29 teams will relay for life this weekend at Sanford Center in Bemidji. Teams and organizers were busy preparing the event center for the Relay for Life event. The relay will host a variety of activities throughout the day, all in an effort to raise money for the American Cancer Society. Organizers say the event is open to the public and it offers something for just about everyone. We've just been trying to come up with different things to pull people in. We're trying to get youth involved more. This year's organizers hope to raise over $101,000. The Beltrami County Relay for Life begins tomorrow at 11 a.m. If you've enjoyed this segment of Lakeland News, please consider making a tax-deductible contribution to Lakeland Public Television.


Hey guys, welcome back to my YouTube channel. This is Daniel Rosel here in Jerusalem I wanted to demonstrate a feature in OBS studio that I just kind of got to grips with today Pretty cool. It's just simply cropping. So if you want to crop yourself In a webcam feed, I'm just going to show Show you exactly what you might want to do that and then how to do it and how it's going to look In video, so I'm recording this in simple screen recorder I do have a clip that I'll just pull up quickly of the before and after effect But firstly how to do it. So what I did here was just to demonstrate How this might work. I just went ahead and I'm just going to show you the screen and I just pulled a cloud pick cloudy sky just search Google images for cloudy sky and then what I did is went ahead and Open that up in GIMP and I'm recording this in 1080p HD. So 1920 by 1080 pixels And what I wanted to do here was so basically I just scaled This guy to 1920 on the vertical Took 1080 pixels from the top and then just crop that in some place that made it look okay saved that as a file called clouds.png and What you're looking at now is basically Clouds is one layer and it's filling up. It's filling up 1920 so the reason I did this just while I'm demonstrating how this cropping tool works is It's just easier for me to see Where the canvas lies and you can see if I move myself around and out of it you get this, you know the transparent vector Chevron look, but I find it easier Default if I didn't have this cloud layer if I'm just going to hide the cloud layer I'll be looking at black and for whatever reason when I'm looking at a video afterwards I just find it easier to have something in the background to see how this worked now Okay onto the onto the actual talk about what this does so as you're looking at my OBS now I have Visible Three different sources. I have I'm always trying to show this guy. I have my lab failure microphone. That's the audio input device here Top one on the mixer I have my webcam that is 930c and I've gone ahead and I have just made sure that that was set top in The order sequence here so that I'm always on top and I made sure that the clouds Were moved to bottom and then so if I want to add different layers like I want to turn the screen on I know I'm still going to be above the screen This is all basic stuff unrelated to cropping but here's why you might want to crop So imagine I'm doing a talking head video. I'm narrating some technical screencast and The webcam I have the Logitech 930e has a really nice lens, but it's a very wide angle lens So let me go if we go into the filters Right click on filters You can see I have a crop filter currently active now watch watch what happens if I take off the crop filter So suddenly you're getting a much better feel For where I am and where I'm recording this from and it's really I really love this lens Actually, it's really nice wide-angle lens But it does kind of like show you a lot of stuff that I might not really want People to see in the context of a video like this. So you can see some space here. You can see my couch Depending on how I arrange my room you can see I've got a shirt here. I've got some kindles Now of course the best solution is to clean up But if you're looking to move yourself as a talking head around this screen There it this this shot is just too wide essentially So like, you know, there are things you could do if I just don't if I just resize this to scale Some people might like this effect of me You know a wide-angle view of the person giving let's say a tutorial and the background there But for a lot of people they'd find there's just too much distraction and they don't want that wide angle They want a tight shot now. I'm not saying it's for everybody. There is There's times where this I think this might look really good if I had better lighting and a better studio But as I don't I'm at the point now where I'm trying to like hide things away Now one quick sort of hack you can do is just to kind of move Let's say I wanted to have this mic stand and this door not visible So what I could do is just using the arrow keys. You can just use the mouse and just like drag that Off the canvas, but it doesn't look great because now it's unequal And I've just got this kind of like the couches like sticking out there So if you're trying to play this game, you're probably better off just cropping. So here is how the cropping occurs So go for your webcam device minus 930c. I'm gonna just pause for a second to have Take a chunk of a breath mint So my capture device is 930e Gonna click into filters Now we're back to where I started and we can add our filters What I would do is you want to be adding in effect filters not in AV filters because it's not the same filters and If you filters are great for adding noise suppression, but what we want to do here is a crop So add filters then click on to crop crop crop Okay, now you start at zero zero zero zero and what this is doing. I mean, it's pretty self-explanatory, but I Like to make sure I understand stuff and I'm making these videos also for my own later reference It's just pixels and you can just Get rid of pixels from the four sides of the frame. So I'm gonna kick things off by taking out 100 200 And just play around with it. So you can just do a pixel by pixel, but it's gonna be Very very tedious if you speed it up as a little bit quicker if you use the mouse wheel It will be actually significantly quicker. So what I kind of do here is I just started with like 300 Bit more I'm gonna go for a super tight crop here on myself 400 Even just see 450 and What I'm gonna do the objective of this if I wanted to do it. I'm gonna try get rid of the Mic stand you can see the mic stand here where my cursor is. So that's My objective here and there's also a door that's visible. So And now I'm just using the mice wheel there we go And I'm gonna try just just get to the point where they're out of frame and no more Now if I want to get this to a square box I of course need to Take same line to pixels from the right as from the left. So if I strip 592 pixels out of the right It's a little bit too much. So I'm gonna end up with a kind of oblong Frame here at the bottom. So, okay, I've taken 350 Actually, I retract that I retract that I think I'm gonna confuse myself I'm Gonna end up with Here we go I Can't think in geometry at the moment suffice to say I'm just taking enough here that I'm gonna just like get myself really really tight You know, I can keep going Here I can go from the bottom. So you're gonna start looking freakish. I'm gonna give myself a bit of a Bit of space to to be and go for like my shoulders and then for the top I'm gonna go for let's see. What we're at 150. Let's try 250 300 super super tight, but that was kind of the purpose or whatever. I'll leave it So now we can see we've totally changed the game I don't need to do any tricks and when I resize The webcam I am keeping the crop So if I dump myself in the bottom corner here and I've just moved to my chair a little bit so I can still I can do what I did before without the cropping I can just move myself over a little bit and Down a bit here and that's it. So if I'm just gonna do actually, I can record because little intro of this recording, but I did a video earlier which I can bring in to Show you or I cannot actually do that. So this is one here and I'm useful if you're looking to get a tight shot on a talking head video tutorial just Play around with the settings go on to Grab your source filters at a crop filter and then just start chopping from the left and the right I do I do recommend if you're just trying to test it out. I like personally having this Stock image background so I can do a test recording and see how does that look exactly? Find it a little bit harder to see when there's just a black background that could be just me And you know, I think I do think it'll make a good difference to my videos hopefully if you're exactly where you want to be in frame and you don't have anything sort of extraneous and Then if you're shooting in a different environment, you can just go for a wide-angle shot and just mix it up But the fact that you can do this at a software level. I think is pretty Powerful so thank you guys for watching if you'd like to get more videos on OBS and clinics and Whatever else I'm putting up videos on this channel back then feel free to hit the subscribe button. Thank you much for watching


Tannis abounds as another folk cultural icon who was popularly known as Heaton, passed away on Sunday, September 12, 2021, two weeks after the passing of his father, Emmanuel. Heaton, who was an accomplished violinist and band player, had his last performance at the Pigeon Island National Park on Friday, September 10, less than two full days before death. Heaton began playing the violin 41 years ago at the age of... As students of his father and things on the past days, Heaton excelled at to become a master violinist. After accompanying several folk bands over the years, he established his own folk band and was one of the most thought-after bands throughout the future. A member of the Monsignor Patrick Anthony Folk Center, he participated in several FR activities, which required his violin skills. Heaton migrated to the United States, where he formed another folk band entertaining St. Lucia and other love folk music in the Tri-State area of New York, New Jersey, and Connecticut. Heaton returned to St. Lucia and became a member of the Mamaylaki folk band as a band player until he was there. Like the many cultural icons of his past, the Jews will be seen in the streets. His contribution to the cultural development of the culture should not be noticed, but etched in the honor of St. Lucia's history.


The root of it all in our argument is that workers have too little power in the labour market. So what's really going on, we think, you would normally expect that workers be able to bid up their wages through bargaining. But now some companies are simply too powerful. They don't need to offer more than the minimum wage in order to get workers. The benefit system pushes people into work in an extremely aggressive and punitive way. And so you've created a situation where there's just a massive imbalance of power. And you see that in declining trade union membership. Now just 26% of the population are covered by collective bargaining agreements. In the 1970s it was 70%. So the mechanism by which full employment would translate to higher wages is sort of broken down? It's broken down because workers have too little power and some companies have too much. And people simply, we talk about this as well about some of the problems in markets where they've been taken over by very dominant firms. And one of the arguments that we make is that actually these dominant firms, it's not just bad for consumers, it's also bad for innovation. It's bad for suppliers. It's also bad for workers. Dominant firms are able to keep wages down. And we've got to break away. It's a big argument that the Commission makes. We've got to break away from this idea that wage costs should be kept as low as possible. That isn't right. That's also one of the reasons we've got such low productivity. If you invest in people, you get higher productivity. If you simply decide that it's easy and cheap to add another worker, you'll keep on doing that. And that explains, we think, a large part of the reason that productivity is so poor in the UK.


Nigerians are still talking about Pastor Tunde Bakari's plan to set up the Nigeria for Nigeria movement. On Sunday, the pastor of the Citadel Global Community Church dared a government official to come after him if the government was offended by his recent pronouncements. I'm letting you know it's about to start. I'm going to champion it.  Nigeria for Nigerians. You'll be bigger than the same Nigeria group. You have never seen anything like it before. It's a movement propelled by God, Nigeria for Nigerians, to deliver us from the hands of oppressors. In the mighty name of Jesus, days is a fight to finish.  I'm going to live for it. Nigeria will prosper in my lifetime. Nigeria will be saved. Nigeria will be changed. Nigeria will become great. It is the wicked that the land will vomit in the name of Jesus. Somebody say, wow. The people said to your tent. Oh Israel, we have no portion in the house of Jesus anymore. So rent is not in your hand. You are commanding chief of nothing except the people put you there. The highest office in the land is the highest. The highest is the office of the citizen and the office of the president. Nigerians are going to rise. They are going to demand for their right. Nigeria for Nigeria movement in the name of Jesus.  Then you will know what God sent me. I'm just empty. I'm just making noise. Hello. Hope you enjoyed the news. Please do subscribe to our YouTube channel and don't forget to hit the notification button so you get notified about fresh news updates.


Go I work for the damper police department. I'm a detective in the traffic investigations unit But when I'm not at work, jujitsu is my passion. It's an art form really It's uh using someone's leverage and momentum against them So someone my size using their push or their force on me to take them in a different direction And ultimately put myself in a better position so I can get away. Okay, so we're doing choke right now This class is women's only class a lot of times. So grabbing you here arms straight up It's there to promote women that aren't usually Comfortable rolling around with a bunch of sweaty men or they feel like they're too small or not strong enough Grab their arm in the base like really low I love being in the class with all women because you get a better idea of How women move on the mat and it is different if you have a gear sweatshirt keep that tight to your chest We practice a wide variety of techniques from just straight-up self-defense or more advanced techniques But typically we focus on stuff that can help us out with the big guys I grab here knock her down and you're ready in an armor I think it's important women learn jujitsu because you never know what's gonna happen to you see if I'm choking hard drop Yeah, now you can breathe right when you're getting choked from behind we're getting choked in front when somebody gets on top of you Where you're being attacked sexually assaulted you can defend yourself and you can get away from it Yeah, you can like control them with just your legs You can break their arm choke them out get an easy way out versus feeling like you're pinned It's empowerment to know that they don't have to be victims They don't have to sit there and take abuse or get attacked in an alley. They can actually protect themselves See how my elbow is pushing you. I'm knocking you down It's helped me to feel like I'm not as vulnerable and that's a really good feeling pinch that and pull it toward you Yes, jujitsu helps you to defend yourself and know that if someone is bullying you You could like come to school and deal with it yourself That guard at school boys just can't beat me up or don't get hit in the noggin or something like that so another one is if Somebody grabs you from behind started doing jujitsu because my son started and then get behind her foot I sat here on these benches in this facility and I watched him for a year pinch your knees together I should pull my head down. I've been doing jujitsu for four years. I started jujitsu a year and a half ago Yeah, I'd have all the way into an elbow to elbow.  It makes me feel great inside It makes you feel motivated to build yourself steam build yourself confidence all the way up perfect I was and still am kind of shy, but starting jujitsu has given me so much more confidence in myself It definitely gives me a lot of confidence empowerment and just sort of free will to be myself. There you go But put it high up my goal is to get all the way up to a black belt and keep going on from that I'll keep doing it until my body doesn't allow me to rest my life if I can that's good I've done boxing Muay Thai kickboxing. I've done crossfit. I've weight lifted. Nothing gives me a better workout than jujitsu So even for those that don't want to compete It's such a great full body workout and I absolutely love it


If you're looking for a fun way to spend a Friday night, imaginary is now in theaters. So definitely avoid that. Do anything else and you might have a better time.  We are barely into this review, but I want to let you know you can subscribe to the channel. Adam does movies here. It's free of charge and I post reviews every single week. It's a good time. It's a lot of fun. I like to think I'm as about as honest you can get on the internet. I know that's not saying much, but to me that's the gold standard. All right, what we have here is a movie really for no age. It's PG-13. It's an hour and 40 some minutes long. Feels like 18 hours long. And if you've seen literally any horror movie in your lifetime, you've seen this film. It has every cliche under the sun.  I myself have a 15 year old and she is one of the nicest, happiest, most bubbly, caring people on the planet. I'm getting really annoyed at the cliche of, oh, we got a teenage girl.  But the focus isn't even on this character. It's on our younger sister, Alice. Alice and Taylor live with their dad, Max, and new mom, Jessica. There's a divorce. It's messy. And now Jessica's in the picture. She's an award winning children's book author. And I have to say I saw the stuff that she's creating. If that's what wins awards nowadays, I might need to switch professions because it's not good. But apparently it's good enough for a couple of certificates. What's not so good? Her relationship with these two girls, she's trying to raise with their husband, Max. I'm gonna, listen, I know horror gets a pass in the acting department, but the acting in this movie is pretty bad. It's pretty miserable. Max is the most generic husband ever. He's like, hey babe, how you doing honey? Okay, good night. I'm leaving the room and then chaos ensues.  And for some reason, those others don't hear them yelling out, calling out names, doing anything. It's ridiculous. But let's get to the premise. What's this film really all about? Well, it's about a scary bear. That's barely scary at all. In fact, now barely is generous. It's not scary at all. And yes, that's a pun on purpose. I'm doing puns here. Alice befriends this imaginary character that she finds during a game of hide-and-go-seek. Seems plausible, but I'm saying it like it shouldn't be. And that's because it's stupidly presented. This game just fires up and immediately Jessica gets a phone call and goes outside. Just bales on the game without even telling Alice. So Alice is just wandering around the house. Jessica? Jessica? The girl's really little and very scared. Yet she manages to open the basement door that goes to some haunting nightmare fuel, walks down these creaky-ass steps. There's barely any light visible. She goes down there, stuff is turning on, and that's not enough to have her run. She's hearing little voices. That's not enough to have her run. She continues to investigate.   Have you ever been around a child?  Remarkable. Alice will then find the friend of this bear and eventually Alice and the bear are gonna start doing things that are a little suspect, but not very suspect, mind you. Not very suspect, mind you. This movie presents it from the creators that did Megan and some of these other quirky, fun horror films. This isn't quirky, it's not fun, it's barely horror at all. It's just so generically lame. Nothing happens in this movie for the first hour and 20 minutes. It's really back-loaded for about 15 minutes where things start to happen, where the imagination runs wild. That's the biggest irony in all of this. The film's called Imaginary, yet there is no imagination present. Barely even mustered a little bit. If I could reference something this reminded me of, I would say Insidious the Red Door. That's the level of quality we're getting with this one.  The weirdo old lady next door that knows everything about the backstory and history of this house and the inhabitants. Oh, I remember you. Was something not quite right about you years ago. Really hamming it up, really shlocking it up. Visually, this movie's very flat. It reminded me of that Firestarter movie from a couple years back, arguably just as bad as that Firestarter movies. Really dull looking visuals. The final little portion, there is finally some punchiness, some creativity, a little cool set that they have, but at that point I'm completely checked out of this film. And this movie refuses to end. It's one of those movies where you go, oh, thankfully the sweet release of it being over, but then nope, gotcha, we're still going. Gotcha again, we're still going. We're just gonna keep doing this.  Nope, no laughs, really no scares. You have a main antagonist that's a cute little bear? What, why? They don't do anything with it. It just sits there. It just sits in different spots. It doesn't look menacing. It just looks lifeless, dull. That's ultimately what this movie ended up being. All right, I have nothing more to say. Imaginary is a waste of time. It's a waste of everyone's talents. I would love to hear from you though, so please let me know in the comments below. Like this video if you liked it. Please think about subscribing.  And maybe it's about time we retired the bear because between this, Winnie the Pooh, Blood and Honey 2, Five Nights at Freddy's, I think that's a bear thing, right? I don't know, it's too much. Too many bears, too little interest. All right, that's all I got for you. Hopefully I see you next time. Be safe out there. There could be a bear at any corner of the room that will just sit there doing nothing ever.


I'm Andrea Hornick. I'm an artist who has been commissioned to do a piece here at the Barnes Foundation, a sound piece in the Permanent Collection Gallery. I want to, first of all, say thank you to the Barnes, to the curators who I worked with, Martha Lucy and Shelly Bernstein, and to the director, Tom Collins. For all of the other people, especially the AV people, who I've worked with closely and have been very supportive of this work. It's a really unusual piece for the Barnes, and they're starting to try to bring in contemporary work into the Permanent Collection, which can't be altered, but sound is one way to bring in contemporary work and to alter the collection. So the piece upstairs that you can hear that I did is called Unbounded Histories. And I chose that title because I'm working with art history, I'm working with these ensembles that Dr. Barnes created in order for the collection to have these kind of symmetrical situations where the work is hung. And you, I'm sure you're familiar with that if you've been through the collection. And they're sort of slightly overhung, they're very densely hung. And so what I did was I created a sound piece, which is a narrative that combines art history and this shamanic narrative. And the shamanic narrative is something I will describe later on for you and I will actually lead you through the process that I did in doing my sound piece. It's a process where I could generate narratives and where I had generated narratives in the past for other work of mine, which I will show you. So I will be drumming and you will get to encounter your animal spirit guide. So that's how I encountered the narratives was I went with my animal spirit guide and asked for information to connect various paintings together. So in any given room I use about four paintings out of many, many more which are hung in there. When paintings are hung as they're curated and as you see them and interact with them, you project narratives onto them and they have relationships to each other or they form relationships. So I was very interested in that and I started to use that groupings of work in my own work. And so the curator here Martha Lucy saw that I had done that and that I had this kind of epic poem that went with this combination of reproductions of portraits that I added animal spirits into. So this kind of narrative is something that you can hear when you walk around the galleries. It's a epic poem that animates and kind of creates these relationships between the works and hopefully invites you to create your own relationships or think what your kind of own projections or responses to the works might be. Rather than only taking in or listening to the art historical information that you might hear in an audio guide or that you might read. So these are some of the images I'll show you of my own work. And you can see that the titles are long and narrative and they combine the art history with the shamanic information. So this kind of narrative that appears to me when I do this kind of trance that you will get to experience. So these are reproductions of portraits of women, Renaissance portraits that I have painted and then painted the animals into. And the animals act as kind of alter egos of the women to kind of bring their own sort of internal self back to their idealized self which has been omitted by themselves as well as by the painters who paint them as they are sitting for painters who have been commissioned usually by their husbands in order to create a portrait that sort of displays the family propriety and gives them kind of status. And so the animals sort of bring them back down to earth and they are humorous, they're meant to be humorous as well as sort of bolster them. So this was the configuration that I had for the last show that I had where these paintings are hung in groups of threes and you're listening to the epic poem that kind of narrates the relationships between these paintings that I found out through the art historical information and the shamanic experience. So in this group of three all the animals come from this kind of safari landscape. And they're hung in this kind of way so that it forces those relationships. This is a sort of connected sort of side project where I paint animals into existing copies of earlier masterpieces. And it's a collaboration with a collector so I'm also finding animals for them. The animals are both the collector's animal spirit as well as in this case Mary and St. John and Christ. So these are more earlier works and the narratives are a little less elaborate but it's the same idea. This is a collected group of works that I brought together, reproduced these images of Renaissance portraits and then painted animals into them. So this is the kind of main piece in the Barnes collection out of about 45 pieces that I used to kind of hold the whole project. And this is a statue that's about this big. It's an owl goddess. It's Greek. And she kind of to me, even though she's small, she is the most powerful object in the collection. So this kind of starts off. I'm just going to kind of show you about 10 images, sort of touchstones that I used in this process. So this is the next one where the animals are dancing and these kind of spirits are dancing. So in the beginning we kind of do this drumming and rattling to welcome the spirits and since when you're walking through the Barnes collection, you don't have a chance to do that or if you did start dancing and there people might look at you, funny, or the guards might mind, you know, these animals in this painting can kind of do that for you. And hopefully my intention is for you to kind of the reading of it that you listen to is trance-like. And I hope that you kind of enter into a sort of meditative or trance-like state as you walk through and listen and look. Another thing that the piece does is it helps you to connect with maybe three or four works per room more intimately rather than being sort of overwhelmed. This next piece is a opening and so in the drum journey you enter into a tunnel through a hole. And then you can use also bodies of water to move around from the lower world to the upper world or back and forth. And this is St. George and his horse slaying the dragon and the dragon, the slide's a little dark, is down there. So we listen to this in the room with about six paintings that are narrated and the characters kind of move around from painting to painting and then they end up back here and then we can jump into that body of water to move on throughout the museum galleries. This is another touchstone I used where the woman standing there has found this bear that she's sort of courting as possible new power animal. And she connects to this bear but then you see this hunter over here and there's a whole narrative around that. But the point is that for me was important because this painting was the first painting that I chose for this and it was kind of a prototype. I did a prototype piece around this painting and some surrounding paintings and as I worked with it I had had a bear kind of come in and out of my journeys and then working with this painting made it so that the bear was really one of my main animal spirit guides. So then over here you see there's a hole in the rocks and so you need to be able to enter the earth through a hole and that's, so we're using this Ceylon painting to enter again to go back down into the lower world. In this painting you were going back up to the upper world through that sky and the colors in the water and then we go back down and exit into a Renoir painting that's adjacent. In this the one on the left for me reminded me of my paternal grandmother and it's sort of this gnarly Soutine painting and then the one on the right was this angel. It's actually St. Michael but it's sort of in the narrative it has this kind of imperfect quality and it's very fallible and the two of them are hung close together so the question is what is the effect that the paintings have on each other over time in this kind of permanent installation. And this is an example of a kind of larger sort of idea of bringing works from different rooms into the same narrative. The figures on the left are Van Gogh and for me they were father figures and the top was sort of my father, the bottom was an uncle, the top right was me and the bottom right was the uncle's daughter. And then they all end up at a dinner party with other characters and in locations that you can see in landscapes in the galleries and it's sort of this expanded narrative. And then you end in room one which is actually the first room you walk into so I have you starting kind of up top in an obscure room and then ending with the beginning. So it's really about agency and history is written where things are, certain people write the history, certain things are left out, certain things are included, sometimes history is rewritten. And so, you know, it's kind of to question and to bring your own voice of authority. So this painting is just to kind of, it's one of those large Picasso paintings in the first room and it also has this kind of father-daughter narrative which links into the other paintings on that floor. All right, so at this point I would like to tell you a little bit, if you have any questions, I'll take some questions and then I would like to tell you a little bit more about the process and then we will kind of get into the journey and you can experience it yourself. Yes, it is a very kind of classist situation. I'm sorry, yeah, it wasn't really, that wasn't the intention, you know, but that's just how it worked out for the budget and what we had for the show, yeah. So is it 100% ideal? No, but I do think that if you want, I have been here with groups before and they have found devices so perhaps if it's not too crowded when you come and you ask they can find you something, yeah. Any other questions? Okay. So we'll have time for questions after the journey which you probably will have questions about. For this process it's great if there's a space between you and the person next to you like one empty seat or else I can invite you to lie down up here or on the sides which you don't need to do right this second but if you want to lie down that will be an option as well. Yes, yes, I'm getting there, okay. Yeah, so this process is listening to drumming and it's a monotone drum and it mimics the heartbeat of the earth. So you listen to this and we would call it kind of a trance but in the shamanic language it's an alternate reality and you access it, you start by I will lead you into a kind of very light hypnotic trance and then you will find, you will go to a place in your imagination that is your power place in nature something that you are familiar with and feel comfortable and grounded in. So you will go to your power place and it's a sort of relaxation hypnosis and then you will go to your power place and you will ask to meet your animal spirit guide and the first being that appears, it may be an animal, it may be some other type of religious figure or other type of figure that kind of has power and authority to you. So this figure may be your animal or power being or it may be leading you to the power animal. So what you want to do is make sure that your power place has a way, has an entrance to the lower world. It needs to be a body of water or a hole in a tree or a hole in the ground, an animal's hole, something like that.  Okay, so those are kind of the main instructions. Then I will begin drumming and you will follow this being making sure that you trust this being. It shouldn't be anything that we in our culture that you and your culture kind of deem as a vermin or something like that. So you can follow this being into the opening and you will enter into a series of tunnels or you may see something else. You may go right into a different landscape. It can be magical landscape. Yes, Celay. When you are doing this in your mind you are not still. In your mind you are moving and it's a very good question. Your body is still in this room but your spirit body is moving with your animal and you can become that animal or you can merge with the animal. You can be held by the animal even if it's a tiny bird. You could be small and it could be really large or you could be on its back or you could be flying next to each other or running together. Just be open to whatever happens. I'm going to give you instructions. Very clear instructions. The one thing to remember is don't leave anything there and don't take anything with you unless it's a very specific instruction from your animal spirit guide or being. When I switch the drum beat, the drum beat is like this. When it's time to return I'll stop for a second and do a series of... Then you know it's time to return and then the beat will be very fast and you will return on that fast, really sped-up beat and through that sped-up beat you will retrace your places that you've been. You can retrace your journey so that you can remember and so that you gather your whole self up as you return to your power place. You just want to listen for the change in the beat and then you know it's time to return. Try as best as you can. Don't feel a lot of pressure but try as best as you can to retrace your steps. It's a lot of information. Are there any questions?  You will wake up. The trance is not a heavy trance, it's a very light trance so you are completely in control of yourself the whole time.  You're awake, you're actually in a heightened state of awareness even though you're deeply relaxed. So now is the time to move if you need to have a space, a seat in between you or if you'd like to come up and lie down here or on the side. You need to not be touching anybody. That's why there needs to be an empty seat in between you. Now if you have a phone please make sure that it's not going to make any noise whatsoever. It's very important that no noise or like if you wanted to leave you should leave at this point because any noise, even any very subtle noise can wake someone out of this and it's much better to retrace your steps and come out of this in the proper way. So try to be still, I don't think you really have to try but I just have to put it out there and when you come out of this, if you want to write it down, write your experience down on your phone you can, it's sort of like recording a dream. The experience is a bit like a dream and when you write it down you remember it much better than if you don't write it down right away. I'm going to drum for 20 minutes and then we can have some questions and answers so you could leave after the 20 minutes. I would say that through the relaxation you will get to readjust a tiny bit but yeah, you should be in a place where you feel like you can really relax whatever is the most relaxing and supportive. Lying down is good. No, it's good. Well, you can try it.  Yeah, it's not cold. And the whole room is free. You can choose a space that you feel comfortable in. It's just important not to be touching others. If you wanted to come on this side you could. So I learned this process when I was nine years old from a family friend who was a shaman. He was a Harvard-trained anthropologist who went to live with the Hevorro in Peru and then eventually after many trips he decided that he wanted to become a shaman and share this work with the West. So he was kind of in the late 60s one of the first people to bring this work to the West and kind of contemporaneous with Carlos Castaneda but not using hallucinogenic drugs, using sound instead. And this kind of sound process can be found in pretty much every culture worldwide or most cultures. There are different instruments involved. So the first thing you need to do is make sure your arms and your legs are not crossed and your arms are not touching your body. So they're beside you. And take a very deep breath and release your breath.  So yeah, we'll get there. So yes, if your eyes naturally close, that's fine. Your eyes can close now or they can close in several minutes. Feel the chair beneath your body. Feel the leather against your hand. Feel your clothes against your skin. Take another deep breath in through your nose all the way down to your belly and as you exhale, feel the weight of your body drop into the chair. Start to feel your jaw relax. You can let your jaw hang slack. And again, inhale deeply. As you exhale, let the weight of your body drop into the chair. Feel the chair or the ground coming up to support your body and continue to take several more deep breaths on your own. Become aware of any sounds that you're hearing and the heaviness of your eyelids.   So you're slowing down the breath and you're letting your body weight drop.   Is it sunny and you feel the warmth of the sun or do you feel cool air? Can you feel a breeze or wind? Are there sounds? Feel the texture of whatever the ground is beneath your skin. Is it coarse or smooth?  Feel the earth here supporting your body. And now ask to meet your animal spirit guide or power being. And the first being that you see may be your animal or it may lead you to your power animal or guide. You may ask it if it is your power animal or guide and it may answer you in language or you may just know or you may see the being from at least three views that's one way to know. Just what you feel in terms of following this animal or being. If you stay in your power place with your animal throughout the journey, that's fine. And if the animal or being takes you through the lower world on a journey to experience other places then that will be another experience.  I will begin drumming and you will travel with your animal or guide. When you hear the beat change, it is time to return and you will follow the path that you took down to the lower world. Back up to your power place. To feel your fingers and your skin against the ground. I'll give you a few minutes to make some notes of your journey if you would like to. Okay, so are there any questions about the things you experienced, about the specific being or animal that you met, about places that you saw, about feelings or sensations, anything you'd like to share or any questions about my work and the inspiration or generation from this process? I know exactly what you mean. Yes, when I was nine and I learned this, I thought that it was all in my imagination that I had made it up. I mean, I have a couple answers. One is that they come from the same place, your imagination and this kind of alternate reality. And then also, I think you can trust. You know, I think it's an exercise in trusting and starting to know as you practice it more. So these kind of recordings for this drumming are available and I can give you names of people, places to find it. But if you do this practice, regularly or more often, you start to understand when it is that you're maybe in your head too much. But we do a lot to prepare, you know, in terms of this sort of short trance. And unless you feel like you're not able to relax, if you're relaxed, I would say you can trust it. If you're very much in your head and you're having trouble being present and you're not relaxed, then maybe you're inventing, but I would say to just trust it. And it doesn't matter anyway. You had these experiences that gave you this opportunity to connect with feelings about those people or to those people. Like how can one do that? Is that your question? Okay, so for more personal reasons rather than for generating painting or even with both? So I guess maybe you came in late toward the end. Yeah, okay, so I talked for a while about it but I'm happy to go over again and we can talk afterwards as well but I can go back and show a couple of images but basically what I do, and it's a good question because now everybody has been through it so they can kind of understand a little better. These are the barn's images and I created a sound piece for the barns that you can hear while you walk through the permanent collection and I asked the question of my power animal. So now that you have your power animal you can go back and ask the power animal any question as long as it's a very straightforward question and it's not a yes or no question. So you can ask a question. So my questions were how are these works? I chose about 45 works. How are they related? What are the relationships? And I sort of went over why I'm doing that which I could inform you about and then I sort of saw the narratives of how these objects were connected and historical figures in paintings or in the sculptures so it started to create this narrative on top of what you would find in art history and so I'm sort of questioning the authority of the institution but I'm also elaborating upon any story that might be given in order to kind of ask people to be the kind of creators of their own experience so that after this experience perhaps you have ideas about how you relate to a work that you can just trust in this art setting but it is kind of a microcosm for everything and so for your life. So you can ask any kind of question to do with your personal growth or problems or obstacles and you can actually journey for healing. You usually go to the upper world for healing and you can also encounter your ancestors or other figures for healing in the upper world. Yeah, right, Dr. Barnes. So that's a good question. In the beginning I was allowed to go into the collection and lay down in front of this particular object which I felt was a very powerful object and sort of held the whole project for me so I laid down with my head facing this object and listened to the drumming in that space and I actually encountered Dr. Barnes and asked his permission and sort of got this information from him that in forming this collection he was being kind of a renegade and working outside of the accepted norms of museum collecting and collecting at the time in the United States and Philadelphia. So that's why he built it for Mary and versus in Center City. So he was excited in sort of giving permission and excited that the curators, so there are some new curators here and a relatively new director of the museum and they're doing some projects like this. So they were trying to mix up his collection a little bit. This is a way to bring contemporary work in because it was stipulated when he died that no works should be moved from the ensembles that he created. And these are some of my paintings where I add animals into reproductions that I paint of women from the Renaissance. So now maybe that you've had the experience you can see how some of the relationships between the animals and the women are. So some of them are painted in more seamlessly than others. Other questions? Does that answer? Yes, and it can, I think also I use this spiritual practice in order to do that, but it can be other aspects as well that are creative or inventive on anybody's part at any time, right? When you walk into a situation like this where the institution has quite a bit of authority, you want to be still questioning everything and sort of taking it into your own hands in your own mind, so here or when you read the newspaper. Anything? Yeah, yeah, yeah, yeah. They're not here, no. The piece that's here is the sound work. Yeah, yes. How to discern. Say that last part again? Right. They're... I mean the way I learned it was as a child so it was just do this practice and just the more you do it the more you'll be able to discern. And it is a way of empowering yourself so when you go to your power place of nature, for example, it is restorative and it restores you and I think that part of that is bringing you to center and kind of starting to eliminate doubt. And any mindfulness practice helps in this process immensely, so if you meditate or practice yoga or if you bike ride and it clears your mind those type of things can make you more receptive and also more clear in discerning what to follow. I think that often you take mundane images for granted in this experience but if a mundane object shows up and you sort of want to dismiss it don't dismiss it, you know, follow everything and sort of one word I really like is yield. So you kind of yield to these things instead of trying to think what is that what is it here for just kind of you surrender a little bit and yield to what it has, let it come to you. Does that answer? Hey. Those are all good. Those are all good clues, yeah. Yeah, little things like that are reassurances that you have a connection to that animal. Mm-hmm, mm-hmm. Definitely. Yeah, do you have that experience that you've had? I don't know. Yeah, yeah. Mm-hmm. Yeah, when I'm drumming I see I have these sort of blips of different animals and atmospheres coming through sometimes and today I have that quite a bit. So I do think it's a combination of the group, the space, everything, the time of day. This is a very internal part of the year. It's winter and we're going inside and sometimes your body really wants this and your mind, everything, you kind of want this now. But I do think I've had very different experiences in a large group or a small group if you're close to people or far from people in terms of whether it kind of increases your experience and your connection personally but also if you're taking in energies or sharing and so that can actually be a good thing and not just like somebody else's stuff where you can pollinate each other's experiences in a healing way and that you shouldn't dismiss that. Anything else? It is actually that I have a website and if you look up my name you find it and the piece is online. There's a link on the sign upstairs so that is actually available to anybody anytime so you can hear the pieces even if you're not here. I think you have a little bit of time, yeah, about half an hour and there's a little kiosk, a little desk out in the main lobby in large space before you enter the permanent collection galleries and there's a sign there and someone's standing there they will give you a set of white headphones that are kind of these immersive headphones and you plug it into your web-enabled phone if you have one and then plug in the website, the link so you can then experience the piece, yeah. The immersive headphones and the fact that you're going in to just kind of a few works in a room what's purposeful in terms of the kind of situation of being a bit overwhelmed in the collection. Yeah, so thank you for sharing that. Yeah, that's great to hear. Your dream? Mm-hmm. Yeah. Yeah. I do have the experience of having done classes like this and also other contexts for learning about dream interpretation, various methods and working with your dreams and I think that that is... are all skills that you can use in interpreting and also in just being... in opening to this work, yeah. Yeah, and any work that you do that makes you more open and in tune helps the other work you do. Thank you. Yeah, yeah. Thank you. I think I don't know. I don't know. I don't really... Yeah, it just happened. Yeah. Yeah, thank you. I did actually have this overwhelming sense of gratitude at some point, so maybe I was sensing it, but yeah. So yes, you're free to go and experience the piece if you have time, if you haven't. Yes, it'll be here through February 19th.


the President of the United States. My honor to introduce to you the man for whom I am privileged to work, President of the United States, Ronald Reagan. Thank you very much. Well, thank you all very much, Secretary Bennett, ladies and gentlemen. I'm delighted to have this opportunity to speak to your National Association of Independent Schools. America has a long heritage of educational diversity. Of public schools working alongside our independent schools, and this tradition has done much to contribute to our nation's greatness. You and the schools you represent have helped keep our educational standards high. You've earned the deep respect and appreciation of the American people, and I thank you. And let me just say how proud I am to appear here with our new Secretary of Education, Bill Bennett. Whether as a student in his undergraduate days, or studying for his doctorate, or later as a teacher, author, or chairman of the National Endowment for the Humanities, Bill Bennett has spent a lifetime taking serious ideas seriously. He's also an authority on rock and roll, as well as the fortunes of the Dixon Illinois High School football team, and that makes him A-OK in my book because that's where I played my football. But, Bill, I know that in your new post you're working passionately to improve American education, and you have my enthusiastic support. And so far I have only one complaint. I've been following those press reports of your interviews, and I just wish you'd stop mincing your words. When our administration began its first term in 1981, we had to clean up the mess we'd inherited, and today we're creating a new nation. Our economy is growing, our spirit is renewed, our country is stronger, and America is at peace. As Prime Minister Thatcher had told the Congress this month, it wasn't Soviet goodwill that brought the Soviets back to the bargaining table, it was American strength. So it is that as we begin this second term, I believe we face an historic challenge. We have the chance to prepare America, not just for the next four years or the next decade, but for the 21st century. And together, we can keep America moving toward that first shining vision, a land of golden opportunity, where achievement is limited only by how big we dream, how hard we work, and how well we learn. And we know the path to that vision is through economic growth and new technologies and renewed excellence in American education. Today, we're making history with the most sustained, far-reaching economic expansion since the end of World War II. More than 7 million jobs have been created over the last two years, and more Americans are now working than ever before in our history. And we're determined to go on creating more jobs until every American can share in the self-esteem that comes from the honest work of hands and mind. A stronger economy is leading us into a technological revolution that's offering dazzling progress for the future. During the past couple of weeks, it so happens that I've presented the first National Technology Awards, awarded the National Medals of Science, and had lunch with a group of futurists. I've heard about the fiber composites and ceramics that are taking the place of costly metals in manufacturing, about new medical techniques like the use of lasers and sound waves, and I've learned more about the miracles of microchips, about the practical benefits of the space station that we plan to have in orbit by the mid-1990s, and the home computers that are putting our literature and vast sums of information at families' fingertips. Albert Einstein once said that science is nothing but everyday thinking carefully applied. Well, that's easy for him to say. Yet even laymen like us can see that in coming decades, technology promises to make life in America longer, healthier, and fuller. Yet as important as technology and economic growth are to our future, education is more important still. Without education, economic growth and technological innovation will be limited. Without education, we could even lose our most fundamental values, our beliefs in a just and loving God, in freedom, in hard work. Yet if we do educate our children well, grounding them in our values, sharpening their minds, teaching them greatness of spirit, then the coming decades will be the best that America has ever seen. Secretary Bennett has said that education is the architecture of the soul. But with the very soul of our nation at stake, let us consider the future of education in America. This spring, we marked the second anniversary of a Department of Education report that was entitled, A Nation at Risk. That report concluded that if an unfriendly foreign power had attempted to impose on America the mediocre educational performance that exists today, we might well have viewed it as an act of war. From 1963 to 1980, scholastic aptitude test scores showed a virtually unbroken decline. Science achievement scores showed a similar drop. Most shocking, the report stated that more than one-tenth of our 17-year-olds could be considered functionally illiterate. And so Americans decided to put an end to educational decline. Across the land, parents, teachers, school officials, and state and local office holders began to improve the fundamentals of American education. I don't mean they went to work on budget-busting proposals or new frills in the curriculum. They went to work, as you have, on teaching and learning. When we took office, only a handful of states had task forces on education. Today, they all do. Since 1981, 43 states have raised their graduation requirements. Five more have higher requirements under consideration. Perhaps the most telling figure is this. Scholastic aptitude test scores have risen in two of the last three years and the best record in the last 20 years. And we've only begun. States and localities, which quite properly bear the main responsibility for our schools, have taken an active part in this movement for educational reform. But we've made certain that the federal government has also played a leading role. Our administration has replaced 28 narrow educational programs with one block grant to give state and local officials greater leeway in spending federal aid. We've rolled back regulations that were hampering educators with needless paperwork. We've taken steps to promote discipline in our schools, including the establishment of the National School Safety Center. And we've launched partnerships in education, a program in which businesses, labor unions, and other groups of working people are pitching in to help schools in their communities. There are 40,000 such partnerships in operation. In Philadelphia, for example, business leaders have raised $26 million to support the Catholic schools that educate one-third of the city's children. I should add that one of the most effective federal actions has been the growth of the economy that I mentioned a moment ago. Private contributions to schools, especially colleges and universities, are up. Indeed, in 1983, the colleges founded to a survey conducted by the Council for Financial Aid to Education reported endowments totaling some $29.6 billion. The largest one-year figure since the council began conducting its surveys in 1966. Under the previous administration, even though federal education budgets soared, overall spending on education throughout America adjusted for inflation, actually declined by $17 billion. Dragged down by the weakening economy. But with inflation down and the economy now growing again, education spending throughout the country, despite restraint at the federal level, has actually gone up by almost $18 billion. And today, many states are running a surplus and are in a better position to help fund our public schools and universities. From the state university that has new funds for research to the community that can afford a new school bus, economic growth is giving education throughout America a powerful lift. Continuing this economic growth will prove invaluable during the four years to come. And that's why we intend to provide more incentives, cut personal income tax rates further, and keep America the investment capital of the world. And that's why we can and must bring federal spending under control. In recent weeks, there's been a certain amount of confusion regarding our budget proposals on education. Let me take this opportunity to make matters clear. In our proposal, we have recommended reserving aid for the needy, limiting aid per student to a level we can afford, closing loopholes that lead to abuse and error, and cutting excessive subsidies to banks and others. Regarding student loans, as things stand now, our nation provides some aid to college students from the highest income families, some to students who come from families with incomes higher than $100,000. This defies common sense, insults simple justice and must stop. Government has no right to force the least affluent to subsidize the sons and daughters of the wealthy. And under our proposal, this will change. Those whose family incomes are too high to qualify for guaranteed loans with heavy interest subsidies will still have access to guaranteed but unsubsidized loans of up to $4,000. And every qualified student who wants to go to college will still be able to do so. Yes, our proposal may cause some families to make difficult adjustments. But by bringing the budget under control, we will avoid the far more painful adjustment of living in a wrecked economy. And that's what we're absolutely determined to do. Our budget proposal is prudent. It's reasonable and just. I consider it fully deserving of the support for it that I'm asking you and all Americans to give. State task forces on education, college entrance scores growing or edging up a growing economy providing schools with more resources. Yes, education has taken its first steps on the long, hard road to excellence. And as we continue our journey during the next four years and beyond, Secretary Bennett and I believe there are five aspects of education to which we must give our full attention. Five guideposts, if you will, to lead us on our way. Choice, teachers, curriculum, setting, and parents. And let me touch briefly on each of them for you now. The first, choice. Parents should have greater freedom to send their children to the schools they desire and to do so without interference by local, state, or federal levels of government. Diversity and competition among schools should be encouraged, not discouraged. At the state level, efforts to encourage parental choice might involve both legislation to permit parents to choose public schools within their districts, and efforts to eliminate red tape surrounding within district transfers. At the federal level, our administration has made two proposals to expand parental choice. Tuition tax credits would provide some support to middle and lower income parents with children in independent schools. And this would be only fair since these parents are also aware of taxes to support our public schools. Education vouchers would deliver aid for educationally disadvantaged children not to schools, but directly to the parents. And under our plan, each year selected parents would receive one voucher with several hundred dollars per child. These parents would then be free to use their vouchers at any schools they chose. Tuition tax credits and education vouchers would foster greater diversity and hence higher standards throughout our system of education. These proposals have the support of the American people and make no mistake Secretary Bennett and I intend to see them through to their enactment. Our second guide post teachers studies indicate that by the end of this decade, America will need more than a million new teachers and that by 1990 almost two-thirds of our teachers will have been hired since 1980. Today, America boasts thousands of fine teachers, but in too many cases teaching has become a resting place for the unmotivated and the unqualified. And this we can no longer allow. We must give our teachers greater honor and respect. We must sweep away laws and regulations such as unduly restrictive certification requirements that prevent good people from entering this profession. And we must pay and promote our teachers according to merit. Hard-earned tax dollars have no business rewarding mediocrity. They must be used to encourage excellence. And third, curriculum. Deciding what we want our children to learn. This is to be sure a difficult question, but this much we already know. We cannot allow our curricula to be divided by narrow interest groups. They must be determined by the intellectual, moral needs of our students themselves. We must also know certain basic subjects must not be neglected. Too many students today are allowed to abandon vocational and college prep courses for courses of doubtful value that prepare them neither for work nor higher education. Compared to other industrialized countries, moreover, we have fallen behind in the sciences and math. In Japan, advanced course work in mathematics and science starts in elementary school. So Japan with a population only about half the size of ours graduates about as many engineers as we do. In the Soviet Union, students learn the basic concepts of algebra and geometry in elementary school. Compared to the United States, the Soviet Union graduates from college more than three times as many specialists in engineering. It's time to put an end to this learning gap by insisting that all American students become fully conversant with science and math as well as history, reading and writing. The students should not only learn basic subjects, but basic values. We must teach the importance of justice, equality, religion, liberty, and standards of right and wrong. And we must give them a picture of America that is balanced and full, bringing our virtues along with our faults. New York University Dean Dr. Herbert London learned this the hard way. One day, his 13-year-old daughter came home from school with tears in her eyes to say, I don't have a future. She showed her father a paper she'd been given in school. It listed horrors that it claimed awaited her generation, including air pollution so bad that everyone would have to wear a gas mask. Well, as a result of that incident, London wrote a book called Why Are They Lying to Our Children? It documents the myths that are taught to so many in so many of our schools. Our children should know, London argues, that because our society decided to do something about pollution, our environment is getting better. Not worse. Emissions of most conventional air pollutants, for example, have decreased significantly while trout and other fissure returning to streams where they haven't been seen for decades. Our children should know that because Americans have whore discrimination, the number of black families living in our suburbs has grown more than three times the rate of white families living in suburbs, and that between 1960 and 1982, the number of black Americans in our colleges more than quadrupled. By any objective measure, we live in the freest, most prosperous nation in the history of the world, and our children should know that. As Gene Kirkpatrick once put it, we must learn to bear the truth about our society no matter how pleasant it is. You know, our fourth guide post is setting in schools throughout, in setting, I should say, in schools throughout America, learning has been crowded out by alcohol, drugs and crime. In 1983, for example, a distinguished panel reported on one of our major urban school systems and found that during the prior year, fully one-half of the high school teachers who responded to the survey had fallen victim to robbery, larceny, or assault on school property. Of the high school students surveyed, nearly four-tenths had likewise been victimized, and the panel found more over that during the prior year, 17% of the female students and 37% of the male students surveyed had carried weapons to school. In the name of our children, this must stop. In the courts for too long, we've concentrated on the rights of the few disruptive students and allowed simple matters of discipline to become major legal proceedings. Supreme Court Justice Powell has criticized the quote, indiscriminate reliance upon the judiciary and the adversary process as the means of resolving many of the most routine problems arising in the classroom. It's high time we return common sense to the process and paid attention to the rights of the great majority of students who want to learn. I'm proud to say that our Justice Department participated in the recent Supreme Court case that restored the authority of school officials to conduct reasonable searches. There's no need to call in a grand jury every time a principal needs to check a student locker. And today I'm directing our outstanding new Attorney General Ed Meese to work with Secretary Bennett in examining possible modifications of federal law to avoid undercutting the authority of state and local school officials to maintain effective discipline. Discipline is important not for its own sake, but as a way of instilling a virtue that is central to life in our democracy. Self-discipline and if it is sometimes difficult to assert rightful authority we must ask who better to correct the student's arithmetic? His math teacher or years later his boss who better to teach the student respect for rules his principal or someday the police. Let's teach our sons and daughters to view academic standards, codes of civilized behavior and knowledge itself in reference and let us do so not for the sake of those standards those codes or that knowledge but for the sake of those young human beings. Now our fifth and perhaps most important guide post is parents. Parents care about their children's education with an intensity central authorities do not share. A widely respected educator Dr. Eileen Gardner has written the record shows that when control of education is placed in federal hands it is not controlled by the people but by small yet powerful lobbies motivated by self-interest or dogma when centralized in this way it is beyond the control of the parents and local communities it is designed to serve it becomes impervious to feedback. Well the answer is to restore state and local governments and above all parents to their rightful place in the educational process. Parents know that they cannot educate their children on their own we must recognize in turn that schools cannot educate students without the personal involvement of parents. Choice, teachers, curriculum, setting parents. If we concentrate on these five guide posts then I know American education will enjoy a great renaissance of excellence and enable us to achieve new strength freedom and prosperity in the century to come. You know this month we celebrate the 100th anniversary of the publication of an American classic it's a book I read in school myself. My guess is that most of you read it in school too and the most of your children and their children will as well it's titled The Adventures of Huckleberry Finn you remember the story Huck and Jim an escaped slave float on a raft down the Mississippi they seem to have an adventure every time they drift ashore and they become entangled with townsfolk two colorful con artists and members of feuding clans Huck works hard to keep Jim free and in the end he succeeds in this work Mark Twain presents the humor, the openness and purity of hearts so characteristic of the American spirit. I believe the book says much about the moral aims of education and studies of heart that we seek to impart to our children. At one point in the book Huck talks about evenings on the raft he says we catched fish and talked and we took a swim now and then to keep off sleepiness it was kind of solemn drifting down the big still river laying on our backs looking up at the stars and we didn't ever feel like talking loud and it weren't often that we laughed only a low kind of chuckle. Every night we passed towns, some of them way up on black hillsides nothing but just a shiny bed of lights the fifth night we passed St. Louis and it was like the whole world lit up. In St. Petersburg they used to say there was 20 or 30,000 people in St. Louis but I never believed it till I see that wonderful spread of lights at 2 o'clock that still night. One of the decades to come may our schools give to our children the skills to navigate through life as gracefully as Huck navigated the Mississippi and may they teach our students the same hatred of bigotry and love of their fellow men that Huck showed on every page and especially in his love for his big friend Jim and may they equip them to be as thankful for the gift of life in America in the 21st century as was one Huckleberry Finn in the 19th and may I just say something also too about getting a little overboard and using something prestige or getting it out of education it's a story about the author of Huckleberry Finn Mark Twain he was on an ocean voyage and one day in the dining salon in the ship one of his table mates asked him if he would pass the sugar and then knowing that he was speaking to Mark Twain he thought he would impress him a little bit with his knowledge and he said Mr. Twain isn't it interesting that the only two words in each language in which the SU has the sh sound are Schumack and sugar and Twain said are you sure thank you all God bless you all Mr. President we thank you very much for these thoughtful and encouraging words and the honor of having you participate at our annual meeting I can assured you with great enthusiasm that you have our support and working towards a common goal of maintaining diversity and pluralism in this wonderful system of American education it's incumbent upon all of us to strive for the renaissance of excellence in education that the President has spoken to so well today thank you very much sir


Welcome to Access to Trader, the number one community for those who are committed to taking control of their trading in order to achieve success, profitability, and longevity. Thank you for joining us. Here's Dan Shapiro to help you find your edge, master your process, and own your future. Hey guys, good evening everybody. Welcome to another edition of the access to trader.com nightly update show. Hope everybody is doing well. If you are brand new to the channel, please like, subscribe, share. We have a pretty cool take of the market, the general market, the overall aspect of sentiment. And I think it's a very unbiased honest opinion of what I believe the market is going to do next. I mean, next literally next the next trading day, not two, three months down the line, not a year from now, but just literally getting prepared for the next session. Before we go on, just one last reminder. If you are planning to join us, whether it's tomorrow or next week, this Saturday, this Saturday from 10 o'clock in the morning, 10 o'clock to 12 o'clock, we're going to be doing a virtual summit in the live room hosted by our own Kenyan. I will be in the panel for all you guys who know a boy Kane, Matt, Larry, you have two equity, you have two equity guys, you have two option guys, a rapid fire participation from the audience, all that good stuff about how we trade pivots, different views, whether it's bounces, whether it's rejections, whether it's macro pivots, where it's micro pivots, where it's sneaky pivots, all these things you hear me talk about. So it'll be really, really cool to be very, very fun. Instead of me sitting there doing a whole, well, this is a pivot, it takes out supply, blah, blah, blah, blah. We want to make sure it's fun, enjoyable for everybody. Because the last thing I want to do is sit there for two hours, talk about pivots, which I do Monday through Friday for six hours, literally speaking six hours a day. So if you are coming aboard, this is a very cool, neat event, and it will be Saturday at 10am Eastern time, and it's open to all traders for accent traders. So hopefully you guys will join us. I look forward to working with all you new folks. So let's talk about today. So last night on the video, we talked about how the Qs failed to take out last week's highs, and we started tightening up channels. And we have tightening up channels.  Usually what happens is a little bit of an exhaustion effect. So if you guys remember on yesterday's video, we were talking about how the semiconductors were weak, and they started to break down. You know, your names like AMAT, for example, names like NVIDIA. And you can see how they all follow through to downside. The problem was with today's session was you had ADP numbers come out. You had a revised consensus, which the private sector basically increased in doubles consensus. So you had some pretty nasty selling here at the open. If you look at the 60 minute view, and not just on the Qs, if you look at the 60 minute view on pretty much every stock, you'll see exactly the same thing. Amazon, right? These are these are pretty nasty candles at the open. And when you when you woke up this morning, you saw the ADP data, which is is deep, you know, really, I don't want to say not reliable, but a lot of people believe it's a little bit exaggerated. It's not exactly the same thing as the potential June payroll that's going to be out tomorrow morning. Again, more data on that's going to set the tone. But it did smooth the market today. You could quite see that a lot of really aggressive selling at the open. But the problem is we're in a bull market, right? And, you know, my, you know, when I talk about being prepared on both sides of the market, and we talked about specifically like a name like Micron, right? Everything gap down aggressively. And the problem with this gap down, especially in a bull market is everything gap into rise and support. It's not like you had a plethora of 6000 stocks to choose from on the short side. And when you have stocks trading into support, and there's a very, very important thing to remember as a trader never shorten the hole. So for example, the bull market, the last thing we're going to do is short the open, because that's when you'll get really manhandled. And that's exactly what happened. You know, after the open selling, you had your kind of capitulation move after 10 o'clock, and you can see how the cues they held rising support. And you're going to see that with a lot of charts that doesn't make a difference.  They opened that support. And they just basically started grinding back the whole day, which basically left us more watching than anything else. But at least the good part of it is, and this is where I say all the time, some days you have to take a little bit of a step back to kind of watch the action to get more data for the next day. And today was kind of one of those days. And, you know, I tried to bounce a couple of names today. I tried to bounce Tesla twice today, right? I bounced it the first time and went up like 20, 30 cents to use breakeven as my stop. Got stopped out. I tried to buy a bounce at the second time when, you know, rally, excuse me, the first time went up like 40, 50 cents, nothing, right? Came back in, stopped me out breakeven. Second time, I did it again. It started bouncing 20, 30, 40 cents, nothing big. Stop that evens. I figured, hey, you know what? If this thing can't go up, must go down. Tesla actually gave us a pretty good, pretty good short to the downside, taking down two days worth of buying in the same little tight channel. But again, it was only a couple of bucks and I attempted to bounce square as well, right? Nice little trade on the short side on Tesla, but, you know, nice little, you know, had a really big move on square and it came back into its breakout price today. And I actually bounced it off the 60 minute view and it just, just like everything else, they try to bounce it here and then everything else just didn't bounce. So I wound up taking a dollar loss on it, but it really did show to me, you know, how sometimes, you know, these names will not hold support, especially if the market goes through an exhaustion cycle. So after that, after, you know, after the trades with Tesla, you know, I pretty much had a nothing burger all day and the loss with square. So I kind of just watched more than anything. But I did get some good data. That's the most important part going into tomorrow's sessions. And one thing you guys will really remember, especially new traders, the day-to-day means nothing, right? It means nothing. The market's open. It means nothing. Whether you're up a little bit, down a little bit of flat, it's the same thing. What you're waiting for and buying time and kind of, you know, absorbing and embracing the data is what happens next. So if you can't get going on a very specific day, just it's okay, right? Just leave it alone and the next day will be something. And the data we got today was pretty, you know, was pretty good information going tomorrow. At least now we have the queues needs to reclaim the five-day moving average. And right down these levels, guys, for the bulls to start building back up, the queues are going to have to reclaim the 368. 368 is also a five-day. The five-day is the shortest-term sentiment. And if the bulls can reclaim the five-day of 368 and start building higher, yeah, we're going to start going back higher. However, there's a flip side of this as well. Today you saw the queues test successfully, the 10-day moving average. You've been watching this video for a while. You kind of know that the 10-day moving average is the birth of the trade. Just the same way the 10-day moving average here was lost. We had a really, really good pivot to the downside. Well, it's the same thing, right? So you have 368 to the upside and you have roughly 364.5 to the downside. In between you're going to get a lot of chops. So be careful out there until one side or another occurs, which is very, very important. And we do have a jobs number or jobs payroll number data that the market likes. Just keep an eye on that 368 to the upside and 364.5 to the downside. And you'll see the same similarities to a lot of names. You saw Tesla today didn't quite get down, which is kind of a little disappointing. I really thought we were going to get down at least to the five-day moving average on the back test, which it didn't get there. But you got to look at Tesla and mirror it exactly like everything else. He came back in and just started grinding, grinding, grinding. It closed within what? It claimed $3, $4 away from the lows. So we're kind of a little bit of a rock and a hard place going into tomorrow's session just because we need these payroll numbers to either reclaim the five-day on the cues or rework, start damaging down the 10-day on the cues to us to get a little bit more clarity what happens next. But there are some names. There's definitely some names to definitely keep an eye out for tomorrow. You had a big potential setup in Microsoft if the market rallies more. And that's a very, very important name because of Microsoft rallies. It's probably going to pull up the cues as well. As you can see here, it's now sitting in a four-day cycle. Tomorrow will be five. That means it's one full week of distribution. If you can see here, Microsoft definitely stood out today. There was an upgrade today, I believe. There's an upgrade today. So if Microsoft could finally start getting above this channel and there's good payroll numbers, who knows?   Let's watch this. Tomorrow will be day five, a full week of distribution. And if Microsoft can get above this channel here, who knows? Maybe we could get a big, big run there as well. Some other names I definitely want to watch. Let me give you guys a couple of names to watch for tomorrow. Let me see what I can give you guys. Like, look at Zoom for the downside, right? So Zoom had its moment in the sun during the COVID, right? Everybody was working from home and Zoom was big, and then all of a sudden Microsoft Teams came and Citrix and this one and that one. I use Zoom. We use Zoom in the webinar. I like Zoom. I think it's very, it's intuitive. It's user-friendly. I think it's a very, very cool platform. It's not even expensive anymore. A year ago, a year and a half ago, I was paying like $250 for $500, right? For $500 attendees. And one day, like a year ago, they dropped down the price. I'm going to ask for it. They dropped down the price to like $105 a month. So look, the business model, the business itself is great, but the stock is not appreciating. The stock hasn't appreciated in a long time. And today, the stock closed below the 50-day moving average. So if it's bad payroll numbers, keep an eye on it. Keep an eye on Zoom. If this thing starts losing, it confirms the 50-day. This thing's going to go lower. Same thing with Lululemon. And again, don't judge me. Lululemon now is my favorite company. I used to make fun of it, but my wife one day bought me slacks. She bought me two pairs of slacks. She'd bought me shirts. And I was like, this is like the most comfortable thing. I have a war. And now I'm starting to accumulate, after I lost my 40 pounds, of course, I'm starting to accumulate a new wardrobe because nothing that I have fits me anymore. But if Lulule, keep an eye on Lulule. If Lulule starts losing today's channel, maybe this thing starts getting hit as well. But a great, great product. A very, very dicking for all you guys who used to make fun of it. And you got your first pair of Lulule shorts, a Lulule shirt or the pants. I'm telling you, it's like wearing sweatpants. It's absolutely phenomenal. So Lulule, I'm watching through the downside. I'm watching Zoom through the downside. I'm watching Microsoft to the upside. We have our ranges in the queues. You know, I kind of like to see what NVIDIA does. I like the fact that NVIDIA today had a really nice bounce. It held support and not only reclaimed the five. It held, it reclaimed the 10 days well. Hey, if the market's good, again, we have plenty of really good names to the upside. If Tesla could wake up, NVIDIA could wake up, Microsoft could wake up. So we have some value. But again, like I say, every single day, make sure that you are prepared on both sides because the one thing you can't control, right? You can control your game plan. You can control stocks confirming. So tomorrow, you know, the payroll numbers will come in. We'll see how the market embraces them or not embrace them. But again, the most important part is we'll be prepared on both sides. And once again, guys, if you are planning to join us again, PS60 theory is pretty cool. We're the only ones on the planet who trade this way. There might be some clones, you know, trying to show how the PS60 theory works. They're kind of in the PS phase of their career. Not exactly the PS60, but hey, God bless to all. I wish everybody the best of luck.  It's a perfect time to take advantage. Guys, have a great night. God bless. And I'll see a lot of you guys tomorrow. Take care, guys. Over there.