What is going on guys? I am on YouTube now We got a few people in here if you're in here tuning in on YouTube make sure to say what's up. Let me where is my camera There we go, what's going on guys? Thank you guys for joining us once again today is the 15th of April 2024 It's about 1 15 p.m. Eastern Standard Time. So hello to everyone, you know depending where you guys are located It's the middle of the afternoon here. There's been a lot that's happened since we did our last live stream last week So we're gonna be jumping into it We're gonna be talking about the Bitcoin halving Because that is expected to be in about four days either the 19th of April or the 20th of April So we have that to look forward to this week this weekend And then we also have of course we saw a massive massive dump in crypto over the weekend Due to the war with Israel and Iran.  I don't know much about all of that about what's really going on with the war and why They're at war What I know about and what I'm gonna personally go into is why and how wars affect the prices of Bitcoin so a lot of people were asking me Why you know why Bitcoin was dropping with the war and why the war directly affects it So we're gonna jump into that we're gonna talk a little bit about it We're gonna talk about the Bitcoin halving and then we're I'm gonna do an analysis overall on the Bitcoin's price and I'm gonna share, you know some potential Trades that I might be looking to make or where I'm potentially potentially looking to buy on these dips. So Yeah, let's go ahead and dive right into it. If you guys are still on Instagram I'm still live on Instagram. If you guys are on Instagram watching right now I am alive on YouTube just search Bitcoin daily and you'll be able to see it I will be sharing my screen and And yeah, so I'm gonna end I'm gonna end the live here on On Instagram appreciate you guys tuning in. I'll see you guys on YouTube that we've done that Close that out real quick So I just saw a tweet here says that that Israel Air Force has completed its preparation for an imminent attack against Iran I don't like the sound of that Let me see what the markets are looking like right now Nothing right now doesn't seem like there's too much You know that that it's fazed it as of now but Yes, there's there's a lot going on guys. Let me say what's up to everybody that's in the chat That's tuned in that's commented Rodrigo. What's going on? Arsh from India Rodrigo's from Mexico Mexico mi hermano cometa What's going on with everybody if you guys don't know I do speak Spanish as well I am I was born and raised here in the US, but I am my parents are from Cuba My first language was Spanish and then when I you know started school I learned English and had to basically we learn Spanish later on in life, but Let's dive into this guys Let's let's talk a little bit about about what's going on here with the Bitcoin with the war and with the Upcoming halving so let's start off here with the halving The halving event as you guys can see the countdown right now We're about four days away guys, so it's gonna get interesting things things are definitely gonna get interesting here We we are going gonna be seeing this halving potentially Friday or Saturday. I Feel like it's gonna be Saturday because Saturday that makes it 420, right? And just like last bull run Bitcoin went up to 69 thousand dollars, right? So it's only right if the halving happens on 420, right? 69 and 420 makes sense So I wouldn't be surprised if that's how things work out here in the crypto space But but yeah guys, so so definitely prepare for that remember that The main moves for Bitcoin are after the halving and we spoke it we spoken about this Several times here on the channel. We covered it probably the last like two or three weeks. We've been talking about this, right? Here's a kind of a breakdown on on what that looks like so first We have the pre halving accumulation phase then we have the pre halving rally phase Then we have the pre halving pullback, which is currently where we are, right? And we've seen this massive massive pullback here over the last one two three four five weeks now So we've basically been ranging and we've seen big pullbacks here over the last five weeks And if we look at those pullbacks to see how big from the top To the bottom about 17 and a half percent pullback there so that's pretty much in line with with what I've been expecting here as far as pullbacks and We can continue to range in this Anywhere here now once we go into the next phase after the halving which will be the post halving accumulation So this phase is expected to last anywhere around 90 days three months You know, obviously could be different But that's that's kind of the average when we look back in history at you know, what it's done if we look here This lasted 70 days So it could be shorter and if we go further back to the halving before that it lasted 147 days so that's pretty much You know that what we're gonna be at we're gonna be anywhere between 70 to 147 I don't think 147, but it's a potential and it's it's a scenario that that we should be prepared for it, right? So now another thing to note here. We saw here back in 2016 after the halving We got one more big big dip here Now we don't know exactly what that event was I would have to look it up what was happening in August of 2016 But there was a big dip you see that Bitcoin picked right back up though And then you know began began its rally upwards And then the previous one we had the COVID crash. So that was a little bit different as well Right. We had the COVID crash Then we began here to have the pre halving rally We had a smaller than usual pre halving correction And I think that's due to the COVID crash that we saw here Then we still did see the accumulation for about a little bit over two months And then we began that really big rally there nicely to the upside So that's basically what we're expecting to see something very very similar to this where We've had the accumulation. We've seen the pre have halving rally play out And now we've seen the pre halving pullback play out So now we're expecting to see some accumulation here for the probably the next few months Before the post halving rally where things really begin to take off and that's when we could potentially See prices go, you know above a hundred thousand dollars and potentially 200 right I think for myself 200,000 has been my overall prediction For the next year or two So I'm really hoping that plays out because that'll be amazing if you guys are hearing anything in the background There is construction here across from my from where I live Very very annoying.  It's probably because of that. All right, so Now talking about the halving of course is gonna happen soon we spoke about potential diminishing returns Which is also why I think there's diminishing pullbacks, right? So that's another subject that we spoke about last week So let's kind of take a look at Something that I that I kind of drew here last week while we were speaking about it so What one of the subjects here was of diminishing returns and as you can see from the previous two bull runs a 12,800 percent move up and in the last bull run a 2100 percent move up and in this bull run if we do about half of this And again this 2100 is not half of 12,000 But saying if we did about half of it that would put us at around 200,000 dollars. So I mean, that's not unrealistic But we could end up somewhere, you know, maybe a little bit lower If let's say we did half of what we did Last time will not have less than half Let's say 600 percent overall that puts us at around 110,000 dollars I definitely think we do more than that. So I'm in the ballpark of around anywhere between 150 to 200,000 dollars for the peak of this bull run It's kind of what I've been thinking, right? So because I because we know it's not that I think because we know that there's diminishing returns as bitcoin matures, that's why we also expect diminishing pullbacks and You know over I know I know that we've seen a lot of massive pullbacks over the years But as bitcoin has matured slowly, we've also seen those pullbacks get, you know At least less and less right before at any given time bitcoin could pull back 40 50 percent Right in the middle of a bull run Then we started seeing those 40 50s to go up to 20 to 30 percent Now we're at the point where we're seeing those 20 to 30 percent pullbacks to go more like 15 to 20, right? So that's kind of where we're at now. I think this bull run Currently during this pullback. We've seen it go down 17 and a half percent You know, how much lower can we go? I mean, I mean we can go and we could probably go up to like 20 21 22 maybe right? During the last pullback that we had the last really big one if we pull it up here We saw that pullback. Let's see. Where was this one? So that pullback was from up here 49,000 Down to 38,000 exactly a 21 and a half percent pullback right, so We definitely could see something like that and where would that take us a 21 and a half percent pullback Would leave us somewhere around Here 57 58 thousand dollars basically So is is that a possible scenario? It's it's a possible scenario, right? I'm not going to say that that's not a possible scenario but If we do get any pullback like that look how quickly price jumped up like right shortly after that To basically two a few weeks later than things skyrocketed, right? If we go from the bottom there To then the new top that's almost a 100 percent move guys 91.65 percent Was the move after that 21 and a half percent move. So if we saw something like that again From where we currently are Let's see from the current bottom If we see another 91 percent move, you know, that'll put us somewhere around 116,000 dollars Right so insane So that's pretty much what I'm expecting to see After this correction is over after we get through all of this after the bitcoin halving I'm expecting to see bitcoin Begin to do another leg up here So another thing that we can do here to try to get an idea of where we might potentially go Is uh Measure out the pattern, right? So what pattern are we seeing right now? This is the same exact pattern This is the same exact pattern. Hold on. Let me take off the lock Same exact pattern that we saw down here, right? And what is that that is called a bull flag? So how can we use this information now? To figure out where bitcoin could be going, right? So if we go like this This is basically a bull flag pattern here, right? Now in order to figure out Where bitcoin's going next We do something like this where we measure the previous move. So let's say from the beginning of the move To the top of the move Right Then we grab this and we put it at where the breakout could potentially be So I think the breakout would potentially be Somewhere around here at the apex of this um, if we expect something like that that gives us a 77 percent move to the upside right and that would give us about $116,000 as a target So i'm not saying That's gonna happen right away But I think that it's only a matter of time Before we see another rally just like this one right here Where it takes us, you know takes us to the next Leap that basically the next leap forward. So whether that's 85,000 80,000 90,100 or beyond, you know that I we don't know for sure But we that's that's basically what this pattern is telling us and we saw something similar like this before Right. So if we look even further back We're looking for these the same pattern right where Bitcoin has a big impulse move Then it has this correction slash both flag And then continuation Right and we kind of saw that here now. This was a lot more Of a uh consolidation period, but it was kind of the same thing If you just kind of draw the lines, right? So If we just kind of draw these lines Like that And more or less like this And we do this that's kind of the same pattern It's not going to be perfectly the same, but it's kind of the same So let's measure that one and see, you know, how close to the target did we get So if we measure it from where when it you know started really making its move It was more or less about there With the top about here. Hold on. I didn't have the measuring thing on That was about an 80 87 percent move the breakout occurred here And now we see It didn't go all the way up to the potential target, which was around what? 52,000 But it got close Right. We see it got up to 49,000 Right. We got close and eventually Right here it did hit that target so even though 116,000 might seem like really far out We might not go all the way there directly But it's only a matter of time. We could do something like this where, you know, we might run up like that Then kind of do something like that and then go up and hit that target right so Now how long it's going to take we don't know that's the thing you can see here Maybe quarter four is usually the most bullish quarters In in the year So maybe quarter four is where we hit that But that's just kind of an idea of where I think, you know, what I think we could potentially see here All right, so now that that we kind of more or less did an analysis on it Long term, um, let's talk a little bit about Let's talk a little bit about the war and How war affects crypto prices and why war affects bitcoin prices. So the idea is is pretty simple, right? Cash it went in the worst-case scenario of a war Cash is king, right? You need cash For the worst-case scenario of a war because if things are down Then you need to go around. There's no internet. There's no electricity. Whatever it could be You need to be using cash in order to survive, right? So when it comes to survival cash is king So when things like war happens is not that it directly affects bitcoin.  This is bad for bitcoin. It's it's bad. It's just bad overall for everything, right? It's bad for bitcoin all cryptos, right? It's bad for the stock market. It's bad for You know the world. It's bad for the countries. It's bad for the people. It's it's bad for everyone So that's what that's the thing with war. So you know institutional firms and institutional investors know these things and they have Uh algorithms set up, you know to trade based on sentiment trade based on news You know, they have all these different algorithms set up So when news like this comes out all those algorithms, they want to front run everybody else So they instantly begin to to to sell sell sell sell sell because they know With war or any news, you know that that There might be a war It, you know prices of assets usually go down because everyone wants to go into cash So that's pretty much why, um bitcoin gets affected with the news of war Right Um people are going into cash the algorithms want to front run the people going into cash So, you know, then that creates and then that creates it's a chain reaction, right? First the algorithm the news comes out And then the first things that they're going to be selling is the algorithms algorithms are first because they're too fast for computers You can't compete with them Then as bitcoin price falls, uh people start seeing that start panicking. They also start selling Then as that, uh makes price fall more Stop losses start hitting of any traders that were long, right? Traders start getting liquidated We saw over a billion dollars get liquidated in just a few days last week So that happens and that creates this cascade where, you know at at a certain price point the the There's a liquidation event then price falls faster Then it hits another liquidation then price falls another liquidation price falls as that continues to happen More and more people begin to panic and begin to sell And it's just a chain reaction right one after the other one after the other So that's why we see drops like we saw the other day where You know, there are uh bitcoin was down like 10 percent Ethereum was down in in just a few days. It dropped like 15 20 percent we saw uh right now I think Solana was down over 40 percent from recent highs Um cardana was down like 50 percent There's some things that are down 60 percent So yeah guys that that's that's how war affects all that stuff You know crypto that's that's why it affects it Um, and then you'll see things like gold also go up So um in times of war Cash is king and people go into gold uh because they consider gold safe and because they consider that Gold is something that you can trade and you can use as a form of payment as well So Yeah, that's that's pretty much my thoughts on it, you know as far as the people that were asking Why uh why you know bitcoin was dropping so much on the news of war. That's pretty much why um Now if you guys have any questions based on any of these things that I've covered so far Feel free to drop it in the comments. I'll be happy to uh to answer those for you guys Um, I'm gonna take a sip of water real quick and then uh, we're gonna look at uh We're gonna look a little deeper into bitcoins and it kind of analyze it a little bit more And we'll look into other news because there there is some other news as well that's been going on All right, so one of the other things That uh that happened here That nobody's talking about and pull it up here Give me a second Where is it All right, so this one So the other news here, let me switch over to it Hong Kong oppu's spot bitcoin and ethereum ETFs now. This is this is pretty bullish for crypto overall Remember that china is the one that has banned crypto and bitcoin 20 30 times at this point, right? They've every few years they banned bitcoin and now They approved spot bitcoin and ethereum ETFs So the us hasn't even approved ethereum ETFs yet, but hong kong Who has again china's banned bitcoin many times over? Has approved both bitcoin and ethereum ETFs And again, this is definitely very very Uh bullish the the issue is The fud right now the fear Uncertainty and doubt in the market right now because of this war and because of this latest drop has you know Basically is keeping this under wraps. It's it's overcoming all of this Right, so that's the issue right now that even though we had this bullish news today Um, there's there's too much out there right now That's pushing the price down. So and if you look at the if you look at Overnight, you know, this was this was announced overnight if you look overnight Bitcoin's price did very very well So this was announced around 2 a.m If we look here yesterday Wait, what's days today? All right, so here it is. This is about 2 a.m um 12 o'clock to 2 a.m You can see that I'm sorry 12 o'clock to 4 a.m You can see that bitcoin moved up almost 2% It went all the way from a low of 64,000 to a high of 66 Then it continued up from 4 a.m to about 8 a.m hitting a high of $67,000 And then after that, of course the u.s. Stock market opened up and bitcoin's prices dropped because we've gotten news about You know israel retaliation news and all that about the war. So we've dropped back down But you know in in if the war issue wasn't a thing right now I would expect that uh bitcoin would have definitely gone back up You know to to these previous levels up here beyond $70,000 So it's unfortunate guys. It's unfortunate that we're dealing with this Um, but it is what it is right? That's that's kind of where we're at right now so um Let's take a look here. We're looking at the four hour chart right now and We can see a few things right So we see these big support levels We see this is a big support level here. It's played out as a big support level there This is also a big support resistance there. You can see there's a lot of price action there so those two levels are around 63,000 and 65,000 right 65 and 66 so you can see the prices right here Right so all those levels are Big levels overall for for bitcoin and you can see that it's kind of bouncing around there We need to basically in order for us to to begin going higher again. We're going to need to Basically break above this level right here. That's it's around $68,000 and let me tell you why So right now you can see the structure the short-term structure overall Is what it's down right we can see we can kind of draw you can pretty much draw a line here And you can see that it's down right we have this line like that we have kind of something like this Right, so that that's kind of a falling wedge right if we look up The definition of a falling wedge Falling wedge So let me see if if there's something that gives us like an easy definition that we can just look at real quick So a rising wedge Usually occurs when a securities price Has been rising over time, but it can also occur in the midst of a downward trend as well Is not really telling me but I think you get the idea with the illustrations A falling wedge usually Is a sign of that our reversal is coming right so you can see prices falling falling falling And you can see the arrow pointing up because usually a reversal happens after a falling wedge Same thing with a rising wedge usually price drops so As we look at it right now we see this sort of a falling wedge, right? So we need In order to see a reversal we're gonna have to see bitcoin break out of this And break this level right here because that's If it breaks that then that's basically a break of structure, right? We're breaking that trend Where it's been going down because we've been setting Lower lows and lower highs, right? We've been setting we had this high low lower high lower low Again, sorry lower low lower high lower low lower high right, so We've been boom boom boom boom boom boom so Right now we're getting once again We're heading down, right? if we continue What we've been seeing here we could potentially Set up another lower low, right? Before bouncing back this way So what we need to see here is bitcoin's price Basically break all of that we need to break this structure So if we saw price go this way then we set up a new higher high We set up a new lower Higher low and and higher high so this would be a Higher low and then we'd set a higher high Right because this was the other high so We need to break the structure until there's a break of structure We could potentially continue kind of bouncing like this All the way down, you know to to this $60,000 range So that's pretty much one of the things that that that i've been watching right now and keeping my eye on um and we need to continue doing so going forward and With the war news, it's difficult to say What's going to happen next? You know bitcoin doesn't really care about technicals, especially when there's war Things going on But we try to use the technicals to you know try to see the possible scenarios One thing to know is that Prices will bounce back Very very hard When the war news goes down, right? We already saw it We saw bitcoin go all the way from $60,000 to $67,000 in a matter of a day or two, right? Um, and now we're back down to about 63 64 So we know that it's going to happen. We just don't know when right now. There's news of israel potentially attacking iran again So because of that, you know bitcoin is dropping again so we just got a uh We got we got to use these dips here for You know as as potential, you know, we got to use these as an opportunity to build to dollar cost average and build our long-term Holdings here for the next year these these are because once the war things cold off, which eventually they will Prices are going to pump It's only a matter of time guys Um, we saw this with ukraine and russia Remember when the when everything with ukraine and russia happened Bitcoin dumped right bitcoin was was falling hard And then as soon as everything kind of cooled down Bitcoin prices just went right back up. So um, yeah, yeah guys a lot of people are asking me. Is it a good time to buy crypto now? um 100 percent right because right now, um It's only a matter of time. They this is gonna happen. Of course, you know Depending what happens with the war all that etc. Etc. It's gonna go down Use those as opportunities to buy long term for the next year or two because after the halving is when bitcoin really begins to have a move up And i'm not just saying it. It's historically proven. It's happened over and over again There will be a supply shock. It's only a matter of time guys. There will be a supply shop because when the halving happens What happens is there's less bitcoin Going into the market openly every single day, right if there's less bitcoin going in being created But the demand stays the same Right that means price goes up Now think about it this way If there's less bitcoin going into the open market and demand increases Then bitcoin goes parabolic so That's what's about to happen in the next few months. It's not gonna happen today tomorrow Even with when the halving happens in in a few days but It's going to happen And you need to be prepared for it and the only way and right now you're getting one last opportunity To buy bitcoin Right now you're getting one last opportunity to buy bitcoin at a discount Before the bitcoin halving happens before there's less Bitcoin being coming into the open market With the same amount of demand and with potentially increasing demand Which will send everything parabolic over the next 12 to 18 months. So Be prepared guys use these opportunities to make to To potentially change your life right to to make build up your portfolio Even if you're new put up put, you know make a little budget weekly budget put some money in it That money's gonna grow and your portfolio overall is gonna grow So there we have it guys that's pretty much everything that I wanted to speak about today what I wanted to cover I didn't get any questions in the comments So, um Yeah, we're just gonna gonna wrap things up. Thank you guys for tuning in Um, I will do I I had a lot of people request an outcoins Livestream where where I analyzed the different outcoins So I think I'll do one of those on potentially Wednesday or Thursday So sometime later this week either in the midpoint or towards the end of the week So I'll see you guys in that one as always guys. Peace and love. See you on the next one


Welcome back to the 21 convention. I hope everybody enjoyed their quick little break. Our next speaker is head of live training at the Social Man. He's been in the industry for approximately five years and it's his third time speaking at the 21 convention. Welcome Nick Sparks. Let's give it up for me. Oh no. How's everybody doing today? Yeah? Pretty amazing convention that Anthony puts on year after year. Round of applause for Anthony. This is cheesy. This is just but I'm gonna do it anyway. So I had about like 15 or 20 minutes or so prepared where I was just gonna talk about myself, give you a little intro, talk about my past, let you really get to know me for a while, right?  Would anybody like to hear about my history, my past? Alright, I appreciate that guys. You're very sweet. Thank you. Or would you rather I just kind of just cut into advice, things that might actually be beneficial or helpful for you? Yes? Show of hands for for the intro. Show of hands. Thank you. I appreciate it for the actual content. Show of hands. Alright, well thanks guys. I appreciate it. Try not to take that too personally. I'm out of here. Whatever. I don't need this conference. Okay, so what I wanted to talk to you guys about today, aside from myself, is approaching. Approaching women. That's it. Other times I've been all over the place today. I just want to talk about this one thing in particular right here. And why am I going to do that? This is a good question. You might say, why wouldn't you want to talk about that? But this is a good question.  It's not necessary. You don't need it. It's completely superfluous to you finding a mate, to you dating, to you having happy, successful lives when it comes to women, when it comes to everything. Don't need approaching. What's true? Don't need it whatsoever. The vast majority of people think about it. Think about all the people you know in your life right now. Friends, family, acquaintances. How many of these people actually, on a regular, consistent basis, are stepping outside of their personal bubble of friends and just walking up and talking to random strangers? Not only just talking to random strangers, but getting positive, like, jovial reactions. Not only getting these positive jovial reactions, but with the women. Like, getting attraction within five to ten to twenty minutes and getting phone numbers and going further. How many people do you know that actually do that? You can probably count them on one hand. Two if you know a lot of people, but that's really stretching it even then. My point being is that this whole, being this social superman, this whole, like, going out and talking to anyone and lighting people up, it's a rarity in our society, in our world. A lot of people, most people, the vast majority of people don't possess this ability. Very, very rare when you find someone that's just so naturally outgoing they light up everywhere. Most people go through their entire lives every once in a while having a couple cocktails and talking to a stranger at a party or a friend's thing. But usually they date people through social circles. They take a class and they meet somebody through there. Online dating is becoming huge right now. You can date a couple new girls every single week and never do a single approach. You don't have to learn this. Most guys will be happily married and never even worry about approaching, approaching, approaching. So why do we care so much about it?  Well, obviously it's not. Obviously there's something there that's so valuable that we want it. Right? Yeah, there's only a few rare people that have that ability that do this all the time. But why can't we be that person, right? Why the hell can't we be in that one percent of individuals? Certainly a noble goal to try to live up to. Why not? Good question. And how many times we've all been in that situation at the grocery store, at the coffee shop, at the park, walking down the street, at the party, at the bar, saw that girl. Oh my God, heart skips a beat. She goes walking out of our life forever. We wonder what could have been. Some variation. You've all been there. You've all understood it. And you didn't say hi. You didn't approach. You didn't say anything. Why? Oh, if I just knew what to say, if I just had the right thing to say or, oh, I couldn't move. I couldn't think fast enough. I froze. You don't want to freeze. You want to know what to say.  You want that person to be in your life. If there is a chance of it happening whatsoever, you don't want to miss that chance. Two ways you can go about living life. One, dictating what happens, what you get. And the other, just whatever life hands to me. Most people go by doing the same old, same old, and they're fine. But very, very few people step outside of that box and say, no, I want something else. I want something different. I want to take this into my own hands. And that's why you're here. That's why we actually care about approaching. Because we're sick of just taking whatever is handed to us. We want to change our cards. We want to turn in, get a new hand every once in a while. And this skill, this, this noble social ability that very, very few people have, gives us that opportunity. And yeah, I know you guys have all talked to girls. You guys have all done approaches. You guys have all like put in reps and everything. And I'm sure some of you very well might be able to. How many guys, be honest, is there anyone in this room right now who, when you see that girl in any situation that just makes you melt, you will not even hesitate before walking up to her and saying something anywhere within, if she's like within a block radius of you. How many guys can honestly put their hand up and say, I would never hesitate in that situation? I can't do it. Sure as hell can't do it. And so yes, even though you guys have done it before, you're not satisfied. Very, very few of you are satisfied. How do I know this? Because I've been coaching guys for five years. And if there's one thing I hear more than anything else, yes, I help guys have better conversations with girls. Yes, I help guys get more sexual and escalate things, of course. But if there's one thing I hear more than anything else, I want more opportunities and I'm sick and tired of letting those opportunities pass me by. The one thing I hear more than anyone else, it's still the biggest thing that for whatever reason, doing this for how many years, people are just not satisfied. That's why I'm talking about this today. So what gives me the right to talk about it? Why should I even be the one to speak to you about it? Well, our coaching programs at the social man, this isn't a vlog, I swear I didn't mean it to be this way. But our coaching programs at the social man, they're not perfect, we're working on improving them every single day. But one thing that we do nail is there's not a single guy that walks through our program who spends a weekend with us that has any problem approaching like a machine afterwards. Some guys conversation we still need to brush up with some guys, you know, flirtation escalation still needs a little bit of work. But if there's one thing I can always guarantee is you will not walk away from that weekend having any problem approaching whatsoever. Bold guarantee. How can I make something like that? Good question. The reason why guys walk out of our programs without having any problem in this area whatsoever is because after one of our programs, the guy is no longer making the two big mistakes that the vast majority of men make who are struggling with this stuff when it comes to approaching women. The vast majority of people make it if you're still struggling with consistency, you're making at least one of these two mistakes. Not maybe not all the time but enough of the time that your consistency isn't where you want it to be.  And let me make it clear after listening to me speak, you're not going to just I'm not, I don't know, I'm not doing some magic stuff to rewire your brain chemistry as I'm talking to you.  I wish I could do that. I can't. You're going to be able to understand what I'm talking about from an intellectual standpoint. It's very simple. I promise it won't go over anyone's head. And it's probably stuff you've thought of before. It's probably stuff you've heard before. It's probably stuff you were already doing when you were on and you didn't even think about it. And you were having a great time and talking to everyone. So this won't be any any big secret. And it probably won't be anything that 99% of you haven't done. But the problem is in some situations you revert back, you make these mistakes.  And that's why you actually care about what I'm going to be saying next.


Everybody Matt here for late in sports cards are up in one box of 2023 panini three and two baseball. This is for Joseph S Good luck Joseph Give Garrett up after this one and then Bradley Babe Ruth 10 of 50 10 of 50 Yogi Berra to 150 and how new house dirt 32. This is Elite extra edition auto Harry Ford on the back five-way jerseys 36 of 60 drew Jones Full count swatches. All right, Joseph that'll do it for your box appreciate it. We'll get these right out to you


Good morning. Good morning, welcome back. Welcome back out there. I'm Todd London. I'm Marc Valdes. And we are holding the art part today. Two person theater conference today. If you were with us the last half hour, we were talking about art and love, particularly our own love for the art of theater. We're now going to talk about ensemble practice and group art and start getting into it. I want to say thank you again to HowlRound for live streaming us. Thanks, HowlRound. And we are in art changes. Roberta Uno, amazing program. Check it out. And we're here at NYU in the Cooper Square. And also to let you know that to reconfirm that we have a May Day art part challenge. And we are hoping that this conversation, our conversation, is merely catalytic for other conversations like it. So let us know through HowlRound, Twitter, or HowlRound Facebook, or the art part at HowlRound.com if you're willing to or eager to have a conversation of your own in private or public. And I would just add on to that just the reminder that this is a private conversation that we're having publicly. And it only represents our passions and our love and our interests. And we're not positioning ourselves as any kind of experts other than people who care about this field and this work, who love it deeply and who just want to spend more time talking about art. Yeah. And with each other, which sort of brings us into the next part of this because I feel like Mark and I have begun these conversations together many times because we do, as he said last hour, we find ourselves on panels together and in rooms together. And the conversations about the art we love happen so interstitially that we just wanted to give ourselves time and create a structure for ourselves and to encourage other people to do the same thing. This is never meant to be a two-person lecture. Totally. Not at all. So Mr. Expert, yes. So this section is really about group work. And in a way, it was the genesis for our discussion. Mark and I were in a room talking about supporting works of ensemble. And he asked a question about how do you maintain artistic practice over time and develop that practice? And we both were aware that the questions or the follow-up, the answers to that question, were very much about survival and not about the work itself, the practice, the generations of practice, and so on. So we want to dig into that a little bit. So I'm going to start a little bit didactically here just to ask you to define some terms if you would. And I ask you in the role for like two seconds, I just ask you to be the expert that you are having spent how many years as executive director of the Network of Ensembles Theater? Six or seven. Six or seven. During which you had to really come to terms with what is an ensemble, what is group creation, what is practice, aesthetic practice. So can you talk us through a little bit like first, what is an ensemble? Sure, I guess it's really important to say, especially since we're talking about group work, that group work happens in groups. And so even things like the definition of ensemble or these definitions of practice, so much of it had been done by the membership before I even got there. And so there was a groundwork that was already well in place that included definitions and a value statement and vision statement and manifestos. Because as ensembles I want, just think really big and ambitiously. And so what I'm repeating is not of my making, but that was created by a lot of other people and groups. So for NET, we defined ensemble as a group of two or more people who create over time, who pursue a specific practice over time to build a body of work. So it's a pretty broad definition. It's numbers, practice, and time. So that's good. I think we can just leave it at that for now. So tell me about what drew you to that particular work. In the last hour, you were talking about seeing an Eric N piece at Undermain Theater and it being an ensemble piece, but also that's a very voicy playwright. So what led you to ensemble work? And this is really meant to lead us into a conversation about what is particular and unique and powerful about ensemble practice. Yeah, and to the practice piece, I guess for me, it's more than just a methodology. Like it has to do with values, it has to do with a vision. It's a bit more, it's a bit bigger than just a how-to or just the steps that you take in making work. So I think practice, for me, has bigger implications because it kind of a bigger impact occupies more space than just a methodology. And there's nothing wrong with methodologies. Right. Can you describe the contours of that bigger space a little? Yeah, and I guess to that, the attraction to ensembles is there's something for me about working with a group of people that share some core values and principles and interests, but are each individuals in their own right with their own preferences and tastes and ideas and opinions. And there's something when you have to put it together. And I think that's where the larger those contours really start to matter in that there's a process, a methodology, that might be in place. But the contours and what gets shaped, developed by these specific people who work together over time so you can get places quicker, you can start to build on what came before in ways that are often really useful, but acknowledging that in ways sometimes it can be a little dysfunctional or difficult because you know how to push someone's buttons in ways that, because it's family. And so there's something about that practice, that way of working, that commitment to working towards something. And it's not just a finished product, but it's going back to that love piece, like why are we doing this at all? Like why are we doing this to begin with? That you always kind of inevitably end up circling back to by virtue of we have to reaffirm why this group of people is here this time and why we're going to do it again. And we don't want to do it just again, but why this now and how? So it's not enough to have individual commitments. You have to reaffirm and clarify and allow to evolve your shared commitment. So just to stay with this notion, I mean, we're talking about art, but also process around art. Can you, while I'm asking you questions, can you talk about maybe two different ensembles in the way they might create something? So I guess what I'm asking about is this notion of different commitments to different ways of working also create different fruit, right? Yeah. So like Cornerstone, and maybe is there another company that you know that different ways make different ends? Yeah, I mean, something that you and I've talked about before, and it's like that connection between process and aesthetics and how the project, for me, the process yields the aesthetic. And if you make something in a certain way, it's bound to be reflected in what the finished thing is and what it looks like and what it feels like. And so I think about the Cornerstone example of a company that works in with communities to create plays for and about the community with an ongoing ensemble of actors. But in a lot of ways, it's a very playwright-driven company. And so the stories get filtered through this one voice with questions in input and support from the ensemble and definitely with agency and input from the community, but always filtered through the singular voice. And so the plays have this wonderful, I don't know if you've seen a Cornerstone play, but there's a great mix of what is familiar playwright-driven theater at the same time as a joy, an agency ownership, something that just feels really specific to the place and the people in the community in a way that feels highly collaborative even though it was filtered through a single voice. And so there's something about that practice, that process that yields a very specific experience. Right. And can't be replicated by another group that just decides to go into community or work with a playwright.  Like other people work in communities, Cornerstone's not the only one. And it's, but the thing that makes a Cornerstone play feel like a Cornerstone play is that combination of these individuals who've been working together for 30 years, some of them, you know, kind of pushing the limits of this methodology, this way of working and inviting new people to come in. And so it's highly dynamic and in some ways gets reinvented every time. And then I think about a theater like Double Edge, which you referred to earlier. So this is a company in rural Western Massachusetts. Live on a farm. The theater is headquartered on this farm. And here's a company that is committed to living together, to working together, and most importantly, to training together. And this training piece feels so key and central. Like you've seen their work. Like I'm curious, like I'm aware that I'm talking a lot. So like, how do you pick up on that? You know what I mean? Well, no, it's very interesting. I mean, in a way it's a good, the double example is good, because Cornerstone, I have experienced that sort of joy and discovery and jangle of having community actors with the professional actors of the kind of hyper locality that this is about our place, or this is about our issues, or this is about our mosque, or whatever. And also the playwright's voice in it. Double edge. Such a beautiful theater. And you can feel, in a way, in their work the whole history of their training. So you can feel this kind of Grotowski physical theater impulse. And then you can also feel, and this is where your description of ensemble as a collection of individuals actually really comes in, I feel in their work in a way the impact of every individual who's part of making it. So Stacey Klein, who is the visionary artistic director of the company. But then Matthew Glassman, who joined later, though still 17 years ago or something, who brings a kind of philosophical questioning to the work. Carlos, who brings both the stories of his Latin American upbringing, but also a whole different kind of presentational style. The circus work that they've done and continue to do. So there's a way in which when you see a double edge play, it's almost in, even though it's deeply rooted in their community in Ashefield, Massachusetts, and they work with communities, it's also steeped in this virtuosity of multiple influences that they have trained and developed together over 36 years or however long.  There's these companies that just commit the training piece. Del Art. Totally. And it's something about the rigor of practice, the rigor of just getting back into a studio and just trying again and pushing further and testing limits and deepening, the deepening connection and execution that really, in some ways, is technical and beautifully like, please, let us pay attention to the technical. And yet it's to commit to that. So Stacy, for 30 years, to commit to living on a farm in rural Massachusetts and train every day, talk about love. I mean, there's like deep, like you don't do that for anything other than just love. Well, the money. Oh, yes, all sense of that. Well, it's interesting. So I'm thinking about what are the edges of ensemble in a way, because every time you create a play, you put together a company. Absolutely. But even those with longer bodies of work, like a Steppenwolf or a Bloomsburg, we heard from Laurie McCants before, companies that essentially do plays, they do seasons, are they still part?  What is the through line of artistic practice? And do they have the same, this is too many questions, but I'm going to throw them out, do they have the same kind of ongoing methodology, or are they simply, or simply, and complicatedly, a group of artists committed to each other? So where does artistic practice come from? I think that there's as many practices as there are ensembles, right? And so just to kind of acknowledge that. But I think for a lot of the companies that the ensembles who take on existing publish can work, I think a lot of it is the commitment to one another, and what that does to aesthetics, and what that does to practice, of when you know I'm going to be back in the room with this person on this next project. There's also a part of it that is the agency to self-determine of artists who so who can, it's easy to feel that somebody else controls your fate. Somebody else decides the season. Somebody else decides who's in it. And you're just kind of, you're just auditioning, right? And there's something about the commitment to say we're going to commit to one another and we will make these decisions together. And we have a love for this way of making work, which is taking a script that exists and bringing that to life. And so that is its own practice and its own way of making that is different. And I think, you know, I'm glad you brought that up because I think that way of working doesn't always get called up in when we think about ensembles, we often think about devised work or original work, but I think that's part of the practice. And that does feel, in my mind it's connected, but it's a different way of working than say like a fully devised company. Yeah, it's interesting when I was at New Dramatis, which is a seven year residency program for playwrights and a laboratory theater. And we always, over the 18 years I was there, it felt like we were always trying to find better language to describe what it was. And at some point I realized that in my mind, at least, this was a playwright ensemble. Yes. Because for seven years that each was there, they weren't committed, the body of work that they were committed to was everybody's within that community. Their practices were distinct, their voices were distinct, though there were shared structures and procedures and processes within the organization. But maybe that's wrong to call it an ensemble. I tend to want to be as generous with the term ensemble than not. Because I think about like the definition of like two more people. And I think I can give a couple of people who are two people with formal ensembles. I can think of people who come together. So one of the things that we've often talked about is there's this commitment to like the challenge of keeping a company together in an ongoing way. And there are also ensembles who can't, like it's just too much, you can't sustain an everyday year round employment or kind of project that people go, they come together, kind of reconstitute the ensemble, make a project, then disband while everybody goes and does their thing. And then they'll come together for their next project. And there's something in that, as we think about aesthetics and sustainability, like how sustainable is that? And what does that do to practice? How aesthetically sustainable. Correct. As opposed to the organization. Correct. Well, I mean, I think it comes out of a financial organizational sustainability if you don't have to pay for everybody every week. If you're not providing 52 weeks of employment. But I think one of the questions of what kind of got us here in this first place is what happens to practice? What happens to aesthetics? If you can't sustain it regularly. If you're, and is that okay? Like maybe, I don't know. But it does make me wonder, like has to at some level have some kind of impact and what is that? Right. And what is the kind of working rhythm of the company? I mean, I guess I think about it in two ways, this notion of sustaining, because now I'm thinking about aging ensembles. Yes. Whether we're talking about John O'Neill retiring from Junebug or carpet bag players or Dell Art or Talking Band. These are companies with a commitment of sans glass within the family of sans glass. These are companies that have a commitment to carrying on and passing on. But each generation has a different commitment to the longevity of the work and the body of work. So what I've witnessed from more from afar than you is a sense of a moment in the aging of the company where the founders decide they need to groom and bring in new people. And sometimes it's from within a family. And sometimes it's from within an artistic community. And sometimes it works and sometimes it doesn't because it's, again, the genetic code and the need and the want of the people who founded the company in the first place and they're staying together, the commitment is in them and you can't necessarily transmit that or can you? I think you can. I mean, I think that's where that's where practice comes in, that's where practice comes in, methodology comes in, like there's a way of working. And of course any new person is going to add something new to it and I think that's one way that ensembles sustain or sustain practice and sustain interest is that you shake it up just a little bit. I think I was talking to Jerry Stropnicki. So all wise things come from Jerry Stropnicki of Loomsburg Theater Ensemble. And I think it was him who said like, or maybe it's Terry Grease from Irondale here in Brooklyn. But he was one of these very wise guys. Really wise, great people who just said that there's a moment where you just wanted to work together. Right, like the emphasis is like, how do we just deepen this in this immediate circle? And you really want to explore and push that as much as you can. And then there comes a moment where like, you need to look out. Like you need to then go outside yourselves and think about like, who can we, now that we've deepened this and we've made this, how do we, what happens when it intersects with another community, another artist, another place, another way of working? And that's when the work really, you start to discover what the work is. Oh yeah, I see, I thought you were talking about something else, which is the desire to move away from the collaborative. So I had a conversation with a very dear colleague who I won't out here last week. And this is somebody who has committed a life to collaboration, teaching, study, work of collaboration. And in this person's older years, they want to basically return to visual art alone. It's like I don't want to collaborate anymore. And so there's that turning out in a way, which also as a person who's both worked with ensembles and worked with independent artists, individual artists, playwrights specifically, I can really sort of like the idea of collaborating and doing everything as a group or doing everything in a democracy or doing everything in a community for the rest of my life, I just want to lie down and let the train run over me. It's really hard. And yet, when you do it, you become so much more distinct and bigger at the same time. Yes. I don't know what the point of that is, except it's like something that you can really see. Like I think about a ensemble of kind of two, Pearl DeMor. Pearl DeMor, Katie Pearl and Lisa DeMor. It's a really good example because they're both independent artists of their own, both playwrights, both directors, sometimes performers. And yet their work together is so distinctive that it calls up things that they each have that don't appear as fully or in the same way in their own work. And so in a way, it's easier with just the two to see what collaboration brings.  Do you know? Yeah, and I think that's definitely part of it. It's like, that's how you can get to, it lets you branch out and try something new.  And then you can try new things, you can push yourself. And it's that thing of like you know, it's the agency that you have when you, it's self-determination, it's a big part of it. But I also wonder about like aesthetics, like what does this work look like? What does it feel like?  Or they're there to say like, man that's just crap, like no, no. Well I would think especially for certain roles in the theater, like I would think as an actor, there would, despite being a great sort of joy in playing lots of different things in lots of different contexts, there would be nothing as great as growing with a company of others who knew you, who you could speak several languages at once, because you share an absolute language. I mean when you see companies that have been together for a long time, and you see the way actors play together, it's more exciting than anything really. Absolutely.  Whereas, you know, I mean I'm always interested in Kirk Lynn's relationship with the Rude Max in Austin because it's such a dynamic ensemble and their work is so particular and joyful and crazy and wild, and Kirk is credited in most cases as the playwright and seems to thrive on being an ensemble member, an artistic director, as well as a playwright, and yet how different than going to your room and writing a play even based on what you witness in rehearsal. I mean thinking about it like one of the most amazing things I've ever seen in my entire life is the method gun that the Rude Max created. Yeah, talk about that way. And so like they kept, as I understand the story, and can you please Rude Max correct me if I'm wrong, is that they kept getting questions about their methodology and their practice. And they didn't really have, they didn't really feel like they had one, they just kind of, they got in a room together and did what they do.  Yeah, and so they created this piece about a fictitious guru acting teacher and it's about a group of people who devote themselves to the methodology, the practice that she has created. And the whole thing is that they're doing, they're working on a production of Streetcar Named Desire without Stella, Blanche, Mitch, and Stanley.  Yeah. When you take out those four characters. But it's brilliant, but it gets to me, like it gets to that, like they wrestle with legacy and practice and methodology and what is your commitment to like maintaining a way of working, where does the individual come in to push against that? When is it, when does it, does it just become artificial at a certain point of now you're just checking boxes of this is how we do it and this is the moment where, this is the moment where we all do this and this is the moment where we all do that. And how, and it gets to the personal lives of like what it means to commit to a group of people and. Well what it means to commit to keeping each other alive too and awake and to new possibilities. Yeah. To challenge. And it's beautiful and it's brilliant and it's like seriously like one of the best, like one of my like things that I just hold on as like amazing. And it has that amazing audience thing. The ending, oh yes. Where you have to fill out something and then it shows up on the screen at the end, yeah. No it's interesting because I think about, working with playwrights I think about voice and uniqueness a lot and yet for me my life changed when I got to college, I went to a small college in Iowa and I had a teacher there, a guy named Sandy Moffitt who had spent the prior summer studying with the Manhattan Project, Andre Gregory and the Manhattan Project who were their famous Alice in Wonderland among other things. And he gave me a book on the open theater, a book about the living theater. He gave me a Yale theater magazine, that drama review, all things. I mean I came out of the musical theater and did like TV commercials for car sales and then Chicago. And suddenly, and then I went and studied with the performance group and it was a really interesting moment. It was Richard Schekner and Jerry Rojo was the designer. They had been working on Mother Courage. We're starting this Maryland project about Maryland in Roe. We saw their Tooth of Crime and amazing work and then I subsequently saw several projects that they did. As Elizabeth LeCompte and Spalding Gray who incidentally I thought Spalding Gray was like the greatest transformational actor I had seen to date at that time before he started doing the monologues, they were starting to branch out into their performance work that became the Worcester Group. But to see that sort of moment and to see, I mean the work of the performance group which was so kind of like audience, environmental, rough, we're all there together, you feel the textures of the work and then to see the clean technological diffracted or refracted work of the Worcester Group develop over years of that kind of like intimate heady play between the participants and the kind of extraordinary, I mean there was a kind of almost a mess, a natural mess to the stage craft of Richard Schechner and then Elizabeth LeCompte, I mean has any American director ever mastered the stage and designed more than she has, but with those actors which started out as the guys you know and then over time like Kate Valk becomes the heart of that company and Peyton Smith for that long period of time, but that each of those performance, and now I'm getting all excited and my heart's pounding, is like they are all so great individually and together they astonish and yet it's very rarefied, do you know? Yeah and that like when you go back before we started like why ensembles, it's that, like you can get that in a way that I don't, I don't see it in other ways of making theater and there's beautiful things in other ways of making theater, like don't get me, I mean not dichotomies, you know. And we'll talk about some. Yeah, but that it's mind blowing, it's beautiful, it's kind of like because it's so hard to do. And so there's a, and I hope we can keep talking as we kind of get further into this, I think about like virtuosity. And especially with ensembles and like, what does virtuosity look like in the collective? Is it's been a long time kind of question in my mind and I don't think we have time that really. Well when we get to I think community work and civic engagement, I think that becomes a real big question too, yes? What is the role of virtuosity? Yes, but I'm thinking about it specifically when we start to talk about solo, because I think about like how we can see virtuosity in the individual versus virtuosity in the collective and maybe we can kind of as a teaser for what's coming up next is a conversation about solo, individual creators, playwrights and the art and aesthetics of working that way. Great, cool. But finish your thought though about virtuosity now. We have five minutes. We have, I mean, no questions. If you have questions, throw them at us, please. Yeah. We'll take them all. I think it's the, I worry. I worry that virtuosity is harder to, I feel like there is a collective virtuosity that is only as good as it's weakest part.  And so it's harder to, it's harder to step out because the whole idea is that you are together, that you're one. And so it makes me, I often, you know, like when I was at NET, a common critique as well, it's just not as good or the ensembles work just, it's a lot of mediocre, mediocre work and- Of specific ensembles or generally? Of the four. This way of working leads to mediocrity, not to excellence because it's not always about the individual stepping out and excelling, like it's about the collective. No, I mean, this is like, as I say this, I'm aware that- It is a sometimes criticism. It is sometimes criticism. And there's so many examples of other things, right? But just in trying to get to a deeper conversation of aesthetics and virtuosity, like how do we look at virtuosity in this context? And what does that look like? Is it about, it's not necessarily about the individual. And so how does the whole rise up? And you actually pointed like, with our two examples of like Method Gun and the work of Whisperer, like clearly you can and we can point to a lot of other ensembles, but does it look different? Well, I think it does. I mean, I think it looks and it feels different and part of that is the challenge that is posed in the moment from one ensemble member to another, yes?  Or I think there's this moment in a piece of double edge that I remember once a blue moon, that piece where we're in like their, I don't know, is it the barn? It's a very close barn structure and you're up on wooden bleachers and some little balcony and there are people swinging through the air, you know, on these things that people swing on and then there's this singing happening that I can only kind of, I can't even describe it except to say it's like living inside the Bulgarian women's choir or something like that. And this moment where this activity is happening and this singing is surrounding you and I'm like, I could see this every night of my life but nobody could do this just in a four week rehearsal period. You can't. It's like that ending where there's this pendulum swinging. And they're avoiding, what's happening? They're dancing. And you realize that everything that they'd been creating throughout the whole piece suddenly gets done in this moment and it's transcendent. Yes. And it's like, it is like virtuosity. And there are years of work that go into it in some way. Completely. And you can only do that, like that could never happen at least not with that degree of grace and skill and beauty. And daring. Yes. And that you get that in the collective and you get that. And I will say like there's as many times where it doesn't work where the experiments are like they're fine. Yeah. And it's maddening. Exactly. But then you have these moments that are just incredible and of course you just have to do that some more because you have to go see more. More and more. Hey Janice, thank you so much for your comment. Thank you for watching. OK. So we are now going to break for lunch. For lunch. And come back at 1 and we're going to be talking about solo voice, the art of the playwright. And we want to remind you of our May Day Challenge. So if you are eager to have a conversation of your own, which we hope this will encourage you to do, let us know at theartpart at howround.com or through hashtag howround or on the howround Facebook page that you are signing up to take our Art Part May Day Challenge because we're feeling a little vulnerable out here and we need some ensemble. Other people. Yes, yes. OK. Awesome. Thanks, Mark. See you in a little.


Hello friends We are going to prove another theorem in this session and the theorem says that if the diagonals of a quadrilateral Divide each other proportionately or proportionally Then it is a trapezium Okay, so the dinals of a quadrilateral. So let us draw a quadrilateral for the simplicity sake I will draw, you know Trapezium only because the end result is going to be trapezium though We will be starting with as your machine assumption that it's not a trapezium just for the ease of understanding. Let's draw a Trapezium only So this is a trapezium So but we are not going to assume that it is a trapezium. Let's say this is a b c d these are The four vertices of this quadrilateral so a b c d is a quadrilateral. I'm saying it's not a trapezium Okay, now let's draw the diagonals. So this is the first diagonal and The other one is Okay, let us say they are intersecting at O Okay, now Let's prove So what is given given is a b c d is a quadrilateral a b c d again a b c d is a quadrilateral So I'm not assuming it to be a trapezium though. It looks like Okay, a b c d is a quadrilateral and What is given it's given that a o by o c is equal to o b by O d Okay, so this by this is equal to this by this All right Here we have to prove that to prove to prove That a b c d is a trapezium a b c d is a trapezium. So how do I prove that? How do we prove that a b c d is a trapezium? So, you know that if two sides are proven to be parallel in any given Equilateral any given quadrilateral Then it has to be a trapezium, right? So we have to somehow prove that the two sides opposite sides of A quadrilateral are So let's try to prove that now we know But before that, yes, we have to do some construction So what is the logic of the construction construction is we know that we can prove something to be parallel if we apply Converse of basic proportionality theorem, isn't it? So somehow if we get a triangle where The base is parallel to another side another line cutting the other two sides Then we know that that line and the base are parallel. That's converse of Bpt or basic proportionality theorem. So let's first draw a line like this Okay, so let's say this line is or this point is e. So we have done a construction where we are saying a e parallel to a b drawn or dc drawn. So let's say a b parallel to dc drawn Dc drawn. Okay, so this is the construction Okay, so if that construction is done now, let's try and prove this so proof should not be the difficult one now So a a e oh, I'm sorry. This is not a e and this is o e o e o e parallel to dc drawn o e parallel to dc drawn now so in triangle in triangle a dc a dc right We have what e o is parallel to dc is it this this particular line is parallel to dc by construction So let's write by construction By construction therefore applying Bpt. So by Bpt basic proportionality theorem I'm writing in short form Bpt. You can say what a e by e d is equal to a o by o c A o by o c Correct, which in turn is equal to o b by o d given see o b by o d was equal to a o by o c You know, so the moment this part is by Bpt, you know by Bpt and This part is given this part is given. So what do we conclude we conclude that a e by e d is equal to o b by o d Correct, look carefully a e by e d. So this part, so let me use this color e this part a e by e d is equal to o b by O d Correct. So if you see the moment this happens We know by converse of Bpt. So by Converse of Bpt right converse of Bpt says a Line parallel to base cuts the other two sides in equal proportion then the line is parallel to the base So a b happens to be the base here check. This is the base and this line happens to be Cutting in same ratio, right? No. So hence what can I say? I can say a e I can say e o. Sorry e o is parallel to a b Right, I can say e o is parallel to a b, but E o was parallel to Cd by construction Right. No, we had constructed this Therefore, what can I say I can say? a b itself is parallel to CD two lines parallel to one given line Are parallel to each other. So a b is parallel to CD the moment I say that opposite sides of a quadrilateral being parallel We can declare a b cd is a is a trapezium trapezium Is it so it was very very simple. We had to prove that a b cd is a trapezium So we had to prove that the opposite sides are parallel and one by one We proved each one of these lines to be parallel to a third side and hence they are parallel to each other while doing so We used basic proportionality theorem as well as converse of basic proportionality theorem


Before you edit documents and gather materials, the first step is to commit time to your job search. We realize you all have very busy schedules, but setting aside 15-20 minutes a week can really make a big difference. Here are five tangible steps to complete as you prepare for your job search. Step one, update your resume and LinkedIn profile. Having these updated with your most recent academic and professional experiences will make you prepared before an informational interview at a networking event or to apply it to a job at a moment's notice. Step two, get organized. Take time to create a process to ultimately reduce the stress throughout the job search process. Build an Excel CQT track of dates and application requirements, set filters on Ford careers for job loss, and compile a list of organizations you consider working at to simplify your search as deadlines approach. Number three, prepare your success stories.  Draft those stories by articulating the situation you were in, the action you took, and the results that show your impact. Number four, refine your writing sample, review recent academic and professional papers and memos, and choose one that you are confident in sharing as part of an application. Number five, finalize your list of references. Reach out to professors, supervisors, and other individuals you like to act as references. If and when they confirm, compile a list of at least three references with their contact information so you're ready to go as soon as an employer requests information. And remember, you can always come see us at the GCS office with all your questions and concerns. Thank you. Bye.


What's up everybody, Jayce here for jaspeyscasebreak.com. 2020 top scroll, black baseball just sold out. This is a 12 box case break, pick a cheese number four. And here we go guys. Had a team random that sold out one through four. This is the last one here. So if you have a little character signed at the end, it means you won that from a team random. Here's everybody else. All right guys, so again, same thing like the other ones, we'll pull out six boxes, open them, and then we'll go through the first six. You're in a survivor's pool, right Chad? Oh really damn. And Chad, weren't you the one asking for tops, chrome, black? We posted it. Mariners were not bought. See what I pulled to number one? First case, Julio to green to 99, autograph redemption. Come on Chad, just missed up on the opportunity man. Alec Bohm to 1.99. Albert Poulos to 99, Bobby Whit. Got Christian Yellich. You're trying to save money, oh yeah, you asked us? When are we gonna post it? When are we gonna post it? I thought probably you've seen the price at like 250 plus, you're probably mad. Ooh, nice Bobby Whit right there. Let's take that one for the Royals. Matthew and Vidal Bruhan. Just gotta pull the trigger Chad, honestly. No more contemplating and I don't know, I don't know, I don't know. Just pull the trigger. Come on man. That's the way to get the hits man. Just gotta pull the trigger. All right, first one, Yasmine and Grandal. We got Barry Larkin. We have Pete Alonzo for the Mets. And Rodolfo Castro, Pittsburgh Pirates, Michael D. Sark, Konseko for the Athletics. And Ryan Vallade to 99. All right, so we did get a variation, correct? Yeah, Torquilson with the variation. Got a nice Bobby Whit purple. I mean, I don't know Chad. I mean, maybe you could believe that, but so far in the first three breaks, I've either pulled like a Julio or a Julio color. I pulled a purple and then I pulled a gold. So I don't know man, this could have been the cases to just try it out. I mean, at the end of the day, for the price of the rate of the Mariners, it was like if you were gonna buy two boxes.  This is the most Julio I've ever hit, honestly. This is the most Julio I've ever hit by far. Yeah, I mean, I don't know.   But have some fun, right? Of course, the more at bats you get, the better the chances you're gonna have. But you know, everybody's price, everybody's wallet size is different, but if you're a guy that just wants to buy high end, that's what you're gonna do. If you're a guy that just wants to buy low end or collect your team, that's what you're gonna do. But I think for a product like Topscrone Black, because the box price isn't so crazy high, I think the Mariners at that price point, you know, Royals, all those bigger teams are just worth it, just because all it takes is one of those hits, it's gonna pay it all back. Boba Shen, you're not gonna get a lifetime hit probably here, right?  All right, so that's Louise Gill. Nice Cabrion A's little color match there for Pittsburgh. Michael D to 50, there's a Julio. Yes, we do have multiple Philly fans here though, D-Law, I will say. So they're one of the few teams that gets taken up right away. Joe Ryan, nice Corey Seager for Texas, to 50. And Francisco Lindor. Yeah, Rags, you should request that from Kroger to just spice up your stocking. All right guys, here we go. Goldy with a Goldschmidt, Paul Goldschmidt, 70 of 50 for the St. Louis Cardinals, that is Howard. Trevor Hoffman, how about that? 13 out of 25 for the Padres. It's a little blast from the past. Padres going to Benjamin. Josh Lowe to 99, a couple nice colors so far. That's for the Rays, going to Travis. Colton Welker, O'Neal Cruz, 100 out of 150 for the Pittsburgh Pirates. Nice one there, Michael D. And another redemption. If this is a Julio or a Wander again, this is a Julio, those would be four straight breaks of at least a Julio color and autograph. Let's take a look. Autograph Gold Mini Diamond, so this is probably out of 50 as well, but it's like the cracked ice. Wow, back-to-back breaks for the Rays. Wander Franco, and that is going to Travis with a Tampa Bay Rays. Autograph Gold Mini Diamond, refractor parallel. Let's go, solid hit. And what a way to end the last two hits right there, guys. Very nice, another great case in the books. Pick your team number four in the books, five, six, and seven are on the website. If you want to give it a shot, guys, jaspeaskacebricks.com.


Hi, I'm Alan Stein, Jr., professional keynote speaker and the author of Raise Your Game, High-Performance Secrets from the Best of the Best. The last several weeks have been an incredibly challenging time for everyone in the conference industry, and many believe these tough times will continue for months to come. As a gesture of goodwill to those affected by canceled and postponed events, I've recorded an abbreviated version of my most popular keynote to add value to meeting and event planners, bureau partners, corporate clients, and the thousands of eager attendees that have had to miss their favorite events. Please feel free to share this liberally with your clients, partners, and colleagues, anyone you believe that would benefit from these timeless principles. Don't forget, during times of crisis and adversity, we are all in this together. So please sit back, relax, and let me raise your game.


Well, it's going on everyone Sam here with late and sports cards And I am ripping one box of 2021 Panini contenders first off the line football hobby for Alex W So good luck Alex again. There is the first off the line sticker looking for the one red zone on card auto as well as one red zone parallel per box here, so with this Regular veteran base won't ship. We will give you or you will receive all of your inserts Obviously autographs anything numbered the red zone parallel all that kind of stuff you will receive Just no no vet base out of this All right, here we go Got hunter long base autograph For the dolphins Rashad Bateman rookie of the year got Tom Brady insert your red zone parallel in this one that is DK Metcalf nice On the red zone nice DK Take that Got Darren Waller chain movers Quarterback auto out of this one Rookie of the year that is Ian book Tom Brady again Super Bowl. Got J2 fella on the base rookie ticket auto Jags and round numbers Devonta Smith Jalen waddle no random to do for that one as This is a personal MVP contenders Russ. Yeah, it's a Kellan Mond On the draft class rookie ink nice 95 out of 99 that means possibly two on-card autos in this box Nice Mond. We'll take a rookie QB chain movers Randy Moss So that generally doesn't count as your I don't want to like Jinx it or anything, but that genuinely won't count as your on-card autograph. That's usually an extra Najiharis Mack Jones So yeah, pretty solid honestly on the Mond Not bad Base gladiators Tyron Matthew MVP contenders to up looking for two more autos and And and our red zone auto Gladiators James Harrison got Carlos boogie bash them that is not numbered Rookie auto for the bills Chain movers Kyler. All right.  Let's see it. It's like we got a redemption All right, we've got Playoff contenders Rookie RPS red zone variation of Elijah more for the Jets Nice one there potentially wide receiver one in New York Nice Elijah more Wish it'd be live for you Alex, but still pretty solid base got Alan Fannica Yeah, Elijah more is pretty solid again, I wish it was live for you man, but Just how it has to be sometimes hate to say it winning ticket my homes That'll be sick when it comes in to Power Jonathan Taylor and last pack for you here Alex. Good luck man Lamar on the MVP contenders that'll do a fair break there Alex congrats on all the heads man We'll get them right out to you appreciate that


Let's start with the group box, the first one for query term. One thing I'm going to show you only once is how to set a tooltip for a widget. So this can be done by selecting the widget, and then in the property editor list on the right, look for the property that is called tooltip. And I'm entering the tooltip text, enter name to search for here as a tooltip. So every time the user hovers over this group box area, for a longer time, this tooltip will appear to tell him what he can do there. You can actually try that out by using the form menu, and then the entry preview. And in the preview, we can actually try out Agui. If I hover over this group box in the window that is now open, you can see the tooltip appearing there, showing the text that I just entered. So we're going back to a form. And now you see that the first group box actually just has a single widget, namely something that allows the user to enter some text, the search term. So this is a queue line edit widget that you find under input widgets in the list in Qt Designer on the left. And I'm going to drag this line edit widget over to the group box and dropping it right in the middle. And now we've added this line edit widget to the group box. Next thing is I'm going to change the layout of this group box to use also a vertical layout so that this line edit widget will actually be expanded horizontally to fill the entire area. So I'm doing a right click in the empty area of the group box, and then pick layout, layout vertically. And you see now the line edit fills the entire window. As explained in the text, it is important that we name the widgets that we need to refer to from our code to give them names that are easy to remember and that needs to be exactly the names I'm going to use here because the code shown later in this section of the lesson will refer to these names. So I select the line input widget and then do a right click and pick the change object name option. And then I'm going to name the widget query term line edit or query term LE and the LE stands for line edit so that I know this is a line edit widget when I see the variable name. So that means that when this query is saved and then compiled into Python code, the variable that stores this line edit widget will be called query term LE. And if you look at the hierarchy at the top right in QT Designer, you can actually now see the Q line edit widget added as a child of the group box and it's being named query term LE. In the lesson text there, you find an image that shows you how the important widgets need to be named. So let me quickly pull that up. So this one right here. All the orange terms of the orange labels specify the names that you need to give to the different widgets we are going to create in the following in order for the code later shown in the lesson to work. But I'm not going to do that for all of these because then the video would get much too long. It's just something that you will have to do if you are following along this video and want to then run the code with the GUI that you have created yourself. OK, at this point, we are done with the first group box for entering the query term. And we can move on to the second one.


Hey guys, tune in to this brand new podcast, it's called Buen MemeXa. It's gonna be hot, hot topics but we're talking emancipation and I promise you're gonna see a little bit of you in there with the fire cast that's on display with the NYC and the CDF. So you guys make sure you check it out, it's gonna be launched on the 20th of August. Stay tuned to social media for updates.


I haven't watched this yet because I was waiting to watch it for the stream, but um, let's just appreciate this freeze frame here I think that's that's perfect.   No, I made that up Uh, but she is gonna attack this person now Maren Morris. I'm not super familiar with her but I do know that she is a country singer And I found out about about her because she came on my TikTok feed And I don't know where she was but she said something to the effect of hey I'm in Tennessee and I took my kid to a drag show or something called the police on me So she's remaining defiant.  So let's let's listen to this probably unhinged response here You do need to go Maren. This is the pandering here.  I'll be it in a different way.   She's just saying for a drag queen I just where I'm from where like people are downloading my music It's just like especially where I'm from is just so bad.  Please accept me accept me So, I mean if she's a country music singer Is it in terms of like I don't know who your demographics would be isn't it less likely to be lgbtq plus people? I Mean it is brave of her to kind of defy The target demographic and say no actually I do support queer people.  Maybe it's changed. Maybe it's become a little bit more progressive it's still not my cup of tea, but I just why are you so angry kandis because somebody is affirming of queer people It just it doesn't it doesn't make sense to me, right? Like if I saw a celebrity And they were affirming of something that I disagreed with for example conservatism. I would think okay I don't like that celebrity But i'm not going to be like outraged to the point that kandis is where she's sitting here like seething almost It's just so weird.  They eventually they admit they've done something wrong And let me tell you something right now marin morris when you do I will be the first one to call the police and contact the governor's office. I'm a proud karen a proud That's also snitch too.  Okay. We don't respect snitches snitches gets ditches.  So yeah Of children.  Please. No, it will be kandis owens proud karen number one that will call the police on you and your Husband will be me. Probably matt waltz would try to beat me, but I will personally. That's fair. I am the one that makes I mean their view of trans people is just completely detached from reality I mean to think that oh you're going to try to make your kid trans to be all lookie lookie It doesn't work that way I mean I I feel like they just they don't get it and there was another clip From charlie kerr that went semi viral where he's talking about how the tiktok algorithm is transing the kids because the chinese government is trying to Make kids trans as if china is like some huge ally to trans people Um, it doesn't work that way.  I refuse to accept that my kid is cis. We're going to raise them as transgender It doesn't work that way. They are who they are Like I feel like we we should be past this conversation because we have the same exact conversation When it comes to homosexuality where it's like, oh you're trying to um encourage my kids to be gay I don't appreciate that you can't Encourage anyone to be gay or straight. They either are or they are not and this same applies to trans people too You're either trans Or non-binary Or you're not people know who they are at a very young age Children know their gender identity and you can't like thrust them into a particular lifestyle, right when I was young I was making choices about my gender for example When I'd go to this, you know to the store to pick out clothing I would always choose like blue and more Boy-centric things not necessarily because I was thrust in thrust into that but because naturally that's what I gravitated to More masculine type things.   I mean all you have to do To disprove this choice narrative is ask yourself like what at what point did you make the decision to become Straight or cis can't if someone's would probably say well, I've always been straight and cis Right, so let's extrapolate a little bit apply that to trans people and then Same is true for them.