Today, we're going to explore if men can fall in love at first sight Let's make sure this is working properly. Yes, it looks like it is so this is actually My perception of the TV show love is blind. Have you seen the show love is blind? If you have this the season four, which just finished up. Oh now my phone is going up Please forgive me. I'm fumbling here a bit But the show love is blind which I recently watched all the episodes and then watch the reunion and it's a it's a show where couples get into these pods They're they're blind to each other and they get to know each other in this environment of Anonymity and what I mean by anonymity is they don't know what each person looks like physically and yet What happens in this show is quite fascinating because couples seem to fall in love with each other before they actually meet They claim they fall in love with each other I just think they fall in like with each other and during this process Afterwards the man typically or the woman can invite the other person to get engaged and if they get engaged they get to go on to the next phase of the show where they go on a Honeymoon and then they spend about a month together living together And then they have to go through a marriage ceremony to see if they're going to actually Choose to stay together or not. Okay, so if you watch this last season season four there was a lot of hiccups in there and Certainly, I found it very entertaining to watch the couples There was actually three marriages that occurred out of this which is quite surprising for that show I don't think they have that good of odds and it seems like and it's been a year later And they're still married with one another and there were some twists and turns that went along the way Okay, that's the premise of the show If you watched it give me a shout out and let me know what you thought about the show And if you have if you're on live right now, you can ask questions about my perception of the show in the chat box Okay, with that said Can men fall in love at first sight? Well, okay, so is love blind? Let's kind of put that in the same category Can we fall in love with a person beyond what they physically look like or can we fall in love instantly with a person? Well, I don't believe that's the case. I don't I believe it's impossible to fall Actually in love with a person who even though you haven't met or you haven't spent time with now Here's my criteria for this for love is Do these two people really love each other because love isn't just about the good things in a relationship Love isn't just about, you know, all the candles and the romance and the walks on the beach and the moonlight and all that kind of stuff That's not love Love is really Are you going to wipe the vomit from a person's face if they're going through chemotherapy? Are you going to be there for them when they're having a critical crisis in their life? Are you going to care about their feeling so much that their feelings matter as much as your own feelings? Do you have the other person's best interest at heart to me? That's really what love is all about love is Love is I'm here You matter We are important. I've got your back. I'm not going anywhere and I only want you I'm here means I'm present I'm not thinking about an ex-girlfriend.  I'm here. I'm present You matter means I'm going to make time for you This you matter to me. I'm going to set you as a priority. I'm not going to give breadcrumbs Like so many people do We are important our relationship is a separate entity. We will actually co-create this relationship together By actually mutually investing in one another I'm here. You matter. We're important. I've got your back. That means we're a team in this together We're in it together. We are a team. We are holding hands.  I highly doubt You would be there for them during the tough times. Would you loan money to a person you just met at first sight? I highly doubt it Would the couples on love is blind? Give money to one another would they give a kidney to one another to this total stranger? I highly doubt it and yet in these environments And certainly the expectation That love is blind and love at first sight is impossible in my mindset That's just my perception of it all. Can we care for someone that we've just met? Absolutely, we can have care Could we even be there for someone that we haven't just met sure we can do that for strangers even But to truly love someone to be there for them in the tough times. That's what really matters most so What I find interesting about the show Is the premise of actually Accelerating the relationship process. I love this idea of accelerating the relationship process Would you rather know in eight weeks the relationship isn't going to work out? And what I mean to say versus spending three years with someone our current dating Practice is just a long drawn out version of what I call friends with benefits Because when you're dating you're spending time with someone But are you really getting to know them at a deeper level? Are you really asking the deeper questions to determine compatibility? And I don't believe that's happening today Most relationships today the the highlight of your day is how's your day going? Did you have a good day? I hope you had a good day And more so people spend more time on their smartphones texting one another than they actually engage In social activities hobbies mutual interest spending time with family and friends That's the way I observe most relationships today. They're not digging deeper. They're not being radically honest with one another They're not laying their cards on the table And certainly the rules of engagement means you establish the standard you're looking for ladies So many of you are quite silent in this capacity What the tv show love is blinded is Accelerated the process now keep in mind There are probably hundreds and hundreds and hundreds hours of footage that never made it to the show You're seeing just a small snippet of what's going on and it's produced for drama Okay, I get it whether it was micah and paul kwami and chelsea Oh, what's his name? Um, oh god, I forgot. Uh, what's his name the attorney's name? I just went blank here and bliss. Um, god, why can't I remember his name? um, and anyways, uh and breton, uh tiffany, all right Interesting. Oh, and then there was josh and jack lean. I mean these were interesting dynamics to watch And yet it kind of represents our current dating marketplace where there's multiple in the in the pod You're talking to multiple people. You're basically dating multiple people at the same time And yet the one thing I appreciate is at least they made a commitment to explore a relationship. That was the engagement And certainly. Oh my god. What's his name who dumped irina? Uh and went for bliss. Why can someone write down his name? I can't remember it right now. I'm just blanking on it for a moment Um, certainly that happens in dating, you know, not quite ghosting happens in this environment But there's certainly pulling back and emotionally disappearing. Okay, so How does this relate to can men fall in love at first sight? I don't believe it's healthy to believe in love at first sight I believe we can have lust at first sight. I think we can have limerence at first sight and limerence. Oh zack is his name Thank you. I kept trying to say kyle. I knew it was a zack. Anyways, I think we can have lust at first sight I think we can have limerence at first sight limerence is extreme infatuation In fact, this is what love bombers do.  You're so wonderful.   And why does he ghost you after this amazing experience? See it takes time to build trust You know, jay shetty says it takes about 40 hours just to begin to get to know someone I always say it takes about 100 hours of face-to-face time just to build the first layer of trust And jay shetty goes on to say it takes 200 hours of face-to-face time doing things together to actually develop a friendship with one another Folks, we can't do it through our smartphones. We can't do it in pods We can't do it through emails. We can only do this face-to-face to actually get to know someone And this is what I see so many of you falling into this trap And I invite you all to recognize That the sooner you ask the tougher questions the sooner you experience the reality of life The better chance you have for success Again, many of you are in what you think are relationships What I said previously is just friends with benefits You just don't know about it because you're unaf- you're afraid to ask the deeper questions Folks, if you're not familiar with my book what the heck is self-love anyway a journey of personal development self-open spiritual work By the way a link below to get a copy of my book chapter one speak your truth do it with Do it with kindness and yet many of you have duct tape over your nose Because you're afraid to speak up and let me just say this if it's sincere and from the heart This is chapter nine. You really can't say the wrong thing to the right person Speak up and ask for what you want I know it's hard. You you might lose a person but guess what When you actually start with radical honesty laying your cards on the table and the rules of engagement You have a greater chance of relationship success and if you need help with that Schedule a discovery call with me to see if working with the coach is right for you. There's a link below All right If you want I think you get the gist of where I'm going. Okay today's live broadcast Even if you're listening to the recording, this is meant to be fun. I'd love if any of you watch love is blind We can talk about that. We can answer any questions you want Um, we're going to take questions now if you're familiar with my format Write the word question then post the question there after or you can purchase a super sticker super chat All the money's from the super sticker super chat goes to a scholarship fund in the name of my son connor asley That's a picture of him right there in the obeys shirt It's my son who passed away almost five years ago in his honor We've started a scholarship fund to donate to causes like the hoffman process and insight institute Just the name of few All right, so if you have question write the word question I see we have people on roller girl Brie white uh in gimme in gimme Be renay margaret corny cob corny cob says will they wipe the vomit from your face off your face? I know that's a descriptive term But if you really think about love Love is being there for the person when they're going through tough times. That's what real love is Love isn't about the good times And I think many of you ladies have a capacity to give your power away to men I'm and I want to share with you some of the ways you give your power away to men The relationship is on his terms you abandon your standards and your boundaries You're afraid to speak your truth with him You're afraid to share with him that you like him And that you want something more out of this and you're afraid that it has to be all on his terms because you just Sit back in your feminine energy and you're waiting for the man to lead yeah Men are in the driver's seat because men make the ultimate commitment. I get think about it We have been indoctrinated With men make the commitment and what that means to say is men are the one who do the asking of marriage So if you think about it, we have this systematic uh approach throughout the you know millennials or millennials the millennia, excuse me Where men make the final choice of commitment. Why do they get that privilege? Why aren't you making that choice at least in the show love is blind? I know I think one season one of them asked the other for marriage I don't know if they're still together. It was that uh European woman anyway going off on the tangent You're afraid to speak your truth through him when the relationship ends all you do is focus on him You're waiting for him to initiate contact all the time.   Let me just be clear Uh, one of my contemporaries says there's always another bus coming around the corner I want you to think in those terms. It's raining great men. It's raining great men. It's raining great men Is this sinking in is this resonating with you? Please let me know Please hit that like button. Please share this video. Please subscribe to my channel All right, let's see what kind of questions we have so far.   Okay, that's a freight. I didn't make that up But it be careful going out with co-workers first off I would certainly want to know your company policy on sexual harassment if it's certainly a co-worker versus Um, someone who's in a Superior position or I mean you're in a subordinate position that sort of thing Can you you can always do whatever you want. Should you You know, that's a good question if it doesn't work out How uncomfortable will it be think about it when you when you Could you imagine if you slept with someone and then they broke up with you? Believe me You got to be careful because when when after the chemistry wears off you might find yourself going god I don't want to be around this person ever again. So you got to take those into account. So great question there lori Thank you so much all right Question do you think it should always be men proposing and not vice versa? Great question. Well, I think we're in a time where listen This is a great question Think about it. If you asked a man to marry you and he said no Okay, he said no That leaves an interesting conversation because the question would be why and in that why you might uncover That this person has no intent of ever doing anything more serious with you I think you might want to consider doing that. I think it really it actually puts your cards on the table sooner Rather than later, which most people do. So I I do like the idea But but and if he says yes, you better make sure you're compatible with one another. So great question. Thank you so much Stacy writes question What is some what is someone says it will take years for them? It's been three years and he's opening up was cheated on several times Oh, he was cheated on several times listen At midlife we don't have time to mess around Okay, I think after three years if well first off after the first year If you're not actively talking about moving in together or getting married if that's not an active conversation I want to encourage you to begin this conversation because the real question is what's the point of this? Does it really take three years to get to know someone? No, when you're seeing each other on a regular basis Look at my there's my sweetheart Marie. Her and her parents got married in 12 days spent 60 years together Hmm Excuse me So yeah, does it take three years to get to know someone? No, it doesn't you know someone inside of a year And if anyone says otherwise, that's absolute crap when you go through four seasons spring summer fall winter or you can start with summer because everything It's always the chemistry that I You go through a fall a winter and then a spring and you revitalize the relationship again I don't think it should take three years But yes have if after the first year you should be having conversations because what's the point? That's the that's really in fact you should have those conversations sooner rather than later in my opinion So thank you so much Uh Let's keep going corny cob is says always most resonant content. Thank you so much Power of cheese says i'm not proposing marriage to anyone. Well good for you. You don't have to do this. This was just You know, it's an it's an option But thank you for sharing cc says question before marie moved in How did you begin your relationship? Did you do facetime or many calls? Okay, great question for those All right, just a really back story my sweetheart marie and I We met through match.com. She wrote she lived in chicago. I live in los angeles She wrote me an email I I rejected her she wrote me a follow-up email and I reject her because of the distance She wrote me a follow-up email said I grew up in los angeles I have two children that live in los angeles. I have many friends who live in los angeles And I don't like the cold weather in chicago. Okay that prompted another a phone call We talked on the phone We had a couple phone calls, but we basically said if we're ever in town, we'd meet each other We didn't begin exploring getting to know each other other than hey, let's just be facebook friends And if we're ever in town if i'm in chicago, she's in la we should connect Okay, it took over and we had several phone calls. It was covet We talked maybe half a maybe seven or eight ten times in the course of a year before we physically met Once we physically met Um We had a great time. I I invited her to a wedding Well, first we met then I invited her a wedding and then what happened after that she came to visit me two weeks later to visit her Daughter or children and then we spent four days together after that four days together She came two weeks later and spent 12 days with me After that she came two weeks later We she spent 18 days here and we took a trip to cancun now in the in between time We would text each other. We would do FaceTime Actually, we did whatsapp video with one another and by the time we came back from cancun We realized if this is going to work if we're going to really explore a relationship Then we have to live in the same city and then we talked about it We found a place and uh within five months of meeting We actually moved in together and we did FaceTime and telephone calls in between I did visit her in chicago twice. I spent one week there came back two weeks later spent three weeks there Helped her pack them move then she came here. That's the quick version of how that happened. So cc. I hope that answer your question um Let he says thank you jonathan. I really need to hear this. You are awesome. So happy Uh renais says how well done? I wait 100 percent. How well do you like your job? Love my job Okay, next question uh marta Marta, sorry. I'm terrible with names How can we tell the difference between love at first sight? There are those stories of people who knew on the first date and love bombing. Okay They didn't really know on the first date All they really did know is that they liked this person a lot on the first date And they liked the person a lot on the second date and I liked the person a lot on the third date And by the time they were exploring a relationship together The person looks back and says I knew this from the very first date All they experienced on the very first date is very strong like for one another Okay, again love is being there for one another Would you lend $10,000 to a person you met on a first date? Probably not so I don't think you love that person on the first date That's just I look at it from the the point of view is would you lend them money? And would you if they were in a terrible car accident? Would you sit by their side for months while they recuperate? If you can do that from a first date More than you are a saint and I don't believe saints I believe there's very few saints on this planet. That's my perception on that one. So thank you so much Uh cc said before we moved in how did you start building? Oh, I shared that um, okay Bree says I'm 50 and I've been running a mantra since my early 30s All four seasons and then some and then some it's always worked for me You need time to get to know someone before making a major decision Again, the tv show love is blind is there they're thrust into it Very quickly and I wonder if that isn't better. I'm not saying it is I'm just wondering if you should just dive in see if it works versus spending years Only to find yourself single after three years when you could have found out in three or in eight weeks Anyways, that's the premise of the show in my opinion. All right. Gina writes question Do you believe in a deep connection at first sight? By the way, I love the karaoke video. Thank you so much Um I believe you can again, I think you can like someone a lot But I don't believe and I believe you can have a connection with someone The reality is is a relationship is a building block of time together doing social activities doing hobbies mutual interests spending time with family and friends so um, I believe you can have a connection But you still have to invest a minimum of a hundred hours of face to face time Just to build the first layer of trust the next layer of trust is 200 hours The next layer of trust is 500 hours a face to face time. That's literally A half a year could be of time So anyways, it takes time to build trust Anyways, thanks for your question Power of cheese says Porsche billionaire files for divorce from wife 74 because she has dementia. He moves in with his 50 decide piece 59 Yep, I don't think you know, that's not real love. Hopefully he's taken care of her in other ways. But anyways Renee says sorry Jonathan. Sorry. That was a rhetorical question for Laura referring to the dating in the workplace I got it. Thank you so much. Well, I got I take these questions on face value um Let's see Bree says It's all good for tv and I believe me. I love the show but 99 of those couples are not together today Even if they said yes on the wedding day. Well, yeah, that's true But you know what I find the show fascinating from the premise of The incubator You know, I'm a big proponent of not rushing the process But I'm the big proponent of real deep converse Like diving the if two people are physically attracted to one another Enough to have sex with one another then ladies You have every right to ask any deep question you want You have every right to ask as many deep questions You have every right to ask Where's this relationship going if this penis gets to spend time in your vagina You have every right to ask the deeper questions and to really qualify this person Is he legit or not because we've got a lot of emotionally dysfunctional human beings out there with terrible relationship skills You have every right to find out as much about their past their nooks and crannies their past relationships If you're gonna have sex together and anyone who says otherwise He's he's gaslighting you He's gaslighting you All right. Hope that helps. So thank you so much Um Brie said I love that part of the show as well, but truly it's all for reality tv I agree that but you know, at least the show basically implies that in their pods They ask deeper question than how's your day going today's dating is all about how's your day going You know people I listen if you want to have a better experience then I invite you to go deeper than the surface, okay Marta asks a question You might have answered this before but how did you and Marie handle the physical side of the relationship when you met? If you don't mind me asking Well, we handled it quite well. We had great sex Um, it happened fairly early in our relationship.  She didn't want to be with a guy I know you've said the same thing. I mean, that's just the reality of life That's why love is certainly a lot more than just the The the emotional connection. It's the physical connection as well and the tv show love is blind How many of them actually looked at each other and go, ah, shit This isn't the person I thought that looked like but coming back to it the physical part sex is An integral part of our relationship and what I mean to say physical and emotional intimacy is a critical part of our relationship so to say otherwise To say otherwise is kind of naive in my opinion So anyway, thank you so much for that question Stacey writes question. How do I come? How do I contact you to consult you to see if you can help me? Well, that's a great question folks. If you need some support on that Um, just look at right there stacey Right there jonathan asley.com forward slash coaching check out the link below to schedule a discovery call with me That could certainly help you get started. Okay all right let's see Gina wrote in the beginning Of my new relationship. He beat me to the asking the deep questions. I was pleasantly surprised Well, I know Marie listen Marie said I was exhausting But you know what? She said it's the part of me that she loves is that I go beyond the surface I go deeper than the casual that most people are doing these days. So I hope She appreciates it and I hope this man appreciates it as well Hmm, let me rephrase that I went the other way around. I'm happy you appreciate that as well And I slurped my drink there for a second um Let's see I think they see the women woman that someone they would want to be in love with but if they don't know They really don't know who they are until they get to know them. It's exactly yet You listen, this is why a lot of you listen I know a lot of ladies that literally are so attached to a man and all you've been doing is texting for months and months and months It's not a real connection. Just like the tv show. It's not real until it's real. Can someone write that in the chat box It's not real until it's real You have to physically be in each other's presence to build a relationship together. Okay, that's just my two cents on that And roller girl says physical connection matters now. He punish. He punishes with neglect. He's moving out friday. He says Well, i'm sorry to hear that's happening to you uh Wanda writes question I'm guessing the physical attraction is different than growing connections. Should they grow together? So You know someone asked me recently Would you have still wanted to be with marie if you if she wasn't attractive? Well, you know, I don't like the guessing and she they asked would marie We still want to be with you if you weren't a blogger of a coach a blog or that sort of thing podcaster I don't like those. What if questions and but at the same time You know, I I believe that you know, we're not each other's ideal partner She even we both said to each other we had wished we met each other Ten years or 15 years earlier when we didn't have as many wrinkles. We both have said that to each other Okay, um the fact I do what I do allows to support our mutual lifestyle and though We're both mutually invest in this relationship You know, this this allows for a lifestyle of allowing us to speak to you You know together as well. So my point is Physical attraction is part of the equation someone's social status is part of the equation It's not all of the equation But it's part of the equation and to say anything less is being naive in my opinion. So thank you so much um Cheryl said Can a man pretend for 19 years because he told me he loved me until two months before we divorced He was blurted out. He loved me loved someone else You know, the word love Has a lot of different meanings for people you realize this the word You know think about it people, you know, this is just my perception on this kind of I got a scratchy nose Um People that say I love you and then physically hit you people say I love you and abuse you people I love you and emotionally denigrate you they all say I love you But people can do mean things under the guise of love. That's just my perception anyway It's the actions over time that matters most All right, uh It's all right says my hubby says it was love at first sight I thought he had a crush on my best friend working at the desk beside me I wasn't attracted to him all but we're 20 years But we were 20 and um love is easier that was it certainly when you're in your 20s It's a lot different than certainly today because we have a lot more life experience But again, I suspect he had a strong Uh attraction for you at first sight but again love Will they be there to wipe the vomit off your face when you're going through chemotherapy? That's the question. I because I highly doubt that would have been the case on the first date power cheese says We're visual creatures, but it's not the end all be all exactly Hey, let's see what you say here. If you met her 15 years ago, would you still be together?  I don't believe we're ready for each other But if we are who we are today and we met 15 years ago, I I mean I really don't envision I don't envision it not being Someone I'd want to be what I just don't envision that I again It's a what if question so I don't know the answer to that but I can't envision that so thank you Hey, you know what folks, um listen I was hoping we'd get a discussion on love is blind. No one's posted comments on that other than reminding me that zack I found it an interesting show. I hope you found it an interesting show I hope you found value in this content about can men fall in love in first sight as I said earlier I don't believe we can fall and love it first sight We can have lust or limerence or like or connection But I think real love happens over time when you've built trust with one another And you really genuinely will be there for each other like teammates and that does take time to build Hope you found value in those broadcasts. If you did, please hit that like button. Please share this video Please subscribe to my channel Um Also, if you have something to say post a comment below If you'd like to speak to me and talk about coaching or you want to join my group called midlife love master Or get copies of the books I recommend all in the show notes there's a bunch of links that you can click and Follow me on instagram and all those good places All right. I'm going to wrap up this video as I always do first off give myself a big gigantic jonthan bear hug of self love I'm going to reach into the camera and give you a hug of love if that's okay I'm going to ask you to turn to someone a pet a teddy bear pillow Give it or them a hug of love because hugs are a great source of love and let's face it We could all use more love in our lives. Thanks a bunch. Bye. Bye now. Bye. I want to thank lady b It's all right.  Thanks so much. Have a fab evening. Bye now


It's a Corbin. I could see your eyes moving right And then it just froze on your face for like two seconds of you go I'm gonna like there's a lot more soul view. This is what I'm talking about. This is how you this is what you wear to the beach in LA my Yikes Anyways, sorry, we are still on Skype right now, but we will be in person. Hopefully tomorrow as long as tests continue to go negative Yes, so today we got a a video. This is actually Kamal San surprises fans And so like I've seen this done for Hollywood stuff Is that a Dundee? Yeah, nice Okay, see when I was the one thing about Skyping as I get prompt Yeah, that was a great prop but I've seen this in Hollywood stuff like big fans of like, you know Tom Cruise or Johnny Depp like fans will be talking about them and then they'll show up behind them, right kind of stuff I think that's I think that's one of this but it's come all-star for the new film Vikram Which I've seen the trailer Rick has not but I'm gonna wait to wear in person for him to actually see the trailer Just so there's no technical Stuff that goes wrong because I know everybody wants to see that But obviously the film comes out on June 3rd And once we are back in person that will be the first thing we will react to is the new Vikram trailer So hopefully that'll be maybe tomorrow If this comes out tomorrow, hopefully yeah, hopefully we'll see but yeah, so let's just get into this turn your subtitles on please They are okay Three oh wait, hold on turn turn them on. Hey, baby Hi doing some time. Okay. Good Yeah, that was worth it. Here we go three two one What are they calling them I I I backs away That's freaking awesome. Yeah Well, that was so sad That was fantastic when he said you deserve better people that's come on Come on. No, you were perfectly suitable for kamal Hasan Oh, yeah, oh man. I bet you It's probably so humbling for people of his name shuttle con any Rajnikanth the superstar, you know all these people of these of these massive massive Um, especially obviously someone like they're saying like he's he's a pioneer He's a wealth of knowledge of just cinema in general Which obviously we have come to know and love and obviously we're very very young and knowing kamal Hasan But obviously we we know that small fact about him is that the dude knows cinema and he knows Basically all aspects of cinema and the way indians care And love what we've said it many times There's no more passionate the west does not know the passion and love that that There's no comparable the love for that fans have for an actor here To what there it is for india, but it also the the opposite is also true of that Right the amount of hate is also exponential, but the the amount of love especially for fans of like if Um Vijay if he's you know, he's very extremely passionate fans Um, right kamal Hasan the fact that most of him backed up and were like wanted to touch his feet out of respect and Started crying. It was just absolutely so sweet. I love that I do too and it must be I know that one of the big Drawbacks to celebrity stardom and things of that nature is the loss of anonymity And it's it's a big big deal yet Yet the trade-off are moments like that when You're just being there That I mean for kamal Hasan. That was a moment that meant a lot and he'll move on with the day Those guys is a watershed moment in their life forever Yeah, like the guy said he's like I feel like a life achievement has been fulfilled. Yeah Uh, yeah, that's beautiful from and I'm wondering how it must feel for kamal. It must be one extremely humbling Obviously, but obviously this is not the first time he's ever seen it's not obviously the first time he's ever seen people act like this around And right he's been he's been around for a long long time Decades, yeah But it's still kind of every single time you see people react because you you know Even though obviously he knows who he is You know, you're still just a person And I'm sure if you ask him he's like no, I I'm not worthy of the the the love I get I'm I'm just I'm just a person who does a job And I get love and affection for it Uh for for the job I do and obviously he does impact people's lives and and that's wonderful But in the day, he's still a person and so it's got to be extremely humbling to see how people react to you Um And and and and I just I don't even know how what you how you respond in that in that scenario To something like that.  Um I mean, I know stories of celebrities who particularly go out of their way To surprise people and fans because they just know it's going to make them happy. I mean Johnny is Somebody who has said that that I don't have fans And he loves to do things I've seen videos of him where they're stopping on the street and he's just he's there He's talking to them as you know, all the stuff he's done in children's hospitals for kids as he goes as captain jack I just How do you not get in that position and recognize what a what an amazing gift you have just by your presence? What it means to people. Yeah, I've said I think johnny dev is the closest thing In terms of fandom that he has for for actors not Musicians is different obviously because k-pop is obviously at an exponential level and and and all that kind of stuff But for for other actors here in the west He's the closest and but the reason for that is because he he had an impact on people from a very young age of Right, right, right people a long long time people that didn't weren't normally felt seen on screen Because they felt different and weird He kind of validated that weirdness and and and obviously he yeah, he's just a good person as well And so you you you hope that and it looks like kamalas on the exact same way Uh in terms of just being an absolute that was fun. It was a good video. I'm sure I If there's like stuff with like shabu khan doing this. I bet there is um or or um Super star or or any any obviously you could name a hundred massive indian celebrities that could do this And and people would probably react that exact same way Just because the love the fans have for them. But anyways, that was wonderful. Hope you guys enjoyed it I enjoyed it. Yeah, what should be obviously outside of vicram and once again, we will get to the vicram trailer With rick, uh, hopefully tomorrow Um, but uh, what should be our next kamalas on film that we should watch Please let us know down below


that virus exposing and also what do theater artists do? What should we do? What can we do? Theater artists are on the right side of progressive justice, the complex struggle for freedom and liberties. And so all the experience are so vastly, vastly different. In America, we still have over a million cases, I think over 100,000 people died. It's a disaster. There are social unrest on the street for very good reasons. We talked a lot, Black Lives Matter movement is out there. And it is, as some say, a perfect storm. And maybe we will see a summer of unrest, perhaps even violence. It's no trust in government and civic leaders, no trust in the workspace and the bosses. Uncertainty at home. People in America, when they lose their job, they lose their health insurance. 45 million filed for unemployment. It's a disaster and the temperatures are rising. There will be hot July nights and August. So we don't know what will happen as we know. Theater is always on the site of doing the right thing. When you're in doubt, you always do the right thing. But we believe in telling stories, telling complex stories. Just yesterday we had the Great Spider Women Theater Company from New York, the oldest indigenous Native American Theater Company led by women. And we heard about their lives and how complicated it was and how they have been pushed to the side and mistreated in their long lives. And they are still trying to make a sense out of it. And they feel it's also time for them to take care of themselves. So many of their family members died, company members, friends. They seem to also be hit harder by the virus. So it is a very, very complicated time. We do live in cases are going up again, 15% perhaps in America and Europe's cities that open are forced to close part of it down. So all does not look very good at the moment. And now we are turning our attention today a very significant part of the world, the Caribbean. We have the French-speaking Caribbean island, the English-speaking ones like Jamaica. We might have people there from next week. But today we have a great artist with us who also has been at the theater for our Caribbean and theater project with the action Caribbean Theater, which was the very, very first series of play readings from different playwrights from the Caribbean's ever, actually, shockingly enough. And Danieli Francisca, a French Caribbean actress, director, playwright, and she's one of the leading figures in Martinique, co-director of the company Traque Compagnie Theatral. And since 1904, she has been performing, doing theater. We did her great play, She Devil. And she was named as a Knight of Arts and Letters by the Ministry of Culture in France, something we all dream about, but no one of us gets it. Danieli, thank you for joining and being here with us. We promised a translator, but somehow we didn't fully make it happen. But I do remember from your talks at the Seagull that you did very well. So welcome. Where are you right now? What time is it? Oh, hello, hello, everybody. I'm in Martinique, a little French Caribbean island. And it's 11 noon, like in New York. Same time. Yeah, it's the same time. And it's hot. And it's windy. And there are a lot of pollution in the air. And that's it. We are OK. I'm very happy to be here with you. Thank you. Tell us a bit, how is time of corona for you? It was a time of rest. I took time to be quiet, to take silence, to have time, and to read, to connect with nature. I live in the countryside here in Martinique, in the south of Martinique. And there is a lot of trees and birds and animals, farm animals. So I took time to just be here at the moment, at the present time. And I was thinking about my grandma and what she learned me. And I took some leaves in the garden and put it in the rain. I have some rain collected here in my garden. And I made some bath of nature with flowers, with leaves of my garden. And I was just washing with that, with the nature. And it was very good for me. I was connecting with a sort of spirituality. I was my spirituality. But the way we do it here in Martinique, in the Caribbean, like my grandma learned me, was doing. And it was really good for me. And I'm also writing a new playwright, a new play. And this was helping me. The nature was helping me to write it down. Because it's about nature, my nature, my origins, my culture, how culture here in Martinique, who are Caribbean, African, European, we are a mix of all that. And there's a lot of questions of identity about that. That's coming out about that. Colonialism also. So I was thinking about all of that during the COVID time. Trying to make a theater that is more true for me. That's coming from my heart and my origins and my essential way to be. I was searching about that. And I was taking time with my son because here schools were closed. So I was teaching him at home about mathematics and French and all that. And it was okay to do that also. And it was cool because I was not running around for my job and all that things we do every day. And it was really, really good for me to take time, in fact. So you slowed down. Yes. Oh, that's so good. And I was thinking about how we run every day, how fast we live, in fact. How things make you live fast and put you out of yourself, in fact. So it was good for me to live slowly and take time to just breathe and be myself here and now with the nature, with the sun, the sky, the rain, the wind, the nature, the birds, everything. I am coming from nature. I am the nature. Nature is me and it was important to connect to this essential thing. You felt you had lost the connection to nature in the last few years. Yeah. Yeah. Yeah, I lost it because I don't take time, in fact. I don't take time to just put my feet, my foot on the ground. And there's a lot of power there. There's a lot of power. I really feel that because it's like a way to refill myself. Do you understand my English? Yeah, absolutely. This is very, very good. Oh, thank you. It was a way to refill myself because I feel that during all these days of working and going around the world, I was not taking time for me. And I was not taking enough time to connect with nature. It's very important. And really, I realized that how much nature was important for me to be vertical, to be great, to be happy, to be good. Yeah. So you talked about your grandmother. What did she teach you? We said, I remember. Tell us about her. What did she do and what did she teach you? My grandmother's name was Laura. And in fact, when I was very, very young, I was a child. My mom had to go in France to find, to work. So she let me here in Martinique with my grandmother, who became my mother. And I lived here in Martinique with my grandmother, who was like my second mother. And she had, she learned me about, I think, nature, about the power of lives because she knew medicines with the garden. In the garden, we always have plants who are healing what you have, about stomach, about headache or anything. She knew that, in fact. And she was doing some teas for me to wash me inside. She was giving me, how do you say that, fruits. And she was cultivating, understand? Okay. Absolutely. Her self. And it was a way to eat. It was a way to be touched by her. It was a way to be, for her to teach me about traditional stories and tales. I learned to be scared with her. And I learned to pray with her how to get rid of phantoms or spirits, terrifying spirits. And in fact, she learned me about the culture, the traditional culture, coming from her own heritage. She learned me also, but I didn't realize at that time. But now, now I realize how she was organizing her space, her house, how she was cleaning her house and why she was cleaning the house and how she was doing it. It was not just to take a wash on the floor and not that, no, it was not that. It was a washing of the universe of the house. It was the washing of the spirits of the house. It was connecting with the spirits living here in the house with you and whom you live with, in fact. I didn't understand that when I was young, but now I'm really feeling that perhaps when you're young, you don't feel that as strong as when you're grown up. And now I really feel that. And I can say to you that my grandma was dead, more than 10 years ago, 14 years ago. But I feel her. I feel that she, I don't know if she talks to me. I don't know that. But I feel her in my chest and in what I'm doing and I feel her. And I think that I always asked me, why do I do theater? I think that my grandma was an actress. She was a comedian. She has a great tragedy. And she was happy to tell us stories, to make us care, to customize, to put costume on her and just doing things like that. She's the memory of the family. In Martinique, we have a term to call that, it's the photo-mitant. It's like a strong photo in the middle of the house. That's OK. A beam. Yes. And just she, all the house, all the family can appuyer sur elle. Can lean on her. Can rest on her. Yeah. Can rest on her. And after all these, those years after she disappeared, but she's always here in our stories, in our laughs, and we think a lot about her. And now I live where I live is on the, where my grandparents were cultivating. And this is, I live in their house, their home, in fact, I live here. And it's during the time we were confinated, confined, locked down. I was feeling a lot about, I was feeling them a lot. I was feeling a lot, the ones who passed, but I really realized that they are here. We can see them, but they are here, they are here, and I can talk with them. So you talk with them? I try, I try to talk with them, and I try to understand what they say to me, and how they communicate with me. They don't talk to me, but I, it's more a matter of feeling, of feeling them. I feel them a lot. And I realized that they are not the only one. There's a lot of dead people in our families. And for me, I realized that the spirits of all that people was here with me, are here with me. I try to communicate and live with them and realize and incorporate them in my life, in what I was doing around my house, or in my house, how I was living in my house. It was important for me to feel them, to talk with them. And I feel that it makes me stronger. It makes me larger. Like really, I'm not alone, in fact. There's a lot of people around me, and I'm a lot of people. They are all inside of me, and they are all around me. And I am not alone. And I feel really powerful with that, and really much stronger. And they have been always around you, but maybe we didn't feel them as strongly or listened as carefully then. Yes. Yes. And you know, with the story of COVID, I was telling myself that it was important to come back to what is essential, in fact. And what is essential is what is me, myself, and I. But also the nature around me, and also my family, my living family. But also, I told myself that the dead people are my family, also. And they are here, in fact. They are there. And it was a kind of, this is my universe. I realized that this is all, all of that is my universe. And my essential universe. So I can go now in the world, or in my work, or around the world, running what, how I was doing it, but with my whole universe. It was important for me. Hmm. And that's, in a way, also a very beautiful spiritual experience of nature, your home, your ancestors' gardens, and to reconnect. Yeah. And, you know, I realized that really strongly when I went on in the Congo next November, last November. Last November. Yeah. Just before New York, when I, we met in December. And I went there to play, just to act my play there, one of my plays. And I had some strong feelings about that land, because we went on the slave roads, where slaves were captured and put in the boats and sold and all of that. And it was really, I was very sad about that. It makes me a lot of emotions, in fact. And I was looking at the landscape, four centuries after, three or four centuries after. And I was still feeling their presence there. And I was still feeling that. I was, there were still the place where they were sold. There was a lot of trees, because the slaves was eating some fruits, the mango fruit, you know. They were eating some mango fruit. And just you throw the lenoayo, you know. Yeah, the corn, yeah. And just throw it down and seed. Yeah, this made some trees on this road of slavery. And so each tree was a memory of them. Each part of the landscape for me was a part of them. And then when I came back in Martinique, I was looking around me, looking the landscape differently, asking myself, wow, where did they work? Where did they die? How were they living? Are they here? Where did they disappear? Did they disappear? I was asking myself all of that. And I really felt that it was important for me to reconnect with their spirits. In fact, because here in Martinique, in the way that we were colonized by friends, we learned also to forget. We learned also to erase. We learned also not to recognize our origins because it's past and it's not... You have to forget your story to go ahead. You learned that. And my grandma was telling me that just she didn't like everything who are too much African or all of that. But she was telling me that, but in the way she was living, there are a lot of things that are very African. In fact, the African culture is in our culture also. And with all of this culture of forgiveness, is that? It was important for me. It's made a long time for me that it's important for me to remember. It's important for me to remember them. Remember where I come from. Remember to understand just to understand which human being I am. Where do I come from? Yes, I'm Caribbean. I was born here in Martinique. I'm French nationality, French nationality, but I'm brown. I'm black. So where do I come from? I didn't understand. And this question of my origins leads me to do theater, to write theater, to understand, to question and to show and to share about this story. Because it's important to know who you are. And I think that here in Martinique, or I will talk for Martinique, only this way to erase memory, make people sick in their relation with themselves. Because you're black, but you learn that black is not beautiful. Black is dirty. Black is nasty. You learn that in my family, in my family, there's a lot of mixed people. In my family, we are all black, there's no metisage. I don't know how you say that. No mix here. But in my black family, there are a lot of different skin shades here. Yeah, there are a lot of different shades. And my grandma was doing a difference with the old child who were dark skin. And the other were lighted, I don't know. Light skin? Absolutely. And I didn't understand that.  And was telling the dark one that she's not good, she's not beautiful. I didn't understand that. And then all this question of identity were essential. And I marked a lot theater here in Martinique or in the Caribbean, French Caribbean. And my theater, in fact, also. And all of that, I had to go further in all that question. And I know my history. I know my history. History, the art history, is a little learn here in the schools because we better know France's story than Martinique's story. It's not learned, not teached. You don't learn about Martinique's history at the slave trade and African connection. You don't learn about yourself. You don't learn about your land. We don't learn about your history. We don't learn about your geography. We don't learn about that. If you want to know that, you have to do your own research. And it's, for me, it's not normal. It's not normal. In our days, it's not normal not to teach our story in school, at school. And that's why this question of know yourself is very important for me. And know myself is why, is my origins, okay, African origins, but also female, how women as exits here in the Caribbean or here in Martinique. How, what is the role of the woman and how she struggled, how she crossed history, in fact, since slavery to nowadays, it's important for me. And all these questions are still in my head and during the confined period, it was the case also. It came in a way it cooked all up and it was materialized, even so you were alone and everything came that was lying in the basements and the archaeological levels of our existence. As your young said, you know, when he, when he was dreaming, he said, I've dreamed of my house, first floor and the ground floor and the basement, the basement under the basement and sometimes of the basement under the basement, the prehistoric one and this is all what we carry, but let's tell us a little bit about your theater. You said, this is what I do in my theater. What's your theater? In fact, I was, I was, when I, when I explained my theater, I have to explain my life.  I was just, I was born in Martinique and my, my mother led me to my grandmother and grandfather to go in France to take some work. So it was a period where a lot of Caribbean, French Caribbean were well, migrated, migrated in France. Migrating? Migrating in France to find work. They went to Paris or where did they go? Yeah, around the suburbs of Paris, Paris and suburbs, principally. And it, and just I was alone with my, my grandmother and then my grandmother flyed with me in France when I was what, I don't know, eight, eight years old. And I, I grown up in, in, in the suburbs of Paris, Paris, Parisian suburbs. And where there were, it was really mixed. It was mixed people from Africa, from China, from, from Algeria, Morocco, all these, these countries, Tunisia, all that. And it was really mixed in the, at school and, and it was really rich for me to, to, to be in the world in fact, to be with the older. Because you learn a lot about yourself when you are with the, the other. And then I do all my education in the, in the, in this region, Parisian region. And when I came at the university, I was learning English a long time ago. So that's why my English is not really good. It's very good. It's very, very good. I was learning English and Spanish at the university. And which university did you go to? I went to the, now it's called Paris 8, Paris 8, Vincennes University was very a militant, militant university. And I learned the languages and that's where I decided to take some, some to teach, to, to learn about African story and Latin American, South America story too. And that's where I really realized this story of slavery, of, wow, the world was really, of this story, story of violence in fact, where, where do, where I come from. In fact, I understand that my story is the, is the story of slavery and violence and, and rape and, and, and economic stuff too. So that's, that's what made me to, made me go to theater because I was wondering why nobody told me about that. I was 22 years old when I, when I understand that my story never, has never been, my, my story I've never been told to me before in the French schools, I didn't know about it.  I have to make something to, to, to, to share this story, to make people know about that. It's important to know who you are and where you come from. And that's how my first play, I didn't know what, what was theater, in fact, but theater, I think that theater chose me to, to, to, to, to, to share this story, to the other. And that's how I, I, that's how I born, I was born for the second time of my life in, in theater, telling about the, the, the, how my people was born also. And it was a, a sort of revolution in my life, in fact. And, and I write my, my first play, I didn't know what was theater, I know Molière, I know Racine, I know all that people, but this, this didn't really interest me really, really, in fact, when I was young, it was all theater and not really important for me. At this moment, when I understood that I can, I can, I can tell my own story in theater, that, that, that theater become for me something very essential. And that's how I wrote that, that first play about slavery, slavery. The first play was named, was in Creole, in Creole. It was, the name was Neg Pacamo, which means, Neg, Never Die. Neg, Never Die. And it was with about 20 or 30 students from Caribbean, French Caribbean in France, who were in the, who were in the same question with me about who they, they are. They didn't know, some of them did, had never went to the West Indies. They didn't know West Indies. They were born in France and they are living there, but they feel they are different. You, they show us them that they, they were different. There were racism about them, about me too, but they didn't really understand, you know, where this racism came from. And it was important for everyone. It, this, this display transformed everyone of the, of the little troupe who were playing the play. It was something really essential for, for us. It was coming from how roots our, our hearts, you know, very engaged theater and very important for, for, for us. And then, and then this play, for this play, because I didn't know theater, I didn't want to play neither because I was really shy. It's, and I didn't, it's not, it was not possible for me to, to go on the place and to take the, no, I didn't want that. So, but theater shows me, so it decided that I was going to play in the play.  And that's how everyone was, was, was doing theater for the first time of their, of their life. And then Luc Saint-Élois decided to, to take three members of the troupe and then make another, another play with them. And I was, and I was, and I was one of them. Also about, in the same theme about, about who we are, about valorizing our songs, our culture. We were, we were doing plays, plays of Amy Césaire. We are doing plays, he was doing plays with the songs of a great musician here in Martinique, whose name is Eugène Mona also. And then doing theater for me was for a long, a long, a long time learning about me, learning about the world and telling the world who I was. Because since the beginnings, Black Theater in France existed. It was existing. There were a troupe whose name was Legriault in the, in the 1950s. There was a theater in Paris whose name was the Black Theater, the Theatre Noir in the 80s. But I didn't really know them because my, my parents didn't go to theater. I didn't really know them. And there was not a lot of ways or places where we can go and watch people looking that have the same appearance, who are Black like me, in fact. The only Blacks I was, I was seeing is the African-American Black people who is playing in the, in the shows, TV shows. That in France, not really a lot of actors, of Black actors, who were, were really visible, in fact. There were Black actors, but they were not visible, they're visible. So it was important for me to make theater, to show us, to show us our story, to recognize us, to recognize our culture, our culture, to valorize who we were. It was important because there are no plays, there are no movies, there are no TV shows where we can see Black Caribbean people in France. Not really a lot, very, not really a lot. And at that time, and I think now a little also, it's important to make productions, to make plays, to play and to make with the Black actors, to tell a story that we know and that we have, it's important for us to tell, to tell about it, to share with the others, but to also to break this heritage of invisibility and forgive who you are, forgive that, no, forgive, don't show your Black, don't show that you have your specific, your French and specific, no, don't show that, no. It was important for me to tell also, OK, we are French, but that's, this is why we are French. This is how we are French. And this is the way we be, we are, and we have the right to live the way we are. It's important. And this is one of the reasons why I do theater, to make representation, to show, in fact, to show us, to make images that allow people to, people and children to see themselves, to project themselves, to dream of themselves, because it's important. It's fundamental, it's essential for that. And I think my theater is that, it's about who we are as people, but as women, as women also.  How we learn not to, not to speak, not to tell, not to free yourself with saying things. In fact, I understand that we learn silence, we learn not to talk, we learn that. And I was questioning that, and I understood that perhaps that's also from history, because here, we live in a tiny island, and it's important, I think in the colonial period, or slavery period, it was important not to talk a lot, because when you talk too much, talking should be dangerous, in fact. Speaking a lot can be, it can be dangerous or mortal, talking too much can kill you, in fact. And this, I think we have a special way to speak here about, we speak with silence also, I think. With each word, you have a lot of silence besides, I think. It's a big silence. And you have words that come in out like that, but I think silence is very, very important. So it's a sort of culture. And I was, I still question in that, the silence. And when I write, and when I write plays, I also try to write the silence also, important. So in my second play, Uricanes, it's a sort of a familial thriller about a secret family, familial secret, and two women that don't know each other, a night of a hurricane, clothed in a little tiny house that floats with the wind. And then they are searching who they are, in fact. I think that perhaps all my plays talk about that. Who are you? Who are you? You don't know, there are a lot of characters who don't know who they are in my plays, I think. And who are searching who they are. And these two women are searching who they are to search to understand who they are and who they are for each other, one another. And it's about yeah, this violence in the family, because my big, big question is about how the violence of history, because we were born in a sort of violent shock like that, and how these violence continue to irrigate us, to go in our way to be, way to live, way to be with the other, the way to, the mechanism of domination, the sexual domination. And I am wondering a lot about domination in the question of domination and violence in the, in the, after the big story, violence in the big stories, now violence in little stories, in intimate stories also. So in families, in our own bodies too, how violence continued to, to, to, to, to us invade, to inhabit, So how it lives inside you, when you carry it with you? Yeah, you carry it, maybe.  And the other play is about La Diabless. La Diabless is a, it was a tale of who my grandma, that my grandma was telling me about a very beautiful lady who are seducing children. Also, she is dangerous for children and seducing also men. And the story tells that when you go with her, because she's very pretty, you can resist to her beauty.  It's hard. I was wondering who was that woman, that strong woman who didn't like men like that, men like that. So I decided to write a play about her and it's a way for me to valorize also our traditional culture, our role culture, you understand? Rality, culture, tales culture. And in fact, I was also in display questioning about relationship between men and women and how in our societies to be, how you learn to be a man, how you learn to be a woman and do that match. In fact, how, why there are conflicts between the men and women. And in fact, in that play, I focused more about men. In fact, I still question me, questioning in fact about men with history, with slavery, slavery history and colonialism. Because my question is the question is not, I didn't, I didn't find the, really find the answer because, but I was wondering how the system, this economic politics system oppressed was oppressing men, oppressed the men, in fact, and how they castrate men, in fact, of his power, economic power, political power and how do he live that? What are the consequences of that? And I think that still today, they are still castrated. Because really in Martinique, okay, okay, there are a lot of men and women that have a responsibility in that society. But in fact, we still feel that we are a colonial land of France, a colonial possession of France. But we don't say that, it's not political correct to say that here in Martinique. But a lot of voices tell that, also a lot of people who are telling that. And it's important to realize that, because, you know, during the COVID time, and during the affair of George Floyd here in Martinique, we have a lot of messages on Facebook, for example, showing all the people who are directing big institution here in Martinique, state institution, the big places, the real big places are directed by white men, 50 years old men.  So, my question is, where are we? Why do we really direct our country, Martinique? I don't think so. So, still now, I was questioning that about the Martinican man, in fact. For me, it's a sort of castration of the economic power of his politic power, of the power of this decision about his country is the same thing for women. And then I was wondering what was the consequences humanly for him about that. And I was wondering if the little places like families, like houses, were not the only place where they can be powerful, they can express their power. And also perhaps their frustration, frustrations. And I connected that with the violence, violence, violences on the women body, on the children body. And La Diabless is also about that. It's also about how we are castrated of ourselves, also. And how it's necessary to, we have an expression here that's coming from slavery is about to maroon. I don't know if you say that to maroon is to fly, to flee, to flee. To make rebellion, in fact, to be different, to go out of the system and to attack the system or to create another way to be, you know, the way to live together and build another way to another society. And La Diabless, in fact, is you have all these messages in it. That is about my theater and now I'm writing a new play. That is a concept that concentrates all this theme also, but the new way, I think I have, I don't really know how to write this play because it's really a new way to write. I don't want to write like the previous plays, because I want to include this invisible world that I was telling you about and make this invisible world communicate with the visible world and to make them work together, make them act together. To reunify them, in fact, that was torn by history. I want to reunify invisible world and make them stronger together, in fact. And I'm questioning about how, okay, slavery don't exist here since a long time ago, but how we integrated the mechanism of domination, of auto-destriction, how we integrate that in our way to live, to be, to have relation with the other. And how this continue to distract them, distract us by inside. And how it's necessary, again, to free ourselves, but another way. A way, not for me. We are free, slavery was abolished here in Martinique and slavery was struggled here in Martinique. Humanly, I question how people manage to live after that, how they build themselves. I don't, I think that this humanity was hurt, profoundly hurt, hurted by history and it's how it's necessary to soignet, to heal, to heal about, to heal, to heal. It's, it's, it's little replay. Yeah, wound or it's, yeah, yeah. And the, and the wound are invisible. They are invisible. It's not easy to, to see them, but it's important. I think that theater poetry can help us to, to Césaire, Emma Césaire was telling, I think that, for, for example, the poetry of the words of Emma Césaire helped a lot to, to, to, to go outside and be, to feel strong, to, to be proud, to, to find that it was really important and, and it's important that art, the arts, arts help people to, to feel themselves better, to see where the wound are Césaire. Hidden. Then, and then to, to, to, to, to, to, to, to, to, to, to, to heal, heal, to heal, to heal, to heal, to heal, to make it right to, to, to, to, to tend to it and, to become healthy. Yeah, this is a, a significant. And there is a last thing that is important for me. It's to contribute to change also the way we see ourselves. Because I think that there's still a little way that we see ourselves not very important people in this world. We are not strong, but I think that to survive to this story, violent story, we had to develop our strengths. We have to develop a lot of skills that helped us to resist, humanly resist of that. And it's important for me not to just to say that, no, no, I'm not a slave. It's a poor slave. It's not very, I'm not proud about this story. No, I'm proud about this story because in fact, I resist. My grandmother and my ancestor resist. And they managed to resist about that.  We are new people. We are young in this world. We managed to create another community with strong influences from Africa, from Europe, but also from India, from China. From all the world is in the Caribbean. The world, the whole world is in the Caribbean. And it makes a very special humanity. And it's important to to value that. So I think arts are very important for that, to show people our skills, to show people our beauty, or not only the beauties. You can see also that there are places in us that are not really shining, that we have to change or to evaluate. I don't know. But it's important for, in fact, out of a central function for me about all that. This is very, very significant what you say and to find out who we are, to make visible what's invisible, to heal what we carry with us in a shadow DNA. And I like your thoughts about silence, that silence helped to survive your antsy. Everyone in your family, they are survivors. As you said, we were strong. We survived. And John Cage said, also, there is no silence. We always hear something, but also as silence speaks. And for your idea to say, I work with that, that's part of my, as Beckett and so many others, that this is the powerful moments in between and in music. And that is significant what you do and what you provide and what you offer. And so also to hear from you, say, I'm writing differently, COVID, the crisis, the virus. So it really changed you or regrounded you or has a profound impact on your life but also on your artistic work. Yes. I think I was, I really was before the COVID in the sort of revolution, but the COVID accelerated. And I think that it's important. I understand that what I was writing was important to be righted at this moment also. But I think that it's important to go to the essential and to connect us with what is essential. Nature, our nature, our roots, our universe, our way to be, the importance to share that and to recognize that each people have the way to be. And it's very, it's very rich for the world to have your unique way to be. We don't have time to, we don't have time. We don't have time to try or to, no, no. It's important to be yourself and to be yourself individually and collectively. And yes, I think this moment connect me stronger again with that essential way to tell about us, to tell about me and to tell about us, to focus on what is essential to say. And what you said about the invisible world and what nations went to war about, whether it's the idea of democracy or religious ideas or love, it's not visible. These are invisible entities and values, but yet they are so important and we don't see them. And I think art and theater especially helps us to do that and everyone has to redefine it and your courageous ideas to say we have to tell the stories we haven't been told. And also, I know that also the stories you then tell also make you put you in danger or you can be attacked, you are up to criticism that perhaps in Germany, France, or in America, in New York will not be as violent, as serious, because they don't mean as much as they do in your context. What do you think about the Black Lives Matter? Is that reaching Jamaica? What does that mean to you and that it happened in Corona time? What does that, is Martinique reacting to that? You already said there are some statements, but what are the? The reaction. Oh, it was really strong. People are very upset about that. They are very sad about that. There were some... ...Rassemblement, the... ...Manifestation. Yeah, demonstrations. Demonstrations here in Fort de France. Yeah. Moments where people wanted to... ...Think about what happened to George Floyd. And this also, this sad story also makes sense with our own story of violence, in fact. I think that it's also that all the movies were telling about apartheid or discrimination in the United States that learned us also that we are discriminated also. But we don't see it the same way in France, because it's soft. So this sad story makes people really sad here. And the demonstrations in Fort de France. And they also show how here again we are...  Institutional racism also. Because the institution here are not directed by black people. In France, generally, it's very rare in France. So yes, it's very important for us to demonstrate about that. And we live the strong moments here in Martinique, because the 22 of May is the day of liberation, insurrection, liberation from slavery. And this day, a group of young people decided to tear down a monument. And this monument was the monument of Victor Schelcher, who is the French politician who struggled to impose the abolition of slavery here in Martinique. But this act made a lot of... It was just before the story of George Floyd. So this was a lot of stories who connected one with the other. And this makes a lot of mess here in Martinique. And the politicians were not okay with that. Emmanuel Macron writes a tweet about that, that it's not good to do that, in fact. But we see what happened in Europe. There are a lot of monuments who were down like that. And when this happened, I was very surprised. And then I took my item, I said, but it's normal. It's normal because where are we? There are not a lot of monuments who are celebrating the slaves, the black ones who struggled towards slavery. The big history we want to learn is that it's Victor Schelcher and only Victor Schelcher who abolished slavery. But it's not true. Slaves were rioting on the plantation. They are struggling to impose for slavery to be abolished. And the big history, don't tell us that. There are no monuments here in Martinique who are telling you about this aspect of the history. And the way... What I was telling you at the moment, we raised systematically, we are invisible. Well, just invisible. And that's why this act makes sense, in fact. That doesn't mean Victor Schelcher did not exist. I think that that means where are we? Right, it's not the only one. Where are we? We need to see ourselves. To see ourselves, to consider ourselves like not only heroes, but the actor of our own life or of our own history. There are no place for that. It needs to be represented. So it's time for a monument. I think Brecht said, like many others, history is written by the victory powers. So the victor who has his own monument called Victor. So it's kind of emblematic. And we need to have a representation, as you say, of lives, of events. And it has to be truthful. And it also has to acknowledge suffering and death. And there have to be apologies, real apologies. The country of Australia did a very big national day of mourning and apology to the indigenous people. Everything stood still. And of course, it was, in a way, a more statement. But still, it contributed to healing. I mean, your work is so significant and so important that we were privileged to have you with us with our Caribbean readings. We were also a little bit shocked when we found out that not even in France, there had been a reading series ever of plays from the Caribbean. It was the first one. And we worked together fantastically with the French Cultural Service in New York, with Nicole and Laurent, both of them who also said, you have to have, we have to have Daniela on. And so we did something great here. And I learned so much. We should know more. We should go to the Caribbean or the tourist islands. We should see there, as you said, as a representation of the universe and the idea of something new. Yesterday, Spider Woman said, perhaps we're living in a time of a new mythical creation. Like, they are a creation myth in Native American stories where things develop and you don't know how it will end. That's where we are at the moment.  So he is a guy from Iran who worked with black actors. You know, he felt in the Netherlands, we are not represented, we are not there. We are, you know, mistreated. And the country gave him a big chance to come in but also gave him a slap in the face on the same time, which is not easy to deal with. And what is the final observation from you? I wish I had a big garden and I could be in there and take a flower bath, like your grandmother says, you know, we all don't have it. But I think if you can, yes, also yesterday, the spider was like, you know, touch the trees, listen to the birds, put your hand in the earth. But what advice do you give? Let's say a young artist, if it would be Danieli who is in Parivita, so studying young artists or people, our listeners at home, how should they use the time of corona and for artists? What should they do? What should they engage with? What forms, what forms of theater work from your experience in your place? I would tell them to be audacious and to not to take example on what exists, but to go another way, another way. But to conserve, to keep what is essential for me in theater is the, for me, theater have a, in sensual ritual form, it's a form of ritual. We are together, we take one time together around something we share. It's important to have that, to be one with another, to be, to, our flesh is together. Okay, you understand? Absolutely, yeah. Okay, to keep that, the ritual way to make theater because I think that this ritual way make us travel together, to make us transform together, make us walk together, go away together, feel together, connect us together with what is central in ourselves together. And it's this together thing that is magic that make the invisible world, that make this invisible work exist, and that make us feel this invisible way to be because we have all been invisible way to be. But we are not connected with that. And I think that culture of sciences and rationalism make us raise that. And I think it's simply human. And you can separate human from human, is a spiritual way to be also. We have a concrete way to be, but we have also dreaming like to be lifestyle. We have dreams, we work with our dreams. And we can't, it's like a blaspheme or it's like you're abort, abort, abort, yeah, a blaspheme, yeah. Of yourself, abort, yeah. It's important to reconnect with our nature. Nature, I think that this is one of my fantasy or my dream, but this story of COVID make us oblige us, to go back to our unity, our own humanity, to feel, to re-feel who we are, how we live, how we take time to be, how we take time to be with the others or with our family. And it's sad because we lost a lot of people. We lost a lot of people, but I always try to understand what each strong experience have to learn to teach me. I always search that. And I think it's telling me that be yourself and be essential. We don't have time, we don't have time. We are fragile, we can die. It's important to say, to be who you are during your life. Important. It's a big lesson to know, even know about them, to realize, and make it changes even bigger and to implement it, but this is the most significant at why you should give us. And also the idea of the virus is invisible too, right? That's what it takes us. And now we know who we are there. Our skin, outer skin, is the one where we don't want to get the virus too. So what's inside, what's outside? Countries are closed down, we are closed down. We don't see others. So really it is a moment to reflect. And I think all what you said is so significant. It is so important. And for our audiences too, there's something in there that might save our lives and in a time where our lives are a danger. I remember Taylor Mack saying, we survived the AIDS crisis and now a handshake can kill me. Someone sneezed in it and there's protein in it. It's incredible time where we live in and it's good to be facing these questions. We try perhaps to avoid, then really this was most significant. Thank you for taking your time and your energy and sharing that most beautiful assessment and also how you see theater and what you do. And to everybody, yes go and see the Caribbean and go there as a place, not as a tour of the pool there, spend time, engage with it. For us, the week will go on, then really we have to say goodbye, but tomorrow the great Eugenio Barba will be with us. The most significant force also in theater from an experience with Kortalski, he left his studies and with actors who got rejected. The art school says, no, you're not good enough. We don't want you. They said, yes, we are. And we can do our theater and we are artists. And so he created a body of work that's unique and the Odin's Theater you can also check it on. He will tell us tomorrow what this crisis also means for him or what he's thinking about. And it's very generous in kind of him as it is of you. Paul Price, an American actor and director will share as he directed. Yeah. Some play you know about, right? Yes. Our Caribbean Rees, he directed your work. So I thought also this would be a good pairing to have him as a New York artist with us today. And Friday we have Niva Yatzi from Syria. She lives in Berlin. She's a writer, a poet, also writes a television series. And what does it mean to be a young woman, a writer from Syria, not with your home and trying to make sense out of this world? She wrote a play about goats where the Syrian government gives a family where a young man died a goat. What does that mean? What do we live in? What are those times? So I can't wait also to hear from her. Thanks for howl round for hosting us. B.J. and Sia and Travis. It's wonderful that you give us the time and support the Segal team and the Ensign Young. And to you listeners especially, we went also a bit over time but it was important to hear these voices from the Caribbean, French Caribbean voices and their history and how they are also connected to the bigger stories we are experiencing and now this awakening that is happening about that slavery that is so prominent and as Danieli said, is in our shadow DNA and we have to become aware of it. We don't see it, it's there and it's hurtful. It makes us sick. It makes us sick not to tell the stories. It makes us sick not to hear those stories and theater can help towards the healing. And so all of your audience for taking the time and listening is important that she knows Danieli people are interested and they care and we do care and mankind does care for each other and especially the artistic communities around the world echo your stories and this was an important contribution. So really thank you all for listening this time. That's so busy for everybody strangely enough and stay all safe and stay tuned in and hope to see you again and Danieli all my best and one day I'll come and see the garden of your grandmother. So I will be there one day. Okay. Bye-bye. Thank you. Bye-bye.


Let me start off by sharing a comment that I got on the channel recently. So this comment came in from a guy named Lucas and Lucas writes, you probably are living on your parents' money. That's why you are saying that expensive things are better. Hold on a second Lucas, because number one, I've been serving active duty in the United States Army for 18 and a half years. And number two, I've been running a successful business on the side for nine years. But thank you for making such an inane assumption about me. Now, all of you who aren't Lucas are probably wondering why I'm even bringing this up and calling this dude out in this video. Well, the reason is, is because it's a story that leads me to talk about trait number one, which is that confident guys take action. They do things. They get stuff done. And I'm not talking about the fact that I confronted this guy and responded to his comment, which by the way has since been removed. What I'm talking about is the fact that I started a business. I did it even though some people thought no joke that it was the stupidest idea in the world. And I haven't been afraid to experiment and try different things as the business has grown. Now, you might wonder like, how did I even do this? This being, he spoke style like, how did I start it? How did I get it off the ground? How do I keep it going? Those are great questions, but I'm going to tell you those are the wrong questions to ask. Now, I know I'm using myself as an example, but what I'm talking about applies to you because you don't get anything done like that, like a big dream that you have without possessing trait number two, which is having a vision. Now, a vision goes beyond what you're going to do and how you're going to do it. Having a vision means understanding why you are doing something. If you don't understand that, you can only take whatever it is you're going to do so far. What you should know about this though, is that for most of us, this doesn't come easy. It's a muscle that you have to learn to exercise. And for those of you who are looking to exercise that muscle, the book that I always recommend to get you started on that journey is Start With Why by Simon Sinek. So let me tell you one thing that when you see someone that successful, you kind of automatically think like, they've got it all figured out, right? They have that vision. They're doing it. They're getting it done. They're successful. And from the outside looking in, it's easy to think that it's effortless. It's some kind of magic like this person has the magic touch. And whatever they do is a success. It's freaking annoying, right? Because you've had some great ideas, but for whatever reason, it hasn't worked out yet. So the thing is that successful people have been in that situation before also. They have failed and probably more than once. But one of the traits of successful and confident guys, and we're on trait number three if you're keeping track, is that they're not afraid to fail. Your first idea and your first execution of something, I'm sorry, will probably not work. I wish I could say that he spoke style was my first idea that I ever had, but that is not true. So I used to run a website called Bags and Trees, which was basically just a blog that had pictures of plastic bags caught in trees. And that celebrated the beauty of that phenomenon. It was completely a parody and social commentary website. And I just basically stopped it because I got tired of getting angry emails from environmentalists not getting the joke and telling me what a piece of **** I was. And I also ran for a while a site called The Serialist, which was basically the onion of classical music, started on the premise that classical music needed to loosen up a little bit and learn to laugh at itself if it wanted to reach more people and not be a dying art form. So that site lasted for two weeks. And we actually took it down after getting some cease and desist letters from big opera star publicists, which basically just proved our initial hypothesis that classical musicians take themselves way too seriously. I could keep going down the list of failures that I've had here, but I think you get the point. Do you know what else confident guys do? They respect themselves, which means that they take care of themselves, trait number four. They exercise and maintain their bodies. They eat well and are conscious of how they fuel themselves. They take care of their grooming to make sure that their appearance shows that they take care of themselves. All of these things, exercising, eating, grooming can seem complicated if you're just starting to maybe get into them. But I think of the three for guys, grooming can be the worst. That's why for grooming stuff, I always turn to teach Hanley. Today's video sponsor because they make the whole grooming process super simple. And let me show you just how simple they make it. Box comes. I open it up. There's a card. It tells me exactly what to do, when to do it, and how much of the product to use. Everything comes together.  All you really need to get started is Tija's basic plan. You've got a face cleanser and exfoliating scrub and AM moisturizer with SPF. Super important to protect your skin from the sun. And a PM moisturizer to help repair your skin throughout the night. Personally though, I add in two other products and bump it up to their level three system, which includes a firming serum and an eye cream. Now aside from great skin, let's talk about what you get when you join Tija. Tons of perks, including at least 20% off the retail price, the ability to customize your box, shipping reminders, pause or cancel at any time, no hassle refunds, free US shipping, and low-cost shipping to most other countries. And because Tija Hanley is sponsoring today's video, they're offering you guys a great deal. Just click the first link in the description and not only will you get Tija Hanley for the best possible price, but they'll also give you a free gift with your first box. So click that link to get started for just $30. Okay, so the next trade of confident guys is another sort of mindset. So let's say that you reach a milestone of some sort or that after working really hard at something or towards something, you finally meet that goal. It could be anything like setting a personal record for running or cycling or lifting weights or getting some type of professional certification. What do you do when you reach that goal? Some guys will be like, I did that, I win, done. But highly confident guys will be like, okay, but how can I go even further? Because confident guys push themselves, constantly wanting to be even better than however amazing it was that they just did. And that is as soon as the goal is achieved, the mind is already thinking about what it's going to take to get to that next level. And that sort of thinking requires another kind of thinking, trade number six, which is that confident men think positive. If you're not believing that you can do something and thinking positively, even if you fail, which you will, then you will not appear as confident. And that is all I'm going to say about that. Now let me tell you something else about confident guys. Confident guys know that they don't know everything, which means that they have trade number seven, that they are open to learning, which also means that they possess trade number eight, that they are not afraid to ask questions. Think about it, if you don't know how to do something, are you going to pretend that you know how to do it? Because if you're pretending, you're not really going to feel that confident. Next, so okay, you know when you're at like a party or with a big group of people, and there's that one guy who's like, hey, everyone pay attention to me. I'm the loudest person talking, so I'm important.  Do you really think that guy is confident? Now, he may appear confident, but underneath all of that, that guy is super insecure. The confident guy, now he displays trade number nine, which is that he doesn't need to be heard. Listen, guys that are constantly talking loudly and trying to get you to listen to them almost has the opposite effect. You've got all of this stuff coming at you that you kind of start to not hear anything anymore. You just kind of tune it out because nothing really means anything. But when the confident guy who doesn't really say much finally says something, you listen. Now for trade number 10, let me just pose a hypothetical situation here. So let's say that there's this guy who, I don't know, like maybe nine years ago started a men's style blog. And then over time that became successful. There's an Instagram account too. There's even a YouTube channel. And there are lots of people who like what he does and they like him. But then there are some people who freaking hate him, like despise this guy, even to the point of giving every new video a thumbs down within 10 seconds of it being posted. But you know, the guy with this website and Instagram and YouTube channel, he doesn't care because of trade number 10, that he knows that he cannot please everyone. If you're trying to please everyone, you're watering down your message and what you stand for. Successful brands, successful and confident guys have haters. The pagans make you stronger. So don't try to please everyone. You'll be more confident, more powerful, and more successful once you realize that not everyone's going to love you. So I've used myself as an example for a few of these 10 trades that we've been talking about. And you might think that because of that, that I am a supremely confident person all the time. What I want you to know is that this is not the case. And thinking about these things is something that I do over and over and over again to work on my own confidence. Point is that this is something that you can develop. Nobody has all of these trades without working on them and putting in some effort. And knowing myself, I would say that if I can do it, I definitely know that you can too. Thanks once again to Tiege Hanley for sponsoring this video and reminder to click the link down below in the description to give Tiege a try for yourself and receive a free gift with your first box.


The paper discusses the potential of using ethylene glycol, for example, as a source of hydrogen production through the oxidation of EG using a nickel selenide catalyst. This catalyst was designed to optimize the morphology and crystalline structure of the catalyst particles to increase their performance. The catalyst was found to require only 1.395 volts of electricity to generate a current density of 50 milliamps per centimeter squared in one meter of KOH and one meter of for example. In-situ electrochemical iris was used to measure the reaction process and ex-situ analysis of the electrolyte composition showed that the primary product was formate with a ferridaic efficiency of over 80%. Minor products were also identified, including glycolate and oxalate, which were shown to be formed via the glycol-to-oxalate pathway. DFT calculations revealed that the C-C bond in glycolate was broken and further electro oxidized to formate. This article was authored by Junshan Li, Looming Li, Qingyuma, and others. We are article.tv, links in the description below.