Jackson Heights in the borough of Queens in New York. Now Jackson Heights really lacks for any kind of public space, there aren't any big parks, there aren't even small parks. This is space now, it's just got a few benches, really nothing much has been done to it. But if you want to know what's happening with the Bangladeshi elections or relationships between Tibetans and Chinese, you can go to Diversity Plaza and find little groups of immigrants and you find these people debating the politics of their homelands and you can pick up stories of these people. It's an incredibly human space in the big city. The idea was to take this piece of property which was unused and bring green space into an area that was really underserved by green space but also with an argument to serve as a catalyst. So unclaimed urban spaces can be transformed into inclusive places, rich in function diversity, places of resilience where despite the surrounding violence, young people like Lalo can teach their dance classes. This talented dancer might never be able to leave Fresnillo, but this place has given him hope, joy and an opportunity to share his talents and become a leader. Today there are more than a hundred kids playing there every day. It's become an active playground. Play has become essential to reduce insecurity and violence. We saw a really fantastic opportunity here which was to renegotiate the relationship between the museum of the street by taking the street into the museum and taking the museum out onto the street. The way that the public use the courtyard has been transformative. It's changed the way people see the museum and it's changed also the way the institution see themselves. It's sometimes the things that you don't do that allow the unexpected to happen and that's why we did not clutter the courtyard with all the paraphernalia that goes with an entrance and why we kept it as flat as possible so that it could be appropriated by the public. You could see that there is an invitation for the public to come in and use the public space in a kind of uninhibiting way, very, very different from other Moscow parks. Then all of a sudden came press about how this park has promoted sexual activities in the park. We felt like, wow, this is a success. People are feeling so free in the space that they can really enjoy the space in each other. So to us it was a victory. One of the problems we have in the cities across the world is that we concentrate where the rich live and the rest of the cities and the suburbs and the experts also deserve this kind of humanizing the talents of our best architects and planners and unfortunately right now they seem to be located where the money is. I think it's our responsibility as architects to spark these conversations to provoke debate about this kind of thing and maybe bring the private sector and the public sector together. Gorilla action is one, just take over a site and use it in an interesting way and then see if it takes. Two is become citizen activists, expand the agency of architects to actually imagine things, convince people, show them the benefits, what's in it for them and get people to do the right thing. And the last thing is it's really in the end a matter of policy and it's having a seat at the table and being able to influence the government. What has made us be here today is the short concern of rethinking urban spaces as places to meet and connect for humans to interact. And I think I can speak for all of us here that more than ever we all want to gather together. Through placemaking we're built with the community not only for it, our design substitute barriers for boundaries. Placemaking is understanding that the value of architecture is not only laying bricks but activating a social construction. Cities are also changed by the small interventions or acupunctures that once you're adding many of them you're changing the city. But the perfect storm of the pandemic combined with a trend for online shopping has forced many department stores to close. And I want to see if we can reimagine a new way of being within the shell of a vacant department store because integrating the urban and nature has never been more important. More than ever we need to think of how to humanize three places, the bazaar, the park or the playground and the library. In the post-pandemic world we were greater than ever need for us to connect. We must seek content in context, change barriers into boundaries, start with a shift of perception, approach the landscape as the program, resignify materials, work with temporality and hold beauty as a basic right.


I'm Deborah Borchart and this is your Marijuana Money Minute. The big news this week, of course, was the acquisition of acreage holdings by Canopy Growth and a deal valued at $3.4 billion. However, the deal won't be fully complete until cannabis is legal in the U.S. Now, following approval from shareholders, acreage will immediately get $300 million and that is expected roughly in June. Ultimately, they're going to get access to Canopy's tweet in Tokyo Smoke Brands as well. Acourage President George Allen will be leaving the company immediately and CEO Kevin Murphy will take over as president. Acourage also entered the Nevada market this week with its acquisition of Deep Roots Medical. That brings the company's state footprint up to 20 states and makes it the largest cannabis company in the U.S. NASDAQ finally approved a U.S.-based cannabis-related company to list on its marketplace. Vape distributor Green Lane Holdings upsized its IPO and priced the shares at $17. That was above its planned range of $14 to $16 and the stock jumped over 35 percent in trading on its first day. It's using the symbol GNLN. The company reported revenue of $178 million in 2018. AFREA reported its earnings this week with revenue of $73.6 million for the third quarter. That was up 617 percent from the prior year, but they still reported a net loss of $108 million and they once again reminded their shareholders that they wanted to reject the green growth acquisition. AFREA also priced $300 million in convertible senior notes this week. Horizon's ETF announced that it was launching a U.S.-based cannabis ETF that began trading on Thursday using the symbol HMUS. And I am to say it's going to start selling CBD for live products in the retail chain Urban Outfitters. Of course, hey, it is the big 420 celebration this weekend. This year April 20th falls on a Saturday for the first time and coincides with Easter and Passover. Now all of the data providers are projecting big sales on Friday and Saturday as many dispensaries are running promotions and states where it's legal are hosting events. Hey, if you have not already done so, you've got to go get your tickets now for the Green Market Summit in Chicago on May 7th. We have a great lineup. We're going to be covering cannabis hiring and recruiting by Cresta Management. We are going to be looking at hemp market pricing by cannabis benchmarks ahead of potential futures trading this year and a big look at the vape business with Slang's CEO Peter Miller. And that's it for this week. There is no market trading on Friday, the markets are closed. I'm Deborah Bortart reporting for the Green Market Report. Have a happy 420, a happy Easter, and a happy Passover everyone.


Hello everyone and welcome back or welcome if you are just joining us on HowlRound, my name is Andrea Assaf. I am the Artistic Director of Art to Action and proud to co-present the National Institute for Directing and Ensemble Creation with Pangea World Theatre and so excited to be live streaming this incredible conversation we're about to have on HowlRound. If you are just joining us, we have just had a wonderful, amazing actually workshop and master class with Diane Roberts and it is my pleasure and honor to get to facilitate a conversation with Diane about her work and practice. I don't know if we have any opening slides to share with Diane's bio, but we can also drop that information in the chat if you're online. And I am just so excited to welcome Diane. Hello Diane, how are you feeling after your workshop? I feel pretty good actually. It was so lovely to spend time with folks in this work. I always discover. It was a beautiful process and I got to facilitate one of the small group conversations and we had a really deep and personal and meaningful conversation coming out of the process that you led us through. If you are not familiar, if you're watching on HowlRound and you're not familiar with Diane's work, we're going to give you a tiny little taste of it. A tiny, tiny taste by showing you a clip of Diane facilitating a workshop at the National Institute for Directing and Ensemble Creation pre-COVID, of course, back in the summer of 2019.  But Diane Roberts has created a process and a project called Arrivals Legacy, which we'll be talking about today. And we will show the clip as soon as I get a word that it's ready. Let's see. If not, we'll just start the conversation and then we can. Oh, here it comes. Oh, great. Thank you, Kayla. So we're going to just jump ahead. Just jump ahead to the section with Diane leading.  We're going to skip through. Here we go. To be confirmed. To keep. You're seeing just the doors and windows. Quick images. Just the humanity in the room is going to change my bravery. There was a moment where I looked around the circle and I felt like I loved every single person in the circle and was learning from every single person in the circle. And that coupled with the fact that we are also different and we're from different cultures, different theater practices, different parts of the world felt very, very, very special to me. Okay, thank you so much for that clip so you can see it was just a tiny, tiny bit to wet your whistle and if you were in the masterclass that we just did in this digital space you got to experience it in these little boxes. As you were saying these little square frames to the extent that we can but it's so powerful when you're in the room. And so what we're doing is moving and singing together and exchanging and talking about our relationship to ancestors so Dan, I'd like to invite you to tell us a little bit about how did you come to this work how did you find the rivals legacy project and, you know, what, what, what brought you to it what was your process of creating it. Yeah, it started actually in 2003 in Montreal. I had been invited to be an artist in residence at Concordia University. And part of my, my job there was to teach the intro to acting class. And at the time I was, I knew that the program was quite diverse. Everybody who wanted to do theater in whatever form needed to take this class. So there were designers, etc, who were not in not used to performing. So I thought, well, what, what would I, what kind of an exercise could I offer people that I might have wanted to do when I was in theater school.  And I thought, oh, this is just a three unit exercise that will teach them about character development, because they were, they were meant to do a deep research into this character, their ancestor, and to present them without speaking. So I asked for a compelling moment. And they could say up to three words and they could have three objects in the space. And this was an exercise about presence. How do you tell a story without the blah blah blah. So it just became a really profound exercise for the students they found that the ancestor they chose was an ancestor that they really needed in that moment. The research that they were doing through conversations with family members and also delving into archival materials was just like mind blowing for them that they could actually personalize a historic moment. And that their ancestor was part of this historic moment. And for students of color, or indigenous students who were going through the program.  And this was something that was really important to me. I found that artists of color, indigenous artists that would come out of theater schools, theater training programs would be very well trained would be able to. Stand well and deliver their monologues with truth and depth, but they worked in their own bodies. So I would often in my rehearsal or in my audition rooms I would often take them through some exercises to get them to stand in their own feet and to imagine that character in their own bodies. So, so that that training that I did in in the university theater program, I took to another another program which was cultural production workshop so I started working with artists who were more advanced in their craft. And, and then started delving more deeply into what this process really was.  So this is a long history of work 18 years. Yeah, when I took over the company, Urban Inc Productions in Vancouver, I started working with indigenous artists and racialized artists from across the country, researching this process and trying to figure out how we can source stories from our ancestors in a in a responsible and also deep and generative way. So, there's so much in what you've said already one of the things that you mentioned actually came up as part of our conversation in our breakout group, which was that you asked people to work with an ancestor, two or three generations away. And we thought that was interesting because clearly perhaps we're too close to our parents, or the recent memory of dealing with our parents and all of the love and challenges and perhaps loss of that.  Yeah, I think I mean that's the beginning place because people choose and at the right ancestor whether they're two or three generations away or not. But the idea was that they were distant enough that the person may not have known them. And they also could tap into a historic moment that people are not necessarily familiar with or haven't lived. So there was something about the seeking. There's something about time in that seeking, but I myself when I did the process for myself. I worked with my grandfather because my grandfather wasn't married to my grandmother when my father was born, and he died when my father was to so my father was to him. So for me the unknown that like my lineage stops at my grandfather and try to find more about him has been a journey. But it took me to the knowledge of my Garifuna history and heritage, which is I went to talk more about that but I also how do you work with the unknown how do you work like for those of us who are, you know, part of a diasporic community that is perhaps where there's loss of knowledge of where are people come from or how they got here or when. How do you, how do you approach the unknown in this work. I think we embrace it. We step into the unknown so people often say, Oh, I don't know enough about this ancestor. And I say, mm hmm. Okay. And I try to encourage people to go with what they don't know, instead of what they do know that the knowing is really useful like to having the knowledge and being able to source that knowledge is really useful but sometimes it can be a block to other deeper archives that are not accessible really through the more traditional ways of seeking knowledge like researching in the book or going to a library or going to an archive. And we know that for our peoples, the archive is a really binding place. We're interpreting those archives as well and and looking in the sort of hidden places where the stories might come out. Those that can be really challenging process but but I think the process is about our body knowledge and the memories that live in our bodies and trusting that wisdom that has been handed down through the generations. The way that science is now finally caught up with indigenous knowledge, you know, with epigenetics they're now saying, as if they've discovered it. Oh, yeah, you, you carry the genes and memories of your ancestors, but those stories have been in our cultures forever, you know how we pass on knowledge is is not just through the blah blah blah but it's how we carry in the gestures we have and that's I think what was has been so exciting about this process is is revealing and uncovering that fact that we can access the unknown things like my grandfather I I I could I could go into deep depression and say I can never connect I will never connect to who he actually was or I can go inside and say, Well, who he actually was is also in me. I wonder in what parts of my body or what parts of my being still carrying that that epigenetic knowledge, I guess, that's incredibly helpful way as I think artists to give ourselves permission. to go to go there and to search in that way you were starting to talk about your, your heritage as a Garifuna person and for folks who maybe don't know a lot about Garifuna culture and people, can you tell us a little bit about them. The Garifuna peoples were born in St. Vincent, and there's different origin stories that that cycle about how they were, they came to be there in indigenous peoples, part Arawak and part African. And so, one of the stories is Malian traders coming down the Gulf Stream met with indigenous folks and there was trade and and exchange and people made families and and such and so they were called the black caribs by the British. And so, and then, of course, there's the slave ships that started to come. And then was marooned on the island so that the moon story is also a part of the mythology that is the origin story of the Garifuna but nonetheless they were differentiated from the red or yellow caribs by British called the black caribs and and they were exiled. At the end of the 18th century because they were a warrior peoples, and they were a threat to the colonial regime. So they were exiled, most of them died off before they were. They were exiled just off the coast of St. Vincent and an island called Baliso, and then most of them died off because there was nothing on the island. No fresh water. And but those that survived were dumped in a row attending Honduras first and then they spread through the diaspora so they're mostly in Central America. But there's still communities that of people who stayed and went underground so there's a cultural reclamation happening right now in the Garifuna communities and traditions in the diaspora and home it's in St. Vincent. I actually met a Garifuna community in Belize in Belize. When traveling there some years ago. So yeah, there are there are communities spread around Central America. Thank you for that history that's that's really important for us to know, especially the way that you know, racism, racism and colonial systems of racial identification or segregation really, you know, create these histories of diaspora. So in so many ways, in addition to the slave trade itself then in so many ways throughout the Americas. So here's a topic I want to raise that you and I have had conversations about before. Because I often at you know at the Institute, you're one of the artists who is really strongly rooted in this practice of calling upon ancestors and connecting with ancestors to create your work to devise new work contemporary work. There are other artists who in in various ways artists of color in different communities and traditions that are doing that ancestor work. And I'm a person who finds that work, particularly difficult for a number of reasons. One because I'm, you know, mixed race and heritage and white American on one side of my family and Arab American on another side and Lebanese specifically.  And perhaps I'm afraid to know that right or to investigate that so so this is the question what do we do with those difficult ancestors that we are afraid to call into the room or maybe don't want to. How do you work with them. Well, I think you work with who you feel called to work with anyone given time. And, and I think that those difficult stories will come out when you're ready or when, when they're ready as well like there's it's a relationship where where I always speak about forging a relationship with our ancestors. So it's not that we have to take on the whole body of our ancestors now that we're opening these doors but I'm it's interesting I'm working on a project right now called the artist piece. And it's with my collaborator Jerry Trenton. And we've been. We didn't we started the work. It's a piece that's being created with five dancers contemporary dancers and they're also, they all took the ride this legacy workshop and their explorer. They explored their ancestors in different ways. And so, I think your question has sort of prompted or reminded me of a conversation we had yesterday, as we were working together and this idea of the art of peace and peace, like war and peace in our ancestry, and how we how we can reconcile our own sense of self as well with our ancestors who may not have approved of our lifestyle. So how do we call our ancestor into being in relationship with us when they may not have like that we may be at war. Basically in terms of how we choose to live our lives or how we are in the world how we, how we understand ourselves in the world and how they did. And so how do you sort of navigate those those that relationship. And I think the reason why I start with a gesture of joy. I always start with the gesture of joy in the work is that that is the bridging place. It doesn't matter who they are, or were, and who I am, or will be this bridging moment of joy is is inherited and that, and that's a place to start. And then we build on the complications and the layers of our relationship. But what what came up in the conversation was one of the artists was talking about how he felt that his lifestyle would have been judged by his grandmother, but that he in that moment of meeting her felt such an opening, such an opportunity to bridge, you know, to, to, I don't know, there's something, there's something about the melting away of some of those things that we think will be will keep us apart from each other. And the same thing happens in the workshop between people and in our small group that was really beautiful. When somebody talked about one of the participants talked about feeling that all of our ancestors are actually in dialogue with each other that we're all in the room and that she feels that my ancestors for ancestor and etc. You know so there's so there's the potential for reconciliation in a way that I think we can't talk about like we can't And we have to explore we have to embody and Yeah, yeah, that it's yeah that we have to embody and explore exactly and it's moment to moment like it's not okay reconciliation done we're done we're we've we've figured it out and now we're you know but but it's a process of unraveling oneself and one's own understanding was I guess of what that relationship could be and might be. You mentioned epigenetics and some people might talk about cellular memory, for example. Do you always work with do you always go for that place of memory or do you sometimes allow people to imagine an ancestor, because I appreciate the depth of research that's in your work I think that's really important and that that that personal connection to a historical moment that you were talking about I think is something that I love to see in in artistic work. But then I'm also curious about, do we get to choose our ancestors or do we get to imagine who they might have been and what's the responsibility of representation when we go to that imaginary place. Yeah, that's a really super great question. I mean I, I think it came up in the workshop today, this idea of permission, which comes up a lot in the in the process people think, Oh, I feel a trepidation around not telling or not honoring their ancestor by, you know, imagining these, these, these moments like you imagine them open and you, you put yourself in the shoes of your ancestor and imagine how they might have reacted in this particular moment. And much of it is, is using this imaginary space and, and letting your body as I said in the workshop letting your body open up the possibilities of there is, you know, in a way, and then, and then you do it with such openness and, and not, not, not needing to find the thing, but needing to find the many potential stories that that could exist in and around this person because we often think of oh my ancestor was very angry. She was a very angry woman. And so she did this and this and this and this. And so we think of it as this kind of solid frame of what this person was, but they were angry in this moment, but they were not angry in that moment. So, so there's all these different possibilities that we in our lives live, like I'm not always, you know, one thing. So, I love, I love that idea of the many potential stories. And it reminds me, I don't remember the writer's name right now but there's a TED talk about the danger of the single narrative. Yeah, it's just such a brilliant talk if you haven't watched it and you're out there you should like Google it immediately after this, the danger of the single narrative or single story. And so I love that idea of the how we're breaking that those stereotypes of the single narratives that we're given by the legacy of colonialism. Right. And by exploring what are the many, many potential stories of this lineage this person this ancestor. That's very beautiful. Yeah, we often talk in the process we talk about catching story instead of making a story. So as witnesses like we, we, we, the idea of witnessing others, other journeys, others journeys is really important.  And then this happened and then, and that, you know, so you're using your own as a witness you're using your own bodily sensations to imagine as well what is happening it's not just though you lifted your hand and I, and I didn't know what that was but lifted your hand and I felt a breeze go by and, and then somebody who's who's done the embodiment and say, Oh, that's so weird because I was standing on a ship in that moment and I remember the breeze going by so all these amazing magical things happen. That's so interesting how the witnessing becomes part of the storytelling right and then the story time becomes collective. Yeah, singular that's yeah. Yeah, extraordinary way to build an ensemble experience and process. Yeah, yeah. And that's when those stories, the stories interlock as well. And I always think about different planes happening at the same time so we are in our circle. We're preparing our vessels as I talked about in the workshop, we're preparing ourselves to receive the stories that are available to us but that we don't have the tools yet to catch and understand so we prepare ourselves for that. And we're preparing our ensemble to hold those stories and those spaces with each other. But then, at the same time are the on the insist ancestral plane, the ancestors are meeting each other for the first time, who may never have had the opportunity to meet that particular you know so they're also getting to know them, the themselves, and they're getting to know the descendants. And then there's the ancestors of the land and territory that we're working on that are also witnesses, and they're witnessing, you know what's happening with this so so there's this incredible sort of particularity multiple circles sort of interacting with each other. And as we open our receptors to that reality, then we can start to really get beyond some of the things that divide us in creative processes but also in other processes. Do you think that there's a danger of romanticizing like earlier you talked about war and how do we make peace and, you know, for some of us, war is a quite literal part of our history or our ancestors history. Sometimes our ancestors were in fact at war with each other, quite literally. And so, how, you know, do you think there's a, when we're, when we're seeking to make peace with those histories and the stories and each other in an ensemble. I imagine you probably work with very diverse multiracial multicultural ensembles. Do you. What happens, like, do you think there's a danger of romanticizing the reconciliation or do you do problematic things happen that you then have to stop and talk about, and say, you know, let's, let's have a real conversation about racism, for example. How does that work in the, when you're, when you're working with an ensemble over time. Yeah, there are things that come up and yes there is a danger of romanticizing but there's something about seeking the truth and seeking deeper that that keeps us away from that romantic ideal. One of the, one of the parts of the processes, we, we negotiate protocols. This is a really important part of the workshop where people bring in objects or, or, or, or ceremonial actions or speech or song to protect or to find a way to gather us together as an ensemble but also to protect us from malevolent ancestors or spirits that might enter the room. So everybody in every culture has has these traditional protocols that come into play. And then we as contemporary people have to reconcile or understand our relationship to some of those cultural protocols that we may have inherited but may not necessarily believe or, or adhere to. So there's negotiation that happens there. So I might have something in the space that might be troubling to me that I don't necessarily want to deal with like a religious object or text or whatever, but my ancestor, it was so important to them a rosary or something like that was really important to them. So how do I reconcile my ancestors need to have a rosary as one of the protocols but but my own you know, relationship to that. Yeah, so that has to be worked out and then within the space, how do we negotiate protocols that might be triggering for other people. A really great example is how to hold libation, which is often done with water or, or alcohol in African and African Caribbean cultures in the same space with sage and the smudge. How do we do that. And what what's been really exciting and extraordinary in this process is that, for the most part there has never, there has rarely been a point where we, we have not been able to negotiate the protocols and I'd love to give one specific example. The participants have given me permission to tell this story there was one participant who had her grandmother had come through Ellis Island and she was Jewish had come through Ellis Island. There was a Palestinian participant who was embodying the moment of the Nakhba when, yeah, these, the occupation. And both of them were highly politicized artists so they were trying to negotiate this reality. And there was one point where the one the Palestinian participant wanted to put her grandfather's picture on the altar. And the Jewish participant wanted to put a candle, but the only candle she could find to honor her ancestor said made in Israel on it. So, so there was discussion and of course being Canadian. There was a decision well no it's okay you can do it you can put the candle on. It's all right. I imagine these things go down differently in the US that they did in Canada. And I, and we had to take a moment as a, as a group and say well, is this, is this a solution just to say no it'll be all right, or is there something that we can find if we sit in the discomfort of these two realities. And so what they ended up coming to was to cross out Israel on the candle and say palace and to write Palestine. And that, you know, it seems like a silly gesture because it was still made in Israel slash Palestine but it was, but but these. In that moment. The Palestinian participant said, yeah that actually is okay. That feels okay and the Jewish participant said yeah actually my ancestor would be more than fine about that and there was a moment of real truth. Right in that moment that one could not negotiate outside of that. Like what does it mean to sit in these difficult spaces and try to negotiate what what's right what's what feels right to, to me or to my ancestor, what is honoring of my ancestral line but also the ancestors that are also in the room. It reminds me of, you know, one of the artists that I consider one of my mentors is John O'Neill who passed away some few years ago but you know he one of the things I really learned from him is that people build solidarity when they're doing the work that we don't actually build solidarity, sitting around and talking about it, when we're doing something together and seeking truth and seeking resolution to a problem, seeking to accomplish something, or a goal that we hold together and so that's what this reminds me of is that in the doing in the making and the creating and the exploring and negotiating is where you know path becomes visible. That's right. And so I want to ask. I feel like I'm getting a, even more, you know, I've had the pleasure and honor of experiencing workshops with you. And I'm getting a sense of what a longer ensemble process would be like in the exploring, researching exploring and devising of work. How do you direct this process after you've found these ancestors and found these stories and negotiated protocols and made all this created these worlds right. What's the role of the director and do you do you direct the work yourself do you collaborate with other directors. It sounds like an enormous beautiful messy process. So then what happens. Yeah, it is a messy process and I think it can take what what's interesting is that when people come in. They come, they don't necessarily have a form or an idea that they that they want to explore they just know that they need to explore this particular ancestor. And then, and, and I think that's when it's most successful for people if they don't have these fixed ideas I want to write a play about so and so and so. But, but they're just trying to figure out how to find this deeper creative voice that would allow them to tap into more resonant sources. So that's, that's how that starts. And then when that when they come out the other side of the five day or 50 hour process. They come out with more knowledge about their ancestors and more knowledge about themselves. They come out with fragments of knowledge and potential pieces that could be developed in terms of, you know, pieces in terms of fragments of story or fragments of, or questions many questions. And then through unraveling that and it usually takes quite some time. Heather Hermond was my first partner in the work. And she developed her ancestral subject, who was Esther Brandow, who's a Jewish woman who came to Canada disguised as a Christian boy, and then without it and exiled ultimately. And so she's just finished her dissertation after having worked with me in 2004 or five or whatever. She just finished her dissertation or she lived a couple years ago she finished her dissertation on this ancestral subject so it takes a long time to kind of process through what you want to do with this work but she created an interdisciplinary work called ribcage the slide passage and that process of creation had to unravel itself. She spoke in the word artists, but wanted to work in the medium of theater and video projection but everything that was chosen to be part of this work was chosen because it was needed. It was needed for the telling of this particular aspect of the story. That's kind of how I work as a director is to unravel what what then these story fragments need to what home they need to find in order to find their fullest expression. And yeah, and many people go off and work on the pieces and work with other dramaters to develop the piece.  It's a dramatur it's become a dramaturgical process for me and even in my other work the other directing work that I do this process of deep knowing of self becomes part of my process of of engaging with performers and and creators. So I don't know if that answered the question now that it really does is it in it this work seems to it go in so many like it can go in so many directions to reading in dramaturgy to you know ensemble building to creating a staged work that that is directed. You mentioned that you bring this process into your own directing work.  I just have to direct this, but this isn't my process and over here I'm going to do my process and then I may or may not direct that or how did how do those things meet our mix or not. I mean, I think the arrival process to me feels like a calling. It's my, it's what I'll be doing for the rest of my life.  Congratulations. Thank you. Get a book out of it. I hope we get a whole book. That's that's the work and then my directing hats or my directing work is also a major part like I feel most me when I'm in a studio working with artists and to realize a piece, but all of that bleeds in so it's hard for me to separate out. Of course I can't, you know, they're not going to be sourcing ancestors, etc, etc. If the pieces it's about something, you know, isn't about that kind of thing. I work with hip hop theater right now so I'm, that's what I'm, that's the piece that I'm developing right now but there still is the opportunity to really work with who we are as vessels and to, and to unravel the stories that live inside and when I'm working with the playwright, oh Mary Newton when I'm working with him as a playwright I'm working also on that level of work. So, where is this character sourcing their truth and who is this character in Legba is Papa Legba who's a deity or a tenorisha in the Haitian tradition and European tradition Papa Legba is a character in the play so one has to like one has to grapple with the spiritual age of that. So, and I get attracted to plays that have that dimension that push between planes of existence and people seem to be attracted to, or you know, they want me when they're working on something that and trying to unravel these pieces that talk about spirit and body and you know. And I think also what you're saying is so important for artists of color. I was going to say in the Americas but probably anywhere in the world, given the, the vastness of the damage that colonialism has created globally, like just being able to welcome our full selves and in our bodies in our skin in our stories that you know maybe we're never told publicly in our family histories, just being able to come into the room and work from our bodies and who we are is such a gift and a breath of fresh air. If you've been trained in a, in a theater system that you know centers European or white American stories methodologies processes belief systems etc. So, in that, in that way, I see this like deeply personal and profound work that you're doing has also this incredible political contribution for for artists of color to bring them are full selves to creative work and therefore create new work that hasn't that we haven't seen yet, right, isn't the same work as when we're trying to fit into the boxes that the history of, you know, Western theater has created for us. Yeah, I think we're also always creating form, as well as content, we're trying to create new forms or to source new forms or not new old forms. And that's, I think, why this work came to be in me is I, I was always on this journey, even when I was in my undergrad in theater school, or especially maybe I should say especially. I was looking for well what is my process, you know, I, yeah, yeah, Peter Brooke, yeah, yeah, yeah, you know. And I love Peter Brooke, but I get jealous, because he got to go to Nigeria he got to, you know, he got to play. And Grotowski got to play with African and Haitian songs and you know it's just. And so I. Yeah, I think we were regaining our traditions are root cultural traditions this is what I say in the process it's part of the process is to, to get in touch with that what are we cultural traditions that can take us into other ways of working that are not the sort of form against. Yeah and when I love about what you're saying is that it's, you know, kind of breaking this false dichotomy of traditional versus contemporary, you know the quote unquote traditional is very contemporary and it's always evolving and it's always being changed by the next generation of practitioners and artists and just because we are trying to source stories or materials or practices or aesthetics from from a history that you know has been often suppressed or not told. And that is feeding contemporary work and it's funny how it's like legitimized when it's, you know, by a white European artist or white American artists, and it's often not supported to the same extent when artists of color doing that very same experimental work. Right of looking at our histories and cultures and and creating contemporary work with it. I know just a few oh we're at time I'm getting the message I could talk to you all day Diane. I am so grateful to you for spending this time with us and offering your process even in this very tricky and challenging digital space, and having this conversation which just makes me want to know more about what you're doing next and how to learn from you in the future so can you tell folks before we sign off just a little bit about how do we find what you're up to next and stay connected with your work as it evolves. I'm actually just going to be launching a website probably in the next month or so called it's Diane Roberts dot me. I just think that's so fun. But I also have the arrivals legacy project website. That's that's up and you can reach me through that info at arrives legacy.com. And yeah, I wish that there was time to show a video of the project that I'm working on right now but maybe I'll leave it in the chat to her.  Next year, and in spring. Send it to us we can put it in the chat to okay it's yeah. Yeah, we will post it I'm sure how around can post it on the website with the interview and we can share it out through our to action and Pangea channels as well we would love to see that important work and hope I hope to have the opportunity post pandemic to be in the room with you again, and creative process again at the National Institute for directing and ensemble creation when we are able to convene again which I know will be soon thank you so much Diane. Much love to you and many thanks to Lopa for co facilitating today. It was a joy. Thank you so much. Thank you always enjoy the talk to you thanks to how around, and I think we might have a couple of closing slides, yes. We hope you will join us next time for on May 15 as part of our monthly series Dora Arreola will do the next master class, and we hope you'll tune in or join us register for that. I want to thank our funders and of course Pangea and how around as well for hosting and live streaming this incredible conversation with Diane Roberts and also the master class that preceded it. So, look to how around for videos if you didn't catch all of it, you can tune in later. And thank you so much for joining us. See you next time may 15. Bye Diane. Bye thanks Andrea beautiful interview. Thank you.


Hey everybody, what's up? It's Rob Dodson. Welcome back to the Chrome Dev Summit. I'm joined here by Tal Shran. Tal, you are the lead for the product partnership team on Chrome. I got that right. You just gave a talk on building progressive web apps. And so the first thing I'd like to ask really is just like what inspired you to give this talk? So I think it's just been an incredible year in terms of, you know, seeing lots of partner adoption of progressive web apps. Last year we just had Flipkart at this conference and now this year we have like a few dozen partners around the globe just shipping, building really cool stuff. And I wanted to just be able to take the opportunity to kind of share the motivations, best practices, and learnings from across the world of all like these awesome developers building really interesting and really impactful progressive web apps. There's a lot of success stories, but I know I'm sure as you're going out and you're talking to partners there's also probably some challenges that they face getting folks within their own organizations excited about progressive web apps. So what are some of the common issues that you see sort of across the board that are holding people back from building their first PWA's right now? So I think a lot of it has to do with, you know, some people still have the mindset of mobile equals native. And so that is shifting pretty quickly. But yet, you know, the web hasn't really been around on mobile or it's been around, but it hasn't really had a lot of the capabilities. And so what we're seeing is that people are still having to kind of get executive level like leadership or buy-in in order to like start investing in the web again. And so this stuff will just take time. And so that's a big challenge. I think the second big challenge will be around like how to get started, especially in the US or in Europe where people have 15 or 20 years of legacy content or legacy architecture and they don't know where to start or how to begin. So for somebody who's watching this who wants to get some buy-in from their team or from their higher-ups about building progressive web apps, what are some ways that they can maybe overcome some of those challenges? I mean, I think that one of the first things is just kind of scope and see like what are the most painful user experiences today on your mobile website. And so you can build from like over a haul like the entire site. You can choose to do a section. And what I've found is that people really have a hard time imagining their content or what their site could look like in a progressive web app. And here, I think a lot of the more creative dev teams that I've seen have actually just built a prototype, built a demo and then showcased it to their senior leadership. And I think that's when people can see, okay, this is awesome. You can just feel like it's a very different experience. And then at that point, once you see what you can do with the progressive web app, you don't want to go back to your regular normal website anymore. Right on. Awesome. Well, thank you so much for being with us today. Thank you all for watching. You can catch Tao's talk on the Chrome developers YouTube channel. You can also tweet us, tweet at us using the hashtag Chrome Dev Summit hashtag. So definitely keep the conversation going. I'm Rob Dodson. Please stay with us. We got a lot more coming to you from the floor of the Chrome Dev Summit. Thanks.


$2 million will be paid to you tomorrow, the Freedom Family, for just one month of your earnings. If you look at our PayPal account, I have now funded it with over $2 million, and all of this is going to you tomorrow. The Freedom Family has grown so much. This is a new record. We have never paid $2 million for one month of earnings, and I'm sure we will break new records in the future. How did we grow so quickly together? Well, let me show you. Do you know we are now an MCN on Daily Motion? If you go to www.dashboard.tm, you can partner your channel on Daily Motion with Freedom. Many of you have already done so. That is a brand new revenue stream, and www.dashboard.tm synchronizes all of your videos from YouTube to Daily Motion, so you don't have to do any re-uploading, and it'll do it on a schedule, which means you can publish videos one a day, and you can set the order. Give that a try to grow your revenue on Daily Motion. That's not the only way the Freedom Family has grown. Did you know we are also launching an MCN on Youku.com? What is Youku? Well, it's a YouTube competitor, and it is the single largest YouTube competitor in China. That's right. It's within the China Firewall, and as you may know, YouTube does not work in China. And here is Youku. It is y-o-u-k-u.com, and you can check it out yourself. You will be able to upload your videos to Youku, just like you can synchronize your videos from YouTube to Daily Motion, when we finalize our agreement with Youku. I am still in discussions with the people at Youku, but we have an agreement in place. We just need to finalize all the contracts. And there's many other ways that the Freedom Family has grown together to achieve this amazing milestone of $2 million payout in one month. And a lot of that is due to our community team. How many of you have noticed every single comment down there gets a reply? How many of you have participated in the conversation, sent meaningful messages to our community team so that they respond to you, and we all help each other grow together? Because that is the spirit of freedom, and you can be sure we will keep growing. So let's play that game again. How much did we grow yesterday? These were yesterday's stats on our YouTube About page, www.youtube.com, freedom slash about. And today they are almost 250,000 subscribers more. Now that's actually really low. Yesterday and the day before it was over 500,000 subscribers day growth. So today was a down day, only a quarter million subscribers growth, but I'm sure it'll pick up again very soon. Tell us down there in the comments below how you are growing with the Freedom Family.  If you haven't checked it out yet, just head on over to www.community.tm and introduce yourself. There is a beautiful Introduce Yourself forum where you will get a lot of replies and you will get new friends potentially to help you grow. Let's see the latest introductions. And I'll find the latest introduction, which is right here. And let's read along with me. Hi everyone, I'm 28 and I've been gaming since Sonic 1 on Sega Mega Drive.  So you can see right away he's got one, two, three, four, five and counting replies to his post. And some of you have been trying to get ahold of me. I've been seeing your emails and your Skype messages, but at the end of the month I am so busy with sending out the payments to all of our partners that I really cannot reply to people as I normally do. So please be patient and until I send out all of these payments this month, then I will get back to my unread messages. And who am I? I am George, CEO and founder of Freedom, the little freedom shirt today. And you've been watching and we will grow together as a family because this is the Freedom family. You are part of it. We are all part of it. And we're all growing together. So grow with us and partner with Freedom. That play now button right there on the video bar is all you need to click to get started.


The study found that the ASHRE terminal package heat pump, TPHP, scenario was the most effective option for reducing energy consumption in the four European cities studied. This scenario resulted in a 43.75% reduction in being's annual energy usage and a 47.31% reduction in Mallorca's annual energy costs. Additionally, the TPHP scenario reduced CO2 emissions by 48.95% in being and 52.59% in Mallorca. By contrast, the scenario utilizing a high efficiency VV system with a gas boiler and chiller was least effective, resulting in only a 12.67% reduction in being's annual energy usage and a 17.57% reduction in Palermo's annual energy costs. Furthermore, this scenario had no effect on CO2 emissions in either city. This article was authored by Angeliki Tzentili, Irene Koronaki, and Vasilis Polidoros.


Hey y'all, welcome to what Chelsea eats. Thank you so much for joining me today. I get so many questions about what kind of noodles can I eat and The answer is often none, but I forgot all about kelp noodles You can have kelp noodles and they look a little translucent, but they're almost no calories and They do not have a negative effect on your hormones So if you want to see how I soften kelp noodles to make them taste Just like their regular pasta then stay tuned So this is the kelp noodle brand that I Purchased most recently. It's by Sea Triangle. It's a noodle company and the only two places I've ever seen these noodles is Whole Foods or Amazon So if you want to purchase them, I will put a link below or you can go search in The Asian section of Whole Foods and normally these noodles are on the bottom shelf So these noodles don't have to be cooked But when you take them out of the package, they are quite rubbery and if you eat them like that They're gonna be pretty nasty I've actually done it before and I think that's probably the reason why I shied away from them and didn't try to put them in recipes but You can soften them and when you soften them, they taste just like regular pasta So there is a quick and easy process to get these Noodles soft first you're gonna start off with the juice of a lemon and then Some baking soda just regular plain old baking soda not baking powder baking soda Now we're going to open the container turn on the water and let the noodles Rinse Now you're gonna do is just break them apart and wash them just kind of wash them in plain water Just let let the water run through them and primarily if I normally I would be using a strainer, but My kitchen is still not put all the way back together and I cannot find my colander yet So we'll get there eventually But you're just gonna take the water let the water run over the noodles and rinse so you'll rinse until About 30 to 45 seconds or up and you'll get a feel as the texture will change a little bit and Ideally you'll take the colander and strain off all the water you do your best to get rid of all the water It's not important that all the water be gone. So next you're gonna cut the lemon in half and You don't want the seeds So either use a lemon juicer and when I use this lemon juicer I usually cut the ends off because more of the juice comes out, but You are going to either squeeze it and Get rid of the seeds or you'll use a lemon juicer and in this case. I'm gonna use the lemon juicer To put the lemon juice in this bowl that we're gonna use to soften the kelp noodles So squeeze that in there. So you're gonna use the juice of one full lemon Well, next you're gonna add your baking soda. That's a full teaspoon of baking soda So you're gonna add it to the lemon juice And you see how it's fizzing. That's exactly what you want to happen And you're gonna take your fork and stir it around in the lemon and it's gonna bubble So make sure you're using a big enough bowl so that the bubbles don't overflow and Cause you to have a little explosion all over your countertop But eventually what's gonna happen is those bubbles are gonna stop and settle down So you just keep stirring it until you get to a point where you're not really hearing it sizzle so much It might take a minute or so But you just let it sit and then get your noodles ready to add to the bowl Now all you do is add the noodles to the bowl And then you coat the noodles with the lemon baking soda Combination and as you move it around the bowl the noodles will start to soften up This will take about a minute or so But during this process you can also just let the noodles sit in the bowl You don't have to continue to move the noodles around especially once the noodles are already coated with the Lemon and the baking soda So would you see how the texture has changed? You just let them sit for a minute and then the next step is to rinse that lemon and baking soda off of the noodles But the thing that I love about these noodles is that they take on the flavor of whatever you flavor them with So the herbs and spices that you put on the noodles, that's what they're gonna taste like They don't have a weird taste like kelp if you will So now what you want to do is rinse that Baking soda and lemon off of the noodles because if you don't it's gonna taste like lemon and baking soda And you don't want to do that. I've heard of people doing that and I don't think it's very good So you rinse it and drain it and of course like I said before it's better to use a colander But you definitely want to make sure you wash this thoroughly. I found my little juicer strainer It came with my juicer, so I'm gonna use this instead It's very difficult to mess with these noodles after they have been softened They'll fall out of the out of the bowl since the texture has changed so much from the lemon and baking soda mixture So I'm just gonna give them a little rinse just to make sure all of that baking soda and lemon is off of the noodles Once the noodles are drained you transfer them to a bowl And the thing about these is that you do not need to cook them if you start cooking them once they are Translucent like this and softened they will taste very bad because they will get really really slimy So it's best if you are gonna cook with these to just add them to your meal after Your main dish is cooked so if you're gonna use it for spaghetti you cook your sauce first and vegetables Whatever it is you're gonna put it on top of your spaghetti and you can warm these noodles up with hot water You just run some hot water over them drain them and then pour your sauce over them So that's it y'all if you liked this video, please give it a thumbs up share it with a friend Don't forget to subscribe and tell me what you're going to make with these noodles So of course those of you who have been asking me for noodles. I am interested to hear what you make Thanks so much for watching. Take care


All right, Hallie, let's take a look at this Seattle team. This is a rough loss for Carolina, three straight. But Seattle, they started on 0-2 and everybody was saying, again, we talked about in the pre-game show, rebuild, they're far from rebuilding right now, they're in the playoff hunt. Yeah, and this was a really, really difficult game and Christian McCaffrey, we talked about it. We thought he'd be good, he's special. And I think it's a perfect fit in this offense, over 200 yards in total offense. He's special, but I go back to the same point, this Seattle offense, they ran the ball for 156 today and it paid off in the second half of the game, as they mentioned, the pass rush slowed down. Russell made some big throws in the second half, setting up the game-winning field goal. So I think it's, again, Carolina came into this game the sixth seed. They lose three in a row now. They were the sixth seed and they've got New Orleans twice in the last three games. Well, you know, we were standing in a pre-game show with that screen pass, who would you pick? You pick Russell or you pick Cam. This is where, as your head coach, for some reason, Russell has to think about him, that are they calming presence in the middle of a storm on the road against Carolina, back and forth fight here.  I mean, this guy, just amazing. The way he moves around the pocket, he's not the tallest guy. He's not the prototypical looking quarterback, but he has a great arm. He's a team leader and he knows how to get the ball down the field when you need it the most. And that run game, coming into it, people are talking about how they've been getting that run game going. Mike Solari, the offensive line coach, done great for them.  Kudos to Russell Wilson, did well today. The 156 on the ground, as they mentioned, really kind of, it was like body blows throughout the first half. And then the second half, they come out, the pass rush slows down after you've been playing the run. They run for 156. I didn't see that in Carolina. I'm gonna tell you, Carolina came out in this football game. And we sat here and go in McCaffrey, Cam Newton, what was he, 14 for 14, but it's amazing how they were playing. And now they're losing football games that they shouldn't be losing, right? You've got to think, well, that defense has got to step it up because they're playing too good a football, I think offensively, to be losing games now. Three in a row. Yep. If they had put the formula together, they'd say they want to hold Seattle to under 80 yards rushing, which they did. They had 220 yards themselves, outgained them by 100 and still lost. I mean, this was, they did everything right in paper, but instead Seattle gets the win and as we take a look at the playoff picture right now, Seattle moves ahead, obviously due to the head-to-head battle of the Carolina Panthers. As we speak, the Vikings who play later tonight in Washington own the two wildcard spots, but they're still a month left to go. Yeah, and Baltimore's now won a couple straight. They are six and five, and in that sixth and final playoff spot right now, seem to be playing with a little bit different energy. We thought that about the New York Giants, Michael, the way they played the last two weeks and the first half today, but maybe not. You know, people at home can see what happens here doing the gap. They will understand all these little jabs at me, obviously, Bradshaw, Terry, TB, Gappy, whatever you want to call me. Well, you know, you watch these, John, I'm just baffled. I'm baffled because the first half was totally different from the second half, especially when it came to Saquon Barkley. And also, you know, defensively, this was a turning point, trying to force a ball into triple coverage back there, gets picked off, and from then on, the Giants just went backwards offensively. And then their best star, I gotta say, Michael Bennett, turned it up, Chris Long with the big sack right there, Howie, but Saquon Barkley was the star of the first half. Second half, he rarely touched the ball. You didn't know he was even on the team. I don't know if it was an injury or what, but they didn't get the ball in his hands enough. He touched it four times in the second half, and I don't think that's what this office needs to do. Everything needs to go through him, obviously. For the Eagles, I think what's been missing was the sequence of plays we saw in the fourth quarter. You know, last year, they were an opportunistic team. They took chances, that fourth down play, which extended the drive right at the edge of field goal range, and then running the clock out and kicking the field goal. Who knows? You know, I mean, do I think it's a turnaround? Probably not. At this point, I'm not totally sold, but it certainly puts you in the right direction and gets them off the snide and gets them feeling good about, one, they took the opportunity, they took the chance, and it ended up paying them. They won, Howard. They won. Winning is infectious, it's contagious. It's a good deodorant for everything. We've talked about it a couple of times in the last couple of weeks. The way Washington, especially with the loss of Alex Smith, and the Dallas Cowboys have been playing, Dallas has one, three in a row, but neither one of those teams scare you. You think if Philadelphia can get there, they go in. Dallas got the ball on Thursday night. Yeah, Philadelphia is not out of this thing just yet.  Right. That's kind of my point. That's just making me feel better about losing that Giants game today, everybody. You know what, now I know, I'm trying to feel better. I'm gonna tell you what, we stood on the sidelines last year, all of us, and watched the Rams get handled by the Eagles, all right? You can't tell me, and I said on the pre-game show, Eagles aren't gonna make the playoffs, but I'll tell you, it doesn't take much for a talented team, when they can get a win without all those defensive backs to wake up, wake up a sleeping Giants. There's a reason they won the Super Bowl last year. It's a pretty dog-gone-good football team. Dallas is in first place at six and five, Washington's in the number six seat at six and five, and the Eagles are at five and six, and Dallas gets New Orleans, it's, and like you said, Alex Smith is out. This division is a fascinating division, if not disappointing. And still everyone has four games left to play. You mentioned the NFC Playoff picture. Let's take a look at the AFC Playoff picture, because the way Lamar Jackson is playing, all of a sudden the Baltimore Ravens are one of those teams that people were running off. They've won back-to-back games, and Tony, again today, Jackson in the second start, had 71 yards rushing, 170 plus passing, but he's getting it done on the ground. He is getting it done, and after I saw him play last week when he had 27 carries, I said to myself, like, what are they doing? I mean, because this guy, you're gonna get hurt, you just can't do that for too long, but he came back this week, they had a great game plan for him. Anytime you can run the ball like he does, and when he takes off, he looks like a running back. This guy is flat out fast, and he can make plays, and to go along, we saw the defensive player, Terrell Suggs, their defense is good.  I think this is a team nobody wants to play against, because you don't know what to expect with that young guy. They are trying to save John Harbaugh's job according to some reports, but the way they're playing right now, it may not matter. It looks like they are a playoff team the way they played the last couple of weeks. All right, as we get ready to wrap up the day here and get some final thoughts from you guys, start with you. Tony? I'm Russell Wilson. I think the way he went into Carolina and played, traveling west coast to east coast, we all know that's not easy to do, and for them to go in there, Carolina lost two in a row, to get that victory on their home field, they are back in that playoff hunt, thick and thin, running game, wasn't going, and Russell Wilson picked up 339 yards passing, two touchdowns, no picks. Great day for him. I think Cleveland Brown, I mean the team that we don't talk about. That's what I was going to say. You know? What was the great mindset you liked to be? And but Cleveland Brown, Baker Mayfield, threw the eight different receivers, four touchdowns, the day he woke up last week and said, I woke up feeling dangerous.  And he just has to think about us an infectious way of just being, I think the positivity that this team is feeding off of. I agree. You know, we've got New Orleans on Thursday night versus Dallas. You know, it's kind of, we've acted as it's a foregone conclusion that New Orleans is going to have home field advantage. I think the Rams road to the end of the season is a little bit easier than New Orleans. They're at Dallas, they're at Tampa Bay, they're at Carolina and they finish with Pittsburgh in New Orleans and Carolina in New Orleans. So it's going to be interesting down the road. And who won the day? Who won the day? Nobody, I'm looking forward to Thursday night. Okay. That's a promo. Forget about the day. Move on to Thursday night. You know what, Mike, you ready for this? I'm going to give you another one. I'm going to say tonight, Cousins Rogers, Green Bay, Minnesota. We're in playoff mode now. So every game is big, especially contenders and the, I know the Vikings and I know they, I know Green Bay, didn't they go to a tie ball team? Tie. Those two teams played through a tie. So it'll be fun. A lot of division games down the road. You know, and the other thing is, I think we all reminded, don't write off the two teams that were in the Super Bowl last year. New England, if they get everybody back healthy, they can get rolling and Philadelphia is still alive, at least, in the NFC playoff. What? So you say it got a shot. One that right now is dominated by the Saints. They will take on the Cowboys. Thursday night football. That's the next time we've got action for you here on Fox. Yep, yep.


It's hard to believe that it's been close to 20 years now that Irish actor Colin Farrell has been part of our lives. But if you're a fan then I'm sure you're delighted to see him cast in the upcoming Batman film. Although Colin may have only appeared here and there in TV series and films over the last few years, rest assured he's still been living lavish. And today I'll be showing you just how looking at his home from Los Angeles all the way to his native Ireland. Colin was inspired to become an actor after watching Steven Spielberg's film E.T. and being moved to tears by it. He then attended acting school for a short period of time but dropped out after landing a role in BBC television drama, Bally Kissed Angel. Yeah, well then I landed a forum for a dancer for the BBC. I did that for four months down in Castelham Bayer and then Bally Kissed Angel. And then... It's mad, yeah. I know. It's great. Bally Kissed Angel was the big break though. That was the big one, yeah. That was because I went to the 80s school of acting for a year. Danny McCarthy. Danny McCarthy. And I went to the 80s school of acting for a year and I left that after the first year. Thank God I got that gig. He bit parts in a few films and television series over in the UK followed before he exploded onto the North American market with his dynamic performance in the late Joel Schumacher's Tiger Lens. You try that again.  After that breakthrough role, Ferrell had his pick of offers and was commanding as much as $2 million per film. He became the lead actor in hit films like Phone Booth, Hearts War and The Recruit. I've never done anything for anybody who couldn't do something for me. I string along an eager kid with promises that I'll pay him money. I only keep him around because he looks up to me, Adam.  Before he knew it, Colin had more money than he knew what to do with. He told Vanity Fair, I wouldn't know what to do with the money apart from just letting it sit there. People think it's from me being smart but it's from me not knowing what to do with it. Well, Colin only remained so financially naive for a short period of time. He began buying up tons of apartments in his native Dublin as many as 14 and while it's unclear if he still owns such an exhaustive real estate profile, the actor does own three homes that he splits his time between. Two in Los Angeles and one in his hometown of Dublin. Hey guys and girls, it's Kara here for you with a brand new house tour and today we're gonna take a look at the three different homes of Colin Farrell or as I like to call him Bullseye. I know everyone loves to rip on that film but Colin brought an intensity to the role of a comic book villain that had seldom been done before that. And he no doubt inspired some of the more iconic performances that were to come soon after. Anyways, I'm looking forward to showing you Colin's properties to the he still owns and one that he just finalized still for. If you like these videos, make sure you're subscribed and ring that bell to be notified when we post so you can always be up to date. We've all spent house tours in the likes of the new Batman himself, Robert Pattinson and actors such as Jamie Foxx and we'll link to some at the end. Follow me on Instagram to chat and as usual let me know who's house tour is next in those comments down below. Now let's get into this video. Let's begin with the home Colin just finished seeing Farwell too. Owned by a trust that's tied to the actor, the house has excellent bones and fine historic features like oversized ledded glass windows that frame serene canyon views. This 2,736 square foot Tudor style home is located in Hollywood Hills and Colin originally purchased it in 2010 for around 1.19 million. He recently placed it on the market for 1.49 million but he ended up letting it go a few weeks later for right around 1.3 million. The home was built in 1927 and has been renovated a number of times over the years and now features four bedrooms and three bathrooms. Two of the bedrooms are big enough to be masters suites in and of themselves. The one on the upper floor comes with its own balcony and the other on the ground floor has a white painted brick fireplace along with a roomy bathroom featuring a claw footed bathtub. It's also another bedroom on the main floor that has its own separate entrance and could be utilized as a guest quarters for staff use as well. Described in marketing materials as a world of enchantment of fairy tale dreams and chock full of original character, the inside of this residence also has dark stained hardwood floors and high ceilings. The living room features a coved ceiling with wood burning fireplace and a cute little study alcove. The adjacent dining room spills out into a covered balcony with leafy cross canyon views. Nearby is a gallery kitchen which sports beige floor tiles and white ceramic tile countertops along with a sun filled breakfast nook and handy patio access.  And the home is just across the street from comedian Kathy Griffin's mansion. If you're looking at it from out front you'll just be barely able to make up the top of this faux timbered three story residence peeking out from behind a secured wall that's covered in vines. All in all it sounds like the type of home that dreams are made of. All right let's take a look at the two homes that Colin still owns. After selling his Hollywood Hills home it's been assumed that this property located in historic foothills above LA's Los Feliz area has become Colin's primary house. Unfortunately specific details for both this home and the one he owns in Dublin are extremely hard to come by and pictures are basically non-existent. But I'm going to do my best to fill you guys in here. Let's start off with Pharaoh's history with this place. He's actually owned this property for a number of years already. He acquired the home in 2006 for 4 million dollars after buying it from actor Tim Curry. Speaking about the history of the property with architectural digest Colin told them. I have a garden that is almost magazine worthy. It has to do with Tim Curry who lived in my house. Tim Curry is a purveyor of properties. He inhabits a house for two years and does a lot of restructuring work and my house was one of those. Tim lived there for two years. The back garden is really beautiful. He did an amazing job. And you know what, he ain't kidding. Just take a look at these pics. Unfortunately those are the only two pictures I could find in this home but damn they sure are beautiful, aren't they? And here I was thinking Curry would primarily be remembered as the original If the Clown in his role in the Rocky Horror Picture Show. But the man is clearly multi-talented and has one hell of an eye for gardening. Curry bought this place back in the 90s when it was only days away from getting demolished. He then spent years and a small fortune restoring it to greatness. Inside he decorated the home in an English country manor style. The 3,360 square foot interior reportedly also was dazzling city views along with multi-level entertaining spaces. Four bedrooms, three bathrooms as well as a climate controlled wine cellar. Meanwhile outside besides the remarkable secret garden there's also a spot and infinity edge swimming pool. Finally just a quick word about Colin's home in his native Dublin. It's reportedly a modest home located in the historic district known to some as Irish Town. Colin reportedly bought this home in 2003 and that's about all we know about it. Seriously I couldn't find anything else about it and not even a single picture. So Colin must like to keep an extremely low profile when spending time back home. The one thing I was able to find out is that whenever Colin returns here there's always one place he absolutely needs to eat at. Abra Kebabra, which is just an awesome name for a restaurant chain that I can't believe I've never heard of it before. Colin loves the place so much that the owners even gave him a gold card so that he can get free magical kebabs for life. We had a discussion about a restaurant that you love. What's it called again? How could you forget such a name? Abra Kebabra. All right I think we're gonna end this house tour here. What did you guys think of the three different homes of Colin Farrell? As nice as the place he just sold sounds and looks I really want to get a better look at his Los Feliz home before I make my decision because that one sounds like a keeper. Don't forget to follow me on Instagram where we can keep the conversation going. All right I'll see you all in the next video. Bye.


This is stock number 7T342B. We are here at Summit Automotive in Fond du Lac, Wisconsin, your new and used SUV headquarters. Today we are checking out this super clean 2012 Kia Sorento. This vehicle has the 2.4 liter four cylinder motor which pumps out 175 horsepower. From this HD video you will be able to tell that this vehicle is extremely clean all the way around inside and out. Front bumper is in excellent condition. No dense dings or cracks. Has projector lamp headlamps, factory fog lights. The color on this is dark cherry. Driver side rim is in excellent condition. It is an 18 inch painted alloy rim and it has brand new Firestone Destination LE 23560 R18 tires on the front. You can see those tires are brand new. We put those on during our safety inspection in the shop. Very clean in the front here. The only thing I noticed on the entire vehicle is there's a couple little dings on that hood there other than that very very clean around the whole vehicle. Passenger side rim no scuffs or scrapes on that and that tire is brand new as well. As you go down this side of the vehicle you can see just how clean that body is, how reflective and glass like that paint is. We take these HD videos so if you are far away or even if you're close by and you just cannot make the trip down you can still see the vehicle hear the vehicle and have confidence in what you're looking at before you even get here very clean down this side and these back tires are the same Firestone Destinations and they have probably about 60 to 70 percent of the tread left. Back rim is in excellent shape and it does have four wheel disc brakes. As we go around to the rear you can see the bumper is in nice shape as well. No dents, dings or cracks on that. It does have a receiver hitch perhaps for a bike rack something like that. You can really see that metal flake in the paint here with that dark cherry. Very good looking color on this vehicle. It has a factory all-weather floor mat back here which is really nice if you spill anything. It's not going to get over all over your carpentry and stuff. Very clean back here. Those seats do fold down flat which we'll get to in just a minute and this one does have a backup camera. As you go down this side of the vehicle just as clean as the passenger side. See just how glass like and mirror like that paint is. We want to make sure you get the most accurate representation especially with a little bit higher mileage vehicle such as this one. Inside the EX package gives you the tan, cloth and leather seats. Power driver seat, no rips or tears on that seat. Power windows, power locks and power mirrors. You can see it has stability control and downhill assist control. Weather tech floor mats throughout on the inside and you can see that this vehicle does have 141,887 miles. Leather wrap, steering wheel, audio controls, cruise controls and bluetooth audio controls on the bottom. It has the AM FM radio, has the backup camera which shows up right there and this one does have serious satellite radio capabilities. Dual climate control down there has a smart key, passenger seats and really nice condition as well. No rips or tears on that seat and this vehicle does have side curtain airbags. There's that weather tech floor mat I was talking about and it has the home link system with your garage doors, lighting systems and security systems as well as a compass display. And you can see it has an outside temperature display as well. We'll take a quick look at the back seats and then we will check out under the hood. Back seats are just as clean as the front seats. No rips or tears back here. It does have the latch child safety system. We have the weather tech floor mats throughout back here as well and these seats do fold down for extra storage which is a really nice feature and they fold back up like so. We'll take a quick look under the hood at the 2.4 liter four cylinder motor. Like I said 100 and 75 horsepower. It has the hood shocks which work very well. Engine bay is very clean and runs very smooth. The Sorento has been fully safety and inspected by our service shop has a fresh oil and filter change. All the fluids have been checked and topped off and this SUV is 100% ready to go. To see more pictures of this Kia or one of our other 400 new and used cars, trucks, SUVs, minivans, Wranglers, halftones, you name it we got to go to our website www.summitauto.com. Full pictures and descriptions of every single vehicle on our lot. Videos of every single used vehicle that we have all at summitauto.com. Thank you so much for checking out this vehicle. If you want to make it yours give us a call right now<PHONE_NUMBER>. Ask for one of our sales associates to make this Kia Sorento yours today. Once again that number is<PHONE_NUMBER>. Thanks again for checking out the vehicle. If you want to check out more videos go to youtube.com. Remember to like, subscribe and share. In fact in a second you will see a link to subscribe to our YouTube channel on your left. A link to more used inventory of vehicles like this one on your right. If you haven't been to our website on the bottom, a link to this vehicle on our website. Click those, check us out and we really look forward to helping you with this super clean 2012 Kia Sorento EX. Thanks again.