someone's phone. Oh, it's okay. You're famous, man. Come on. People call it. And you're, you're, you have a like a garden situation out there. Go ahead. Go ahead. We're cool. We're always here. Yeah. SLP, I love when you wear that Hello Kitty shirt. It is my favorite. Well, I, you know, I have a, it's a Yo Kitty shirt. Oh, yes. And I have one in it because we, when the, the child goes to bed, we sit around and make t-shirts. I love that. So it says Yo Kitty. Ashley. Yo Kitty. And I have one in, in, uh, yeah, I have, I can, I can get you, I can hook you up. All right. That's what it says, you know. Thank you. Yo Kitty.  Did you read about that? I did not read about that. Yeah. Hello Kitty is not a cat. Hello Kitty is a little girl. I'm going to have to look this up. That's fascinating. Just so you know, I mean, I wouldn't want me to be like out of the loop. I think what else is watching now that we're having this public private. Hello Kitty is not a cat. Hello Kitty is a little girl. Yeah. And so it gets, it gets interesting when you put down the Hello Kitty rabbit hole, but fortunately I think Tim, like Nelson's going to save us from that. I think he is. But he's, he's on, he's, he's on the phone. We can. I'm good. Are you good? It's okay. Where are you? Where are you today, Tim? There was an issue because my phone is hooked up to my computer. And so even when I silence it, it rings all over the place. I'm in Manhattan. That's a terrace. Oh, oh, I'm looking behind me. Maybe the terrace will manifest. If there's a hand of God there. So maybe all good things will come. Yeah, today we're thrilled that you're here and I love that you have your guitar in the background. I think we should have, we should have, we should both like play the guitar during Watch Me Work. We've got Tim Blake Nelson. We've got Tim Blake Nelson, everybody hanging out with us during Watch Me Work today. Tim Blake Nelson is an actor, a playwright, a filmmaker. His filmography, I love that word, as an actor spans 80 feature films, 80. That's a lot, man. I mean, he's made films with these incredible people like Stephen Spielberg, Ang Lee, Terence Mallick, who's amazing, the Coen brothers who are phenomenal. He's worked also, he's worked off Broadway at the public at Manhattan Theatre Club, Playwrights Horizons, Manhattan Class Company, New York Theatre Workshop, Soho Rep as a playwright because he's also a playwright and a very fine playwright. He's written The Grey Zone, The Eye of God, and Socrates, which I saw, what's the last year? Did we share the green room together? We did when you were doing the noise, yeah. And we're hanging out. For TV and film, he is directing credits because he's also a director, include The Grey Zone, Eye of God, Leaves of Grass, and Z, among many other things. Tim, we're so glad that you're here today. It's my pleasure to be in here for that. This is so cool, man, because what we're going to do is we're going to all work together for 20 minutes, and then we're going to come back from that work session. And everybody, just so we know, we can do any kind of work. It doesn't have to be writing or, you know, it can be choreography or painting or whatever you want. We'll work together for 20 minutes and we'll come back, we'll talk with Tim Blake Nelson for a little bit about his work, what he's up to today, and then he will take your questions about your work and your creative process. So I have my time. And you don't need one because I got one and Audrey's backing me up. So and oh, yeah, we're right. But Audrey's going to tell you how to get in touch. I'm so sorry, I would never leave you hanging. So if you do have a question, you're inside of the zoom, as a reminder, you can ask a question by clicking the raise your hand button likely in a participant tab at the bottom of your screen on a laptop or the top if you're on a tablet or an iPad. And I'll call on you sort of in like, whatever order I feel like, I'm sorry. And then then if you're watching on HowlRound.tv, you can also tweet at us at at watch me work SLP with the hashtag HowlRound H-O-W-L-R-O-U-N-D, or you can tweet at us at at public theater and why or message us on Instagram. And we sometimes see questions from there as well. Right on, right on, right on, right on. Okay, we're going to work for 20 minutes. Here we go. From wherever we were. We were in Wonderland. Okay, so we're back. We have again, we have a very special, very awesome, very talented guest. And very wonderful person, Tim Blake Nelson, who's here today to talk about, he will take your question, but first, before he takes your questions about your work and your creative process, I would love to hear a little bit from Tim about what I mean, if you, if it's comfortable to talk about what you're working on right now, you've got so many cool projects. Pro's piece. Here's a draft of it. Wow. And I know we don't measure things in inches, but that's impressive. I've always wanted to try my hand at one of these. And, and so I've been doing it for about the last year and change. And frankly, it's because I've written, I have too many film scripts right now that haven't, that are waiting to get made that I've, that I'm not made yet. And I didn't want to write another, but I always want to be writing. And so I just thought, why not try Pro's in my 50s. And so that's what I've been working on. Fantastic. That's really, really cool. I mean, it's very brave. I think it's very brave when an artist who is known and respected and loved and revered in other forms decides to try something. It sounds like you're trying something new. I mean, writing is not new, but Pro's, you mean fiction? Yeah. Uh-huh. Uh-huh. Uh-huh. Like a novel? Yeah. Can I use those words? Right. So, and this, would you say this is your first novel? Yeah. Yeah. So that you get to like the badge of honor and bravery? Because, yeah. I tell you, I don't, even though it was very perhaps obnoxious of me to hold the thing up, I don't, I don't, I don't know that I'll ever get it published. I probably could, but for the wrong reasons. Um, but I wanted to just see if I could do it. And so it's just been as much of a, as much a calisthenic exercise as it has been an attempt to, to make something that I could share with people. I really don't know what I'll do with it. There are a lot of inhibiting factors, but the main one is I don't want to put something out there in, in a form that is so sacred to me because I'm always reading a novel. Uh-huh. Uh, and I revere novelists. Um, and I don't want to put something out there that, that I don't feel merits being in book form for, for people to read. Um, you know, I don't want to get a book published just because I was on Watchman. Um, I want it to be on its own mirror. I understand. I understand. Um, and if, so how would you know, I mean these aren't the questions I'm supposed to be asking you, but how, how would you know that it is good enough then? Well, I think probably everybody on this call and I'm looking, there are 90 people. Um, and if people are serious enough to sit at their computers and write for 20 minutes uninterrupted and it probably went by like that for everyone. Um, I'm sure every single person identifies we're our own harshest critics and usually that's to a fault. Uh, I think that, that where we get in our way most of all is, um, through demeaning ourselves and, and, and considering ourselves, uh, uh, somehow fraudulent, not up to snuff out of ideas, all the stuff we say to ourselves that inhibits the process. Um, and that's all hateful and destructive and I try to keep it at bay, but I do let it in the room when I'm reading full drafts of my material and I'm very, I'm just hard on myself. Um, and so I have the, I suppose, um, aesthetic hubris to feel that I'll know if it's, if it's worth sharing and there are sections of this which that are and there are sections simply that aren't. It's an odd process, uh, when you have that much space because a novel can be as long as you want and descriptions can be as long as you want particularly as long as you're not showing it to anyone. Um, I guess that's true about a play too. Uh, and so you can, but, but, but there's less inhibiting a novel because you're writing for people who just love to read. And yes, when you write a play, you're writing for people who love to go to the theater, but they don't love to go to the theater and sit there for more than three hours. Um, I, you know, I love David Foster Wallace. I love Tolstoy. I love, um, you know, Murakami. You know, a lot of these maximalist writers who, who don't let the scope of something inhibit their work. Uh, but I look at my novel and I get, I feel that at times it just becomes unruly and I get out of control. Um, and it takes, uh, a good deal of, um, disciplining rigor and self criticism. And that's just been a great process for me. And so even if I never share this with anyone, it'll make my plays better and my screen plays better. Do you have the same, um, process?  Do you think you do that from, from project to project? Uh, I'm a form is content guy. I'm of that school. So even though I'm a, uh, uh, studied classical, um, you know, classics in college, uh-huh, where form and content are just meant to be distinctive one another. I have a much more modernists, uh, or post modern view of, of form and content. So I think that when you're writing a play, you have to indulge in the plainness of it. And when you're writing a novel, it has to be resolutely a novel. Um, that's part of its content. The form is the content and the content is the form. They're, they're, they're, they're one when you're doing it right. And the same is true with being an actor as opposed to being a writer. So if I'm going to be in a Susan Lori Parks play, I leave the playwright at the, I don't bring the playwright into the room because that's not helpful to anyone. It's not, it's, it's not my play. And if I'm thinking like a playwright, then I'm not doing my job as an actor because I'm out of the give and take that I need to have with my scene partners. And I'm suddenly thinking in a, in a differently critical way, critical is a good word about the, as a, as a, as a creative collaborator. And so when I have a question as a, as a, just as an example of a playwright, it's never about the writing of the, it's about what do you want out of me? How does this is not working for me? How, what am I not getting here? Or perhaps because as a playwright, I really appreciate this from actors. Sometimes when an actor says I'm not getting there, it's because I haven't, there's something where I can do as a playwright. But I try to leave the playwright at the door when I'm acting. And I leave the funny, I don't leave the actor at the door when I'm writing because I love writing for actors. And often I find myself writing parts that I would love to play but never could. Women, for instance. And, but you know, or older people, or younger people, or people with a different sensibility than I, you know, writing Socrates, only Michael Stoolberg could have played that role. But it was delightful for me to be able to give him that. And almost in a very constructive way, to live vicariously through just even imagining before he, we went into rehearsals, what he was going to do with it. Do you have a preference? People ask me all the time, I don't know, do you have a preference, which, you know, do you prefer film to stage or stage to film? Or are there, there's so Why not a rock and roller like you? What do you mean rock and roller? You got your guitar back. What is that? Is that a guitar? Yeah, it's two guitars, but I just learned to play guitar to do Busted Scruggs. Which, which we love. Yeah. You're kidding. I had no idea. You look like you're really playing on that. Well, I learned. I studied it for six months, hours a day. I have a son, my old son, Henry, is a really, really, really serious guitar player, Oberlin Conservatory. Oh, does classical and jazz guitar and he's a composer.  That's like, actually, this is the and I didn't stage it here. It just happens to live in my office, but this is the Busted Scruggs guitar. Oh, that is fantastic. Ha. Oh, that's so cool. And then this, this, this is a guitar that is from the 40s. It's a cataloged parlor guitar. Oh, nice. I got in Jackson, Mississippi in the fondre. Very nice. Yeah. Parlor guitars are coming back in. Well, I'm a little guy. It's the only guitar I, you know, I can't play a Dreadnought. Well, yeah, they're too big. It's like, it's like playing a boat or something. So anyway, no, I don't, I don't have, I don't, I don't have a preference. I, I just, I don't know. I want to, I can't go through the day without working on something. And I think a lot of what I do comes out of a restlessness. And there's a lot of restlessness you have as an actor, because you have time between parts. And even when you're playing a part, you have a lot of time. And I've written plays. I wrote the Gray Zone, the play I had up a long time ago at Manhattan Class Company backstage doing a Peter Parnell play at Playwrights Horizons. Wow. Wow. But I think, you know, you're, you're that sort. And I'm sure a lot of the people on this phone call are on this phone call. But I like when you talk about the rest, the restlessness, I think, and you lean into it, instead of it being like, I feel restless and agitated. So I'll pick up my phone or search the internet, you know, or read the news or whatever, you're restless to be working on something. That's that's very beautiful, Tim. Yeah, that is, you know, not to get too deeply into it, but I was almost in a, you know, what was that movie Clockwork Orange Way, taught to despise myself for any even hint of lassitude. So and that's a blessing and a curse. But I just, you know, I just need to be doing it. I just don't much like myself. That's that's that is a deep rabbit hole. Now smiles on my face, we can go on from that. Again, I doubt I doubt I'm the only one on this call who is motivated in that way. And you need to make it your friend, not your remedy. Well, there's a feeling of lost, you know, I don't, there's a feel sometimes I feel lost, like, if I'm not doing something, I don't really know who I am, which is another rabbit hole. But I have a question, another question about your work, your creative process. So do you prefer writing plays to films or teleplays? I mean, do you have a, you know, or is it all, for me, it's all delicious writing, but what about what about you? Do you think? I think I dare say that just for the writing process, probably film is my least favorite because, you know, screenplays are made to be written to be made into movies. They're like architectural plans. And they really pale in comparison to the house itself. And other forms of writing, I've never really written a teleplay. So I don't know much about that. But I can tell you that it's probably the same with the teleplay, but film even more so. Because with the movie, you're writing, you know, you're writing this, this, you know, films or events to me. And you're writing the blueprint for that. So it is like the blueprint versus the house itself. Whereas plays, at least the ones that I write, and my God, certainly the ones you write, are also so much about the words that the form of a play is somehow less distant from the form of a theatrical event. There's less of a distance there. It's not blueprints or design of a house and the house itself. I don't quite know what it would be. It's not even a maquette versus a statue. I'd have to think that through because I'm spinning it right now. But I do know that at least with the plays that I write, the words and the rhythms are really important. And the distance between what's on the page and the performed event is far narrower than the one between a screenplay and a movie. And with this new experience writing prose, it's, you know, it is the book. The form of it is the book. It is the bookness is the book. And that makes the writing quite challenging and but also when it's working quite delightful. But it's a marathon. Yeah. So yeah, I guess I like prose and playwriting, the writing process more than writing a movie. You're restless to get on set. And then when you're on set, you're restless to get into the editing room. And then, I mean, it's crazy when you're in the editing room, you're restless to get into timing and post-production sound. And out. Yeah, your heart broken because it's done. Right, right, right. And once you're done, no matter who you are, I've really never met an exception to this. It's always underwhelming in retrospect. Because, you know, the schedule on a movie is so inflected and controlled by how expensive it is to make them. That eventually you're always, you know, having it's like in that square play, Six Degrees.  You could work on them forever. You love Terrence Malick. I mean, Terry. Terry is a great example of that. You know, his best movies, he spent two years editing both of them. In my opinion, the first two. Wow. Yeah, yeah, yeah. Wow. Two years. Okay. In the edit. Yeah, in the edit. Right. Wow. This is, oh, I'm so happy that you're here today. So you feel like in the mood to take some questions from our people? Yeah, yeah. So we have, we have about 15 minutes or so. Let's take some, Audrey, call on some people. All right. Carla, you are up first. Hi there. Hiya. Hi. I'm Carla. I actually work front of House of the Public Theater during Socrates, and I saw about six times. Oh, you did? Okay. Yeah. But it was great. It was great. Usurers, we get to sit a different angle. So we get to see the play in a different way every time and with a different audience every night. So it's really cool. So my question is, I have multiple projects in writing. Some of them are novel. Some of them is more playwriting. But my issue is, and you mentioned this earlier, that the form is the concept. And it's just sometimes I see things more as a novel because I find too many details or too many things come up ideas or I find myself, I guess, lost in the research of things. Like for example, I'm writing something where I'm describing a city and I get lost into the history of the city and it's a medieval city and there's all these gates. And why are these gates here? And instead of focusing on the characters, I find myself going that way. And then I'm writing something where I'm finding myself in the details of the novel. But then I wrote, this one is based on a memory and I wrote it as a play and sort of imagining the audience being with me in my memory. And so I just, I guess my question is, how do you know when, which I wrote it down? How do you know which form the content will take, I guess, like when you have an idea or something? I suppose it's a give and take, but the give and take starts with a gut feeling. You know, the memory play is an entire genre. We don't talk about them anymore, but geez, in the 50s, it was a whole thing. And there are some beautiful ones.  And I think it's really useful to hear that, but the give and take then comes in saying, all right, I've made this decision and I'm going to indulge that. And I'm going to make this as live theatrical as possible. I'm going to make it indelibly that. I have an interesting process on, you know, the play, my play, The Grey Zone, I then made into a film. I did not direct the play. This wonderful director named Doug Hughes did. And his approach to the direction of it was to, it's a Holocaust play, and it actually takes place in the crematorium, number one crematorium. And so he said, well, we're never going to have all that on the stage. You really can't. So I'm going to pair it all the way in terms of the set and really rely on side light and sound. And so it was an environmental production in terms of light and sound. And he took the theater, which was the old small theater at Manhattan Class Company before they moved to their fancy current environs. And he clad it all in cement. And it was incredible. It was a really great production. But it had no detail in the set design. When I made the film, I made it hyper real with the wonderful production designer that I had named Maria Jerkovich. And she's a fantastic production designer. And she really, with collaborating with her, we really went to town in terms of every detail. And so in the movie, if you see the movie, you see every detail of the cremation process. And there's the sound, but it's also lit, natural. It's not lit theatrical. It's natural light. So in one, you have something that's indelibly a live theatrical experience that leans on light and sound and exploits the audience's imagination in theater to fill in the rest of it. Because theatrical audiences are very imaginative in that way. Whereas in the movie, you expect to see everything. You can't conceptualize like that unless you're doing something like Dogville, the Lars von Trier movie, and that's the point. But that wasn't the point of this movie. It needed to be absolutely real. And so it could only be a movie. Yeah. So the give and take is once you make the decision, really embrace the nature and the signifiers, whatever, however you want to put it of your form. Okay. Yeah, yeah. You see one of Susan's plays. You couldn't do it as a movie. It's just their theater. They're absolutely theater. She practically invented a genre because it's so theatrical. And that's what you have to do once you make that decision.  Take your own. Who's to say that in a play, it can't suddenly go into a monologue that's eight pages that is borrowed from the novelistic form. And then you're inventing something new and that's your own approach to theater. Yeah. That also makes me think of sometimes I have trouble with third person and first person. Sometimes if I'm writing the novel, I'm trying to write a third person and then all of a sudden I keep writing and I'm like, oh, wait, all of that was in first person because it just came out naturally to me. So it helps. You know, the play I was talking about earlier, six degrees of separation, you have dialogue, dialogue, dialogue. There's no act break in that play. And then suddenly bam, about two thirds of the way through, this character walks out center stage and just talks to the audience and tells an experience. And it's so powerful. And it's first person. So there you go. Yeah. All right. Well, thank you so much. I really appreciate it. Yeah. Thank you so much. Thank you, Carla. Thank you, Tim. All right. Up next, we've got Judy. Judy, are you with us? Hi. Thank you. My question is how often would you interrupt a writing project because another opportunity comes along and so you start chasing down a new writing project to meet that opportunity?  I've done a few jobs for hire. And, but usually with me, it's more I'm writing something and then I get an acting job. But it's kind of like water, you know, and cracks in the sidewalk with me. It's path of least resistance. So I ended up writing a prose piece because, you know, the air traffic control for the airport, you know, my projects just said, we don't have enough runway space for you to land these movie scripts you keep writing that aren't getting produced. And so don't send another plane to our airport. And so I thought, all right, I can't, I can't, I can't do that. There's no, I can't, there's no landing space. It's clogged there. And so now's the time I'm going to try to write a prose piece. While at the same time I'm getting those other movies set up, I will make those movies.  And so I just had, you know, these scripts that weren't getting made. And so, yeah, I think it's not often healthy to let yourself get interrupted when you're in full swing. But it's great to be interrupted when you can get some distance from something that you, that's driving you nuts. Is that helpful at all? I feel like I answered your question in a way that's specific to my life, but maybe not as, maybe not be so helpful for you. Did I answer your question? Yeah, yeah, it's helpful. I mean, I look at, I have several plays I'm working on and they're all different stages and I'm okay with that. I have so many more ideas, but then all of a sudden I hear the opportunity had the deadline of June 30th if I want to write for it. And then I think, no, no, no, because it takes me a long time, but then it doesn't leave me. I start writing it overnight and bad until I approach it. And so I guess I'm looking at how common is that among writers. I look at everything I write will help with something else I'm working on. Well, you know, there are all types of fishermen and some fishermen need to use one pole and concentrate on that and just hold that line and feel when the fish is going to bite. And some like to put eight lines out.  I'm more of a one pole guy, but that might not be who you are. Okay, thanks. Very good. Thanks, Judy. All right. We've got about four minutes left in that time for I think we're going to do more questions. Let's see. I'll try to be shorter. Take your time. Do what you want to do. All right, Tasha, go for it. Hi. Hi. My question is about when you know a project is done. I mean, I feel like that's, I don't know if that can be answered, but I'm curious as to what your process is because I feel like I can never let mine go. Are you a playwright? Yes. So do you have people come over to your living room or do you go to somebody's living room and have your stuff read and listen to it? Yes, sometimes I'm also in school. So we have like a process that we can do that through the school, which I do. Yeah. I don't know. I don't, I haven't, I've written, I've rewritten in every single time I've been produced and it's not, it's not, I don't know, I've been produced as a playwright maybe five times. So it's not some huge amount. And I've been, I've always rewritten all the way up through the last preview until I, until somebody says, all right, enough. So Socrates is an example. I was making changes literally until Doug Hughes, the director, said, your script is frozen. And then when I published it, I made more changes. Do you do that, Susan? It depends. Yes and no. I sort of also just leave things alone and go on to the next thing.  You were actually working on it. It was, you know, a big play and you work on it till the director says stop, you know, which is great. And then you fix it some more, do a little more tweaking when it's published. I think that's normal. I think that's a good way to work. In answer to your question, the student, Tasha, and maybe Susan would want to chime in here. You'll learn to hear your, you'll learn. I don't think when I was a student, I had much of an idea when I was done. In fact, usually when I was a student, I was convinced I was done and I wasn't even close to done. That's helpful. Thank you. All right, we're going to take one last question. And we're going to go to Erin. Erin, go for it. Hi. Hi. I feel like I'm speaking or to giant, so I don't even, but I guess my question is I'm working on a screenplay and I know that beginning and I know the ending very clearly, but I feel like the ending is predictable. And I'm wondering, like, if you've come across that or what you think about predictable endings. Yeah, I don't, I don't know.  I don't think predictable is you know, 98% of the time predictable is a pejorative when it comes to narrative. And maybe 2% of the time you want that. My youngest boy was just writing an essay about 12th night for ninth grade English. And he sort of made the point, this is ridiculous. You got these people who barely know each other marrying at the end. It's all sewn up. I don't buy it. The rest of the play was so much more interesting until these marriages at the end just puts everything up in this predictable bow. And I thought that was a really interesting point. And that pops into my head. I would just give yourself a break. You know, with a lot of these, with writing, I still feel like, and Susan, please say it, tell, tell, tell if this is bad advice. You know, I think of it in a certain in certain respects as abstract painting. And you just want to get your your fields of color and your your basically your abstract, the bones of your abstract up on the canvas and have something to work on. Rather than all these demons that you can allow, sorry for the word, but that you can allow to like the one you're bringing up right now to tell you, oh, it's bad. It's no good. It's not worth it. It's a problem. All that's going to do is inhibit you from getting the paint up on the canvas.  It doesn't matter. You can change the ending. Rule one as a writer, you don't have to show anything to anybody until you want to.  Just get it, get your pages out, get it moving, get credible, interesting action that has traction and grit and truth, you know, paint on the canvas and then worry about that's predictable because you can always go back and change that and set it on its head. What do you think about that, Susan? Does that help? Oh, music to my ears, brother. Yeah. You know, I mean, I think you're exactly right. You get it down and make it better, you know. And I agree. Predictable is, you know, in some circles, the meat and potatoes of Hollywood. So don't worry. Don't sweat it. You know, giving the people what they expect is okay. It's not a crime. All right. It's six o'clock, one six o' two, actually.  What a blessing to have you. Yay, we give you virtual hugs. Thank you for coming here. Oh, breath of fresh air and so inspiring. It was my absolute pleasure. And just to everyone who's writing out there, stick with it. That's what it's all about. Yeah. Thank you. Thank you. Come back anytime and talk with us some more, share with us some more because I love you. And thanks for hosting this. Oh, sure. All right. Thank you. Thank you. Bye. Our links will be posted for next week, starting tomorrow at three p.m. And we'll see you next week. We will not be here on Monday because it's Memorial Day. Okay. Bye. Have a happy Memorial Day, everybody. Bye. Happy weekend. Thanks, SOP. Thank you.


All right, greetings, everyone. Some of you know me, some of you don't, for the ones that don't know me. My name is Ms. Jennifer Pinker, and I'm from Montgomery County Extension Office, here locally, here in Montgomery, Alabama. I'm gonna need somebody to keep count. Who want girls and who want boys? That's why I need a cold one, if you want it. Anybody got a cold one? That's not a cold one. All right, team one, you want heads or tails? Oh, which team are you on? Yeah, y'all team one. Heads or tails? Heads and y'all tails. Look, that's fine. All right, just toss it up. Okay, we'll get it here. Okay, it's heads. So heads, guess what? You got girls, they were heads. And y'all got boys, somebody need to keep score. So pay attention to the scoreboard up there at the top. You ready? This question here is worth 200 points. All right, formula, it's just as good as breast milk. Foul, foul, foul, foul. Wait a minute, do I need to toss it? Because I heard the bell two times. I hear it, make it up. Let me try, let me, I'm gonna have to get that, I'm gonna have to get that pen. I can't even make it, she got it going. Let me get that pen. All right, y'all call it. Heads, tails. We won, we can go. That's heads. How y'all like that? What's that? We said she's the winner. So what is the answer? Well, you said formula milk, it's just as good as breast milk. That is correct. Give yourself 200 points. They cheated. They cheated so much. All right. Mubbles with breasts are too large or inverted nipples. Foul. She didn't fit it like that. Shapes are valuable. Yeah. It's a breast feed. That's 300. Catch up y'all. All right. Next question. The more milk, the better it is. What is that? That's true. What is true? If the baby nurse is left, milk supply goes down, meat production goes down, meat supply gets the main. All right. I love this one. That's all I got, baby. They want it up there, we'll hit it every time. All right. Okay, keep rolling it. No, no, no, no, no, no, no, no, no, no, no, no. Y'all better wash my hands. Oh, we in. I'm gonna hit you, I'm gonna hit every time you hit me. Oh, I'm gonna hit you big. I'm gonna drive you. Killed after birth, born more closer with your baby, return more quickly to the wait for out of pregnancy. You know what they want? She want to have some. Which one you say? Oh, I thought baby said the same one again. How long again? All of these ones. We all know it's all evil. Oh, nobody get him learned in trouble. All right, but you know we learn and see how we learn. Yup, we go round number four. There's no way that'll be fair. You hear it, y'all tell you. Here we go. We gotta go through this again. That's he.   I see that thing I had, that thing I was on the back. You in there, baby, go over there. You in there, baby. All right, for 300. Okay, children with breastfed have lower rates of what? Common childhood. Right now, I just heard you. A little bit of your stomach. So there's three of them. You think that thing. Hey, that's what you're gonna get his best. All right, for 400. Here we go. Let me finish it. Women who breastfeed have reduced risk of ovary calcium, reduced of breast count, or de-algebrable. Right now. Algebrable. You got this one. That is correct. My hands look. Okay, here we go. D, D, D, hit it, hit it. I got it, I got it, I got it. All right, we rolling again. This is for 100 points. What else should your baby drink besides breast milk? Formula or? The last one. That's one. I don't say one. That's one. That's correct. Yeah, I'm talking about breast milk. I know that. That's correct. Yeah, you right. You right. It's blue, baby, blue, baby. It's blue, it's blue. Yeah, that's what we're gonna teach you. You got to teach us, Miss Jennifer, we appreciate it. All right, for 200 points, is this the first milk most produced in a small amount, but it's just right for the baby? It is full of protein by all? Oh, I thought you were asking what's the best. So here's it, vernic, leech, hand milk. The last one, cholesterol. You are correct. That's right. I had no idea what that was. It's cholesterol. It's cholesterol. Oh, the cholesterol. That's P-39. P-39. Cholesterol. That's the first milk. Yeah, that's the first. That's what I'm talking about. I did it right here. I know what you're talking about. Yeah, yeah, yeah, yeah. You get that pink up. That's the pink right there. That's the pink. Yeah. You're confusing me now. Yeah. You're confusing me. Okay. Let's roll on. For how long should infants be exclusively breastfeeding? Why don't we? Why not? We get it first. We get it first. Are you? Yeah. Wrong. Six months. Six months. Wow. Six months. Six months. Exclusively. Yeah. Nothing. No, six. I thought it was the end. No, ma'am. So I'm getting cereal and stuff at a certain time. Yeah. So you can get on that. Oh, you got milk. You got milk. Yeah, you got milk. So it means nothing else. Oh, besides that. Okay. Besides that. Question. You can't milk. I mean, mix cereal with breast milk. You can. You can. But you have to be very careful when you start with it. So make sure you talk to your pediatrician because, you know, sometimes with mothers, we start wanting to feed our baby cereal at two we start with. And that's not good. Because the only thing that baby needs to be getting is two weeks old, either the formula or the breast milk. Nothing more. That's including water because they tell you, you don't have to worry about giving your baby water. Because the water is already in there. It's in your breast milk. And it's already in the formula. That's Bob says. All right. Rolling on down. Let's see. For hot load. All right. For 300 points. We're always to tell if the baby. It's getting enough milk. Breast milk. The baby is feeding eight to 12 times a day. Baby is satisfied and relaxed after feeding. Or mom's breasts are full before feeding. Then softer or D all the above. D all the above. That's one. That's what. All right. All right. My mom's breasts are full. Before feeding, there's softer or D all the above. All the above. D all the above. That's what. All dense, nog cub, little. Laseed. That's right doors. All right, lord. y'all wanna make sure I could eat my coat with plain. All right. this is true or false. The fear of not producing enough milk is one reason why moms give their babies a ball instead of breastfeeding. True. What is true? Most women overproduce milk production is regulated by the baby needs. The main problem with the baby not getting enough milk is due to the poor positioning and the baby not let you know the nipple correction. Yes ma'am. Oh, after she had a question. Okay, yeah, you know what I mean. The next one. One of the many advantages of breastfeeding is that it burns calories and the mother will return to her pre-frequency weight more quickly. Okay. True. What is true? Breastfeeding mothers can burn up to 500 calories a day. My new mom's, see, I need to get breastfeeding. Exactly. I know. Mothers have to follow a specific diet while breastfeeding. Breastfeeding. I thought you said no stop, no stop. I'm okay. What's true? I'm okay. It says breastfeeding. It's false. What is false? We got 1,100 points and y'all got 1,19. We got 1,100. We've been keeping up, honey. And y'all got 19.


Maybe you don't know what you want, and that's the reason why you keep in a number of sh**t. Maybe you don't know what you want. Maybe you're like, we just need to hire some more people. You do not need to hire more people. Everybody's always like, dude, I want to go get this. People don't know what they want. You want to get rich? Human capital. You guys need people. People got to make these calls. People got to talk to people. You need people. We can fix all the technology, but until we fix people, we can use the old technology and get rich with better people. Am I right? Absolutely. Okay, cool. So the technology is a bonus. The technology is not going to make us rich. The technology is going to make it easier. It's going to make it more accurate. It's going to keep us from losing money that we were making. And then it'll help us scale and make money with the right people. So everybody, listen. This meeting and leadership today isn't going to be very long, but it's the truth. Does everybody got it wrote down who they want? Yeah. Okay. What did you write down? What kind of person do you want? Me? That's a person. Cool. What did you write? What did you write? Honestly. Okay, but what do these people look like? Are they like, listen. Do they look at you in the eye when they talk to you? Do they shake people's hand? Do they tell the truth? What are these people after? What are their core values? Do they got a family? Do they have children? Are they younger? Are they 20 to 22 years old with no family? So they like have nothing in the way of giving everything they got? Or are they people that are 27 years old? They got a kid and they're in a relationship. And you know that they got to take care of their family. What kind of person do you want? Right? Okay, now I'm going to ask you a question. Yes, sir. Somebody that has a good communication skills and somebody that's a problem solver. That's it. Somebody who sees opportunity and not problems. Somebody who's ready to solve. By the way, can I ask you a question? You can't solve anyone else's problem if you can't solve your own problems. A lot of you in here, you're in charge of a lot of people or a couple people and you're trying to solve other people's but you don't solve your own problems. You're not the leader. You're not the leader.  I heard someone say right here that when I think it was him, he goes, when everybody it went down, we lost a lot of good people because they were making good money and they left. Guys, you know why those people left? Because we trained them to for money. We trained them money. Hey, you come work for me. I'll make you good money. You want to make good money? You want to make good money? Come with me. Come with me. Don't ever train someone that way. If you want to become a good person, human excellence, you want to be a great person, you want to self-develop yourself, right? You want to become a person that other people look up to. Do you want to become a leader? If you want to become that, I want to invest in you so you can go very far with me in a byproduct to becoming a great person, in being with me, in loyalty, which is something that I live for. I have to have loyalty. Hey, guys, what's going on? It's Andy. A lot of you leave comments telling me that you need help. Do me a favor. I'm going to tell you the best way to get a hold of me. Shoot me a text message right now,<PHONE_NUMBER>. I'll help you with whatever you need.  Let's get back to the video. If you're not going to be with me long-term, big picture, no loyalty, I don't want you with me. I don't want to invest in you for six months. Guys, quit trying to bring people on part-time for six months. No, tell them what you want.  I promise you. That's what I want. We need to be direct.  I know selling solar doesn't sound attractive. It's not selling solar. You're willing to do that. I'm going to make you a great human being. We're going to work on human excellence. That's what I want with you. I want to do life with great people. And it just so happens that doing life with great people and being surrounded by great people, there's a job involved. And this job is a level 10 earning opportunity. And if we become great people, it'll pay a lot of money. Isn't that cool? OK, now, if things get tough, I will never bell on you. I will always be here with you. I will suffer with you. You've got to put your hands up. I will suffer with you. You've got a problem? Bring it to me. I'll solve it with you. I swear to God, I'll never leave your side.  I swear. This is what the leader does. This is what the world's missing. You guys want to know how to build armies? Armies. Literally offices of 500 to 1,000 people coming into work every day ready for blood, sweat, and tears to go to war with the leader because they believe in the leader. And they know that the leader would never betray him.  Look, people don't forget what you say about them. Every time you say something negative about somebody in your company, no matter what you think, it gets back to that person. Someone's telling. So what's the only thing we can do? Never say anything negative. Never. You must become what you want. You can't give your people what you're not. You guys in here, until everyone in this room changes, you need to start picking yourself apart. OK, I live by double standards. I tell my people I want them to do this, but then I don't do that.  Maybe you don't know what you want. Maybe you're like, we just need to hire some more people. You do not need to hire more people. We do not need bodies. We need people who believe how we believe. So how do we believe? We believe in human capital. We believe in people. We believe that we want to impact our people's lives even before the customers. We want happy customers. But if we can't change our own people's lives that work with us, how the hell are we going to change someone else's life when we're in their home? That's it.  I like this guy. You want that? That all comes and gets stemmed from the leader. All of it gets stemmed from the leader. It's all from the leader.  When you come to me, I will show you your wife or your girlfriend. You ever cheat on her?  I'm out. You cheat on her, you'll cheat on me. Look, I will good people around me. Call your shots. Let your people know how they have to live. If you have the courage to do this, you will build a team no one else in this world has ever built and you will get freaking rich.   I don't lie. Now, I'm going to make mistakes and so are you, but we're going to work through them together. I'll never cheat, I'll never lie, and I'll never betray you, and I'll never leave your side. That's a promise. And when you start operating this way, all of a sudden people are like, dude, I like this. Hey, it's hard. It's hard. Like, I like that it's hard, but I believe you. And they can see in your eyes when you're telling the truth.  The world's starving for leaders. Your families are starving for leaders. The customers are starving for leaders, but our people that are going to build this business are starving for leaders. So human capital is the key. When you guys change, everything changes. So who do you want to attract? That person's name that you wrote down on that piece of paper, that's who you want? All right, now you become it.  I want you to do me a favor. I want to know in here who has the courage to change. I want you to just think to yourself, do I have the courage to change? Like seriously, like dude, can I ask you a question? Do you want your people in shape? Yes or no? Like I'm asking you a question. Do you want them sluggish and slow? Or do you want them in shape and ready to move all day and make money? Tell me what you want. What do you want? You want them in shape? All right, are you in shape? Come on, listen, are you in shape? Yeah, I'm there. You're in there. No, no, no, but see, but the deal is, is that if we wanted it, we would have it.  You're either a good man or a bad man.  You either go to the gym or you don't, okay?  Now you've got the decision to do one or two things right now. Number one, stay the same. Be like, dude, I don't know if I'm ready to commit to that. Fine, stay over here. I'm looking for the leader in here who wants to run an office of a thousand motherfuckers that will die for that individual without money involved. They do not care about money. Money is a bonus. They do not care. People want to do life with people. People want to fill a part of something. That's what the world wants right now. You know how I know that? I literally became an influencer by putting my, I didn't, you know, when you start a business, you got to market, right? Max, so I'm like, I got to get on social media because marketing is really expensive. Let me try to build a brand. Well, what happens when I put my message out there, we start generating a lot of leads. I start doing a lot of business. But then I got people DMing me every day that go, dude, I love the way you live. I love the way you believe. I love that you, how you tell the truth. Andy, I want to, I want to be in sales too. I also believe the same way you believe. Andy, can you help me find a good leader? Can you help me find a good company to work for?   They don't care. You know what they want? They want the leader. They want the leader.  This is our world right now.  Everybody's got issues. This is why you guys got to wake up.  And these people that are broken, which I was telling them, people that come from nothing can end up with the most. These people that are broken, I'm a broken person.  I'm the most dangerous guy in the room because I'm broken. And if you show me loyalty, I will go through the end of the earth for you. And there's so many of you guys right now. You're looking for loyalty. Lulty is built. You guys build your great team. You're not going to find them. You're not going to recruit them. You do not want another guy selling solar from another company. That is not what you're after.  No, you don't. You want to look for somebody that believes the way you believe and you want to make them. Because selling solar is helping people help themselves. It's really easy. You guys need to build your army with the way you believe and then you can run with these people.  And these two guys talked about brotherhood, sisterhood, family. Really? I know they're real. But really? Is that real? If somebody right now, I'm going to ask you a question.  So we're going to take any office in here. Got 100 people. I'm going to ask you a question. Do they have somebody that they live with? Boyfriend, girlfriend, husband, wife, somebody that they do life with? Yes or no? Once a month, I have them all in the office, all of them. Max, I go over with them. I say, all right. All of you, thank you for being here with me.  How important your girlfriend, your boyfriend is to me and this company. I want you to know my job. Max, when your wife comes to work with me, my number one goal is to make her a better person to come home for you and be a better woman for you. That's my number one goal, Max. Now, do I want her to make money? Do I understand that she has to make money at work? I totally understand that. But I want you to know the time she spends with me, if she cheated on you, I'd fire her.   That's my goal. That's my goal. I want everybody who works for me to become a better person. That's the deal. Is that what you guys want? That's what you must start demanding. Tell people, when they come work for you, I will create you to be a great person. Period. Now, there's a lot of money on the backside of you becoming this person. But I explain to their families what I want for them. Why?  Dude, I'll pay you three times more than you're making now. You ever had somebody leave for money or a different opportunity? Well, guess what? When people go home and they find out, hey man, she's got a good opportunity. Max, you're going to be like, dude, are you kidding me?  And he's invested in you. He's made our life better. He takes care of us and you're going to leave him for money? No. No, we're not in this for money. Now the whole family's bought in that it's not about money. Not the end of the day. Is it about money? No, it's not about money. No. That's the problem. Money is easy. Hey, listen to me. If I opened a solar company right now, I'm going to tell you what I would do. I'm just going to tell you, if I opened a solar company right now, I would literally show people the way that I live for about two months online. I'd have DMs every day that goes, dude, I love you.  I like watching yourself. I'd be like, you know what? You need to come work with me. I want you, man. You know what? You want to spend more time with me? Your job is to not be the boss. Your job is to be the mentor. Hey guys, I just want to tell you the true one percenters you made it to the end of the video. Do me a favor. Share it with the friend that wants to go to another level. Make sure you like the video. Comment below so I know who you are. Set your notifications and then subscribe to the channel. We got daily sales training videos dropping. I'll see you soon.


Yeah Well, yeah, I do you know have a subtle makes me laugh a little bit Hey be like you're not here, so Somebody else asked the first question Open it up Little change up here Keep you on your toes He's been solid, you know, he's makes an impact on every game when he's out there You know he's continues to improve his and chances to Pick the ball off and I think next time he probably will but he's playing pretty solid football Keep that Well, some of it depends what we're playing you know depends what your match-ups are and depends on the coverage You know sometimes a coverage when you're outside depending what we call Well, they take the ball going somewhere else, but he's playing solid football Picking up in season To see that the volume of contributions from guys like that How key is that you know just for the entire staff from the guys bringing them in from the coaches getting ready Yeah, good question. No, it's everybody involved. So I said there's a lot of people It helps it helps and it makes this thing go so You know the contributions you get from guys and it's a long season. You need that You know, there's no scholarships given here.  They've had a big impact You've had a lot of guys working in the slot since Isaiah has been out It is that still something that you're trying to figure out. It seemed like Eric was down there a bit Yes, I'm going to get to our game plans. A lot of different ways to You know Replace production if you want to look at that way again, everybody if you want to you'll want to take your little paper and go one for one That's not how we operate. So that's part of coaching and we'll continue depending on the game plan And who's who's up that week and what our matchups are? We'll make the decision that fits us Did you maybe recognize that he had that potential to take that second year week that a lot of go higher in corners Well, I think he's a good football player, but you know, it's it's an ongoing process So, you know, there's and he could probably tell you you can still play better You know, I know that there's you know some social media fanboy because of some you know whether you look at some of these other grading systems and whatever but He's done a nice job, but he continued to get he continued to get better for us Was there a moment during camp that stood out to you because it seemed like there was a point I think it was maybe like that second or third week where every single day he was I think that was probably like we got a lot of they've been Rose playing really good football. So and I'm happy with both those guys and We just feel as a team we can continue to get better. That's really what it is And I think a lot of times it's it's easy as our old, you know guys are high draft picks You know, they're gonna draw a lot of tension and It's like a snowball effect and you know one play gets there's a lot of guys making plays and I'm very pleased with AJ There's no there's nothing wrong about it. But just like a lot of our guys There's there's things we can do better just like there's things I can do better every week Obviously a lot of attention on the Final offensive drive you had a couple offensive drives 1415 plays I think Do you feel like you're able to like what was working in in those Scenarios and is it encouraging to see especially on that one? I think you bird 5 36 off the clock I don't like that at the end of the first half to see the offense get going like that. Yeah, it's a NFL football game, you know, you obviously objective is to score every time you have the ball unless you're in you know in victory formation, but It is a game of back-and-forth. It's good defense. We were able to sustain some drives guys made some plays I thought our guys handle third down really well that that's always an area of concern when you're down in an environment like that And we were able to extend those drives that ultimately ended in points And that was a huge drive at the end of the half to chew up the clock till the end with a touchdown essentially not giving a chance other than the kickoff to touch the football because they're getting the ball after half and that's what you want a long drive and To me that's it's good really really good situational football That's what it comes down to and that's a that's a good scheme. They got really good players good coaches, and that's a tough environment Which is a to see we'll take it day by day there's a chance Means any more priority once saying we'll take it day by day When it comes to really we have talked we haven't asked about it since you guys put them on NFI What what went into the decision to do that? Just like you would have any injury. We think it's a the best decision for the player and for the team That's pretty much what it came down to Yeah, it's all you got


You've never had a car. Yeah, I don't drive. I still need to learn how to drive. You're in Washington DC, but you have the metro. But there are places, Adina, like smaller towns, where you actually need a car. And to even get groceries, you may need a car. So what does that portion do? Something that you should factor in, both to your costs and sort of standard of living when you're looking at universities. So am I going to need a car? Do I need a car to go down and buy a gallon of milk? And so to get a driver's license, it's a little complicated. And again, you should check with your university. They should give you instructions on how to do it. If you have a driver's license in your home country, sometimes that can help. But you still have to take tests here. You have to take a driving test and a written test. And it's a bit of a process. I think it's a valuable process, even if you're living in a city and even if you don't have a car. People like to go on road trips. People like to, we have car share services here. So people like to get into a car and go out to the suburbs, to a Chinese supermarket, that sort of thing. And so even if you don't need to buy a car, I think it's really helpful for you to have a license eventually at some point. I see. And there are cases where going back to roommates, two or three roommates get together and buy a car together. Is that, have you seen that in your experience? We have a group of students from Germany who rotate every year and they pass the car down to the next group every year. So the car is probably 15 years old by now. And it's just enough to get them around campus. But yeah. That shows the camaraderie between international students. And that's one of the wonderful things about the learning experience. We're going back to the learning experience.


Okay, boys and girls, this is Billy Ray Valentine, also known as Larry Pesevento, and we are looking at a market that has been extremely strong these past two days. Yesterday was one of the strongest days up volume, along with the accompanying highs to lows we've had in a long time, so this market is poised to break out if this banking crisis is over and we're going to find that out probably within a few days. The banking stocks are not acting well, but that's another name of the game. At least they're telling us from our friends in Washington, Mr. Powell and Janet Yellen that everything's okay and there's really nothing to worry about. So we're going to find that out very, very soon for sure. Anyway, what we want to do now is we want to tell you that the Treasury bonds have held that level over 129, which is very, very important, so interest rates seem to be solidifying in a good area. The other thing that is really important here is we've got gold above $2,000 an ounce now, folks, in a June contract, and we could easily, you remember, we had that beautiful 382 down there at 1940, so we're 60 handles higher than that, and all we need now is about another $15 or $20, and you could be looking at $2,175 an ounce in gold. It's far, far above $22,000 in other countries where the currencies are different, like in the pound, and also in the Korean won, and then also in the Chinese renminbi, they're extremely higher, so because the dollar's been strong, it makes it a little better here to look at, but it looks like we're going to close above $2,000 for the first time in a long time and that might mean a situation where people get a little bit scared, and whether that affects our stock market or not, I'm not sure, but there's a lot of things to do out there. I don't think you have to worry about the safety of your bank account, but it's the banking, the way the banks will run, which means the people that own the stock in that bank, those are the ones that could possibly get hurt. If you remember Bear Stearns and Indian Brothers in 2008, that happened, but the people that own the stock, those were the people that got hurt, so if you don't own the stock and your money's in the safety deposit, or what do you call it, a just regular passbook, I think you're going to be just fine. People ask me that all the time, and we've never had a run on the bank except back in 32, 33, and that was a totally different game, I believe, so we'll be right back,<PHONE_NUMBER>.


How's it going everyone Caleb here with late and sports cards next tonight? We have a 2021 22 Panini for some basketball for something like an hobby to box break number nine random teams Thank you. Once again for joining here the results. They're also linked in the chats Good luck everyone. Thanks again for joining. We'll start out with hobby. They need my credit card information I was like no actual Here we go guys for some hobby Tray Murphy Well, we got pulsar Damien Lillard. It's gonna be a blue Darius Garland's blue to 199 fireworks Booker Oh Mother rookie Silver Lori marketing We've got a hyper tied to Rome Trey young mindset Keon Johnson base rookie Jaden Springer base rookie I've got a magic Payton Pritchard to 299 And based on a graph here for the thunder trade man base auto there thunder Hey, we're in a well in Jalen Brown Luca David Johnson It's gonna be a silver Kobe whites Fearless silver Trey young And we have number to 25 for the bulls Mojo autograph of meta world peace on the bull Chicago bulls meta world peace mojo auto to 25. I am just confused Lee why Hmm Sam's checking this out. There you go Sam's gonna figure it out. I didn't know he was ever on the bulls. I only just think of Lakers Austin Reeves, I would assume I'm so confused actually he started there. That's where he started. Yeah, Jason Preston stutter Meyer Rui Red wave and a hyper Bradley Beal prismatic Joel and bead Dude imagine that so basically that's that this is a runner. Yeah, that should be run our tests though, right? Yeah Alperin same goon exactly Jalen Johnson and silver Kenyon Martin, Jr. It's still funny though either way Zach Mavine purple cracked ice to 149 Fearless Damian Lillard keep it going. Keep it going Was this when nobody watched the bulls People watch the bulls now, I don't know Delano Jeremiah Robinson Earl silver John Collins hyper rookie want to scano Anderson warriors not numbered Luca there mindset, sorry, Toby. I know you were gonna be upset but Perfect chance for the joke. So had to are had to utilize the time. Well Jalen Green base rookie. There you go Rockets. I knew you'd be upset though Covington Dirk the red there is a Sondro nice red Sondro You go bucks. That's the 299 on the red Sondro. My apologies, Toby widescreen Yanis I'm sorry for absolutely nothing Couple what to go guys Here we go. Here we go Cam Thomas Steve Nash, we got a silver quickly fireworks silver a deep fireworks LeBron Lakers Lakers Lakers There you go Scotty Barnes base rookie Ray Allen Jonathan Kaminga Red Waved Donovan Mitchell jazz hyper Isaiah Stewart Fearless Luca. There he is again Lowery Couple to go guys couple to go and then we have first off the line still I Believe we're into the three box hobby breaks after this tonight the three boxers Jared Butler base Silver John Stockton jazz It's gonna be blue cracked ice of Joshua Primo there to 125 Spurs you go 75 years dame Ron our test was his original name. Oh, yeah, that's his original name. I Say a livers You've got a Moses Brown here. We got mojo again Another mojo down there. Come on red wave Moses Into a mojo Michael Porter, Jr. For the Nuggets There you go on the mojo to 25 Damian Lillard prismatic All right photo brown some base. Here we go. Here we go First off the line All this appreciate it guys. Let's do it We got a pulsar to Marta Rosen home to Diallo hyper Fearless Damian Lillard Isaiah Jackson rookie Drossin and guys like I said the break to fill tonight in the only break left to fill tonight It's gonna be the NT pick your team Four box full case break number 112. I did just link it in the chat there. Do check it out guys It has six teams to go all of the teams that remain are on sale. They have been marked down Six to go. Let's continue along here. Good luck everyone Silver Lonzo Oh, Jan and I'll be purple cracked ice to 149 fireworks Devon Booker There's Garland Darren Sharper Let's find a big shimmer here. Let's see one. Let's see one. It's some good shimmers so far too You want a box with a good shimmer? So I mean can't complain you can completely whip on them. Yeah This time it is gonna be one of ten on the gold shimmer Chris stops Mavs You go Mavs one of ten Christopps for Zingis Rob will that time to 199 blue. I Hear you. I hear you Mindset Shray Joshua Primo rookie James book night rookie Personals this evening will be taking place with Sam following the last group break in the nights. They should be full I believe You can feel free to order something still if it doesn't rip tonight. I'll rip in the morning Silver Devontae Graham Kenzie's live at 10 a.m. Eastern hyper Marcus Morris Yanis Sondra rookie and a Cade rookie Pistons. Oh, we're pulling a big Mac We're pulling a big Mac Seth Curry red wave D wave that's cool 75th anniversary is Tim Hardaway, Jr. to 75 Prismatic jewel and bead. I say it's odd Did in the chat there for you guys do you check it out the slots remaining on it? Here to go breaks later this evening Joe Engels silver Gary Payton silver prismatic Chris Paul and That is a Trenton Watford there on the silver rookie auto Trenton Watford Blazers Davion Mitchell base White the kundo Compaso red wave Ben Wallace hyper Prismatic Lillard Miles McBride Sigur Roskey, what is that gonna be? Daniel Tice that is a Fearless gold 10 of 10 Ben Wallace Boom That's a sick-looking card There you go, Pistons nice Ben Wallace 10 of 10 on the fearless 75 years Matumbo Xire Williams Jason Williams It's a cool card, and that'd be the most valuable gold you can find but a really really cool player me. Yep Red wave Paul George red Jeremy Grant to 299 Luca mindsets Joe Weisskamp Franz nice Franz base You go magic on the Franz base Nice sit for you there Continuing right along silver Najee Marshall Piper Jared Allen fireworks LeBron Joshua Giddy rookie and a Jalen Suggs rookie nice rookies again You go magic and thunder It's gonna be 20 of 30 rookie shimmer David Johnson. There you go Raptors 20 of 30 Congrats on the rookie shimmer there Very nice 20 of 30 Fearless hyper shack and Brandon Boston jr. Here silver rookie auto clippers There he is Stockton Kai Jones and JT Thor hornets and last pack of the break recap to follow Thanks as always Silver JT Thor hornets Silver widescreen LeBron fear this Luca Yeah, lots of lots of color that box of solid Pam out of bio I appreciate it guys. Let's do a recap. All right autos Brandon Boston jr. Trenton Wadford bowls Metta world peace to 25 Tray man David Johnson on the blue shimmer Fearless Ben Wallace Kristoff's gold shimmer the fearless Ben Wallace's gold Michael Porter jr. On the mojo Joshua Primo blue cracked ice and Sondra red. Thank you as always. We'll have them all well protected and right out to you guys


Hello, my name is Lee D. Baker and I'm an anthropologist at Duke University. The way I engage in anthropology is actually doing the history of anthropology. And by doing that, I sort of do the anthropology of anthropology and looking at the systems and the ways that race gets articulated in the United States with public policy, popular culture and the law. And so that's the history. But the way I really like to study and engage in anthropology is because it enables you to understand a complex world, it enables you to understand complex people and complex systems, and it provides you both theory and insight in terms of how the world really works, which can be sobering sometimes, but it's always enlightening.


Good morning, reaccellencies, good morning for the welcome for the 9th Urban Age Conference. I think seeing the weather yesterday and today, I'm very much in favour of climate change. You see, it's wonderful changing and I think you should be very careful, this climate change is a wonderful city today. Before I start, I have to ask you kindly to switch off your multiple mobile phones because everything is recorded and it's very complicated for recording if you have mobile phones. And for announcing the first speaker, I may just say a word to the ambassador of Spain to Turkey. It was in Barcelona where we had a very small Mayors conference and he was our host and it was in Barcelona hosting our conference where we had the idea, the idea of Urban Age was born and a special welcome to you and thank you for coming.  Another great honour to announce Dr Akamah Mithy, CEO of Deutsche Bank. It's a very important post but the most important job is he's chairman of the board of the Alcatel Society. Dr Akamah, please. Governor Serra, Professor Davis, our reaccellencies, dear guests, dear friends, I would rather say that we have so many now gathered here who are almost addicts to the Herrhaus Society at the Urban Age Conference and it gives me therefore tremendous pleasure to open the ninth Urban Age Conference today in this beautiful city, Istanbul. In this hall we can really experience the fascination behind this city. It's a magnificent past, enthralling present but also the intimations of the future. We are surrounded by a baroque mosque, a synagogue and a Christian church. We can see the historic old town and a modern bridge that links Asia with Europe. Our conference city is almost 3,000 years old and has always been a major commercial, cultural and intellectual centre. It is the oldest urban age city and the birthplace of Turkey's dynamic economic renewal. London and Istanbul are Europe's only mega cities. Since 2005, the London School of Economics and Deutsche Bank's Alfred Herrhaus Society have been investigating the world's big cities. I didn't know actually it's probably a pure coincidence when Deputy Prime Minister Ali Baba Chan said yesterday that Turkish airline is now flying to Mumbai and to Sao Paulo out of Istanbul. So it seems to be the Turkish airline is really following the path of the Alfred Herrhaus Society. Cities are the places where globalization can be experienced by ordinary citizens every day. All the world's problems are condensed into one area. In our cities we see the first, second and the third world simultaneously. Only when cities are successful is a country in which they are situated also successful. Of course cities will continue to grow in the 21st century. Towards the end of this century, as I said last night, 75 percent of the world's people will live in cities. And the crucial questions we therefore face are what kind of cities do we want to live in, as well as how and where we want to live? Through its presence in the world's financial centers Deutsche Bank has become part of their urban development. We are at home in more than 70 countries and the corporate citizen in all of them in Turkey now for exactly 100 years. We know that we can only be successful in cities that are successful themselves. It has therefore been a long-standing tradition for Deutsche Bank to become actively involved with its cities. The London School of Economics and Deutsche Bank's Alfred Herrhaus Society joined forces with partners from all over the world to shape the urban age so it does not overwhelm us all. We have undertaken nothing more and nothing less than to bring together the most diverse experiences in our conferences to develop a template for the success of big cities. Together with the London School of Economics and the cities in which we have had and will have conferences we will tackle this challenge in the coming years. There are many mayors in this hall and we know how difficult your office has become. If you want to lead the city successfully and let me add if you want to lead a country or maybe even a company successfully you must be able to manage opposites. To do this you must be willing to learn from each other and that is why we are here today. Ladies and gentlemen I wish you a most productive conference. Thank you. Thank you Dr. Ackerman.