Hello YouTube Live. Hello. So as a nerd I thought I would pass on some tech tips for today. So I have done some photography work and some videography work and there are so I guess the first distinction I want to make is you can capture a moment with just a picture right and then if I'm taking a video all that is is a sequence of pictures and so what happens when a when a picture is taken some sort of film or digital film gets exposed so light comes in onto that film and stores an image.  What I want to do is extrapolate this into a gym setting so if I'm in the gym and I have a client moving really really quickly and I see what they're doing because I'm I'm trained at this and I know what I'm looking at and I cannot illustrate to my client the issues that they are dealing with or what I'm trying to fix then I could take a video and I could show them exactly what they're doing but if you just take a standard video at these 24 frames per second or 30 frames per second that's FPS sometimes you'll see it abbreviated 24 and 30 frames per second is usually not enough pictures each second to keep detail in a video so let's this came to mind because my buddies and I at co-workers and I at Indianapolis fitness and sports training are giving a lecture this weekend and as Ty and I, Ty and I are giving a joint lecture and we're preparing our lecture and we took a bunch of videos of this and we found some really good movements but everything's kind of blurry and it's it's not very clear so I walked him through just this so how to take clearer videos or high speed videos so let me show you a couple examples that we got switch over here all right so let's give you hopefully this doesn't lag too much so this is a video that Ty took a long time ago it's a girl of ours great girl shout out to Maria and she's running so running pretty quick and you can already see even before I pause it she's really blurry what I like to do is maybe scrub through a video like this so I grab the playhead and I and move the playhead along and I try to find the spot that I'm looking for okay and then maybe what I want to show Maria is that when she's done pushing off find this right there yes so she's done pushing off her toes about to come up right her knees real bent still so she never finishes her drive and that's what I want to show her now you can kind of see this but for the and she's really interested in this sort of stuff and she'll want to go to physical therapy school or whatever so this probably won't be that big of an issue for her but it'll definitely make you look more professional if this image is more cleaned up and it looks like a snapshot of a picture right and this leg isn't so blurry this leg isn't so blurry her face isn't so blurry and then you can really point out the details of what you're talking about because this is this is just less clear there's a certain aesthetic to the things I do maybe I'm just overly particular now let's let's scroll up and I'll show you a video that I took the other day so this video file is much bigger because it took way more pictures but as you can see if I stop you can see all of this very well and there's Maria she's moving probably roughly the same speed that she was moving in the other video but she's totally clear like you can see the vibrations in her skin now I think that is really cool and I can I can illustrate points much more clearly now with the video like this right hopefully you buy that let's switch back okay so sometimes just a picture is fine like if I'm doing an ab exercise where I'm having someone else do an ab exercise and I just want to show you the position that you're in sometimes a picture is fine sometimes a picture is unnecessary and you can just show them in person and they'll get it sometimes that's not enough and they need to actually see themselves doing it to believe you so sometimes a picture is enough sometimes one frame is enough and that's what we would we would say in the the photog videography business sometimes the standard 24 or 30 frames per second of video capture is enough if I'm doing I don't know maybe maybe a slower bench press or maybe some tempo work where I'm actively slowing myself down like that will capture a controlled eccentric contraction really well but if I'm doing something that's higher velocity I want to slow it down as much as I can so these videos that you saw were taking the the old video of Maria sprinting that I took was at 30 frames per second and these new videos were at you might be getting the output on the stream at 60 frames per second but I took them at 100 120 frames per second or even some other ones later on at 240 frames per second and now you might be thinking like how all these words I don't really know how to do this right so smartphones make this super easy and I love it alright so I'm gonna kind of show I'll walk you through at least how to do it on my phone this is a Google pixel XL and smart phone camera on the market right now I don't know how long that will last but I'm highly satisfied look at that picture-in-picture okay so if I'm gonna try to do this say so I got my my phone right here now right now I'm on picture and I can slide one way or the other okay that's this video now you see right there up that the I'll get out of the way here right there at the top it says 30 FPS that's the standard so I'm going to change it and I can change it to 60 FPS and that might give me enough that I need right that that's taking double the amount of photos each second okay 60 photos each second so that'll smooth out the video really really well and you can even see once I change this setting in my phone and I move it around like this even just the preview is much much more clear it's really interesting now I mean this tech stuff blows me away now maybe I have a video that would work with slow motion so that's that's like this video that I showed you up here before let's try this yes slow motion and now you'll see at the bottom I have 240 frames per second and I can select this and change it to 120 frames per second now I can tell you because I looked up the specs on my phone that 120 frames per second can be taken at a higher resolution so it'll be a bigger picture because it doesn't have to process quite as big a files no it will be taken at a bigger picture I could do 240 but only if I make the picture smaller aka have a smaller resolution because then my CPU on my phone can actually process the smaller files that's what I meant to say so the the slow motion stuff is weird a little bit because it will slow it up but I will also tell you and I don't know I'm not an Apple dude forgive me but I don't know how they work with this but I do know that my phone I can pull this file up and I can watch the slow-mo and I can even adjust you see the little dots in the middle there so there are dots on the outside and then there are more spaced dots on the middle and then there are dots on the other side other outside so I can adjust those little thingies here to tell the phone to change where the slow motion occurs right so what the app tries to do or the camera app tries to do is it tries to take a picture or it tries to slow down the the action so if you're just filming a four-second jump it'll work really well but if you're I mean as I found with this little tag game that we were playing it didn't always work so I had to adjust some of them and I can trim some of the videos or whatever later on if you're you know giving a presentation like we are this weekend if you're struggling with some of this let's let's just do a little summary so standard is about 30 frames per second for high for standard video standard speed video higher speed videos are taken at 60 frames per second or above and those will be clearer pictures if you have to pause them to show other people okay and that's just because it takes more pictures you probably don't need to know that but I like telling people if you have questions on how to set it up I would Google how do I capture high speed video on my blank phone whatever phone you have the internet knows a lot of things and if you can't figure it out ask maybe somebody who's really tech proficient that you know because they'll be able to help you better than I will hope this was helpful hope you come into the the tech age and explore all this cool stuff that there is until next time have a good day


If you close your eyes you may see a haze of white light. Another symptom of opening your pineal gland is that you hear this hissing noise. This is something that actually feels good. It feels like you've expanded your hearing. You can actually hear more. It's actually connecting from outside, coming from inside your body. Third way to know is you have more saliva. Some people say it tastes sweet. That's another sign that you've activated your pineal gland. Another way is you feel tingly in your head, especially in the crown and the temples. Another way to know is that you feel like you're standing up straight or you feel like your spine is lengthening and elongating.  So those are some of the physical things that you've experienced when you open your third eye or activate your pineal gland.


The applied policing skills assessment is the beep test. The beep test is a 20 meter shuttle run. The distance is marked out and the applicants must run between the two markers with the allotted time on the recording. One foot must be on or beyond the line at each end before the beep signaling the start of the next level sounds. Applicants must not leave for the next shuttle until the beep starting the next level sounds. If the applicant does not make the line before the beep, they must make that line turn and attempt to make the line of the next shuttle. If they miss three consecutive shuttles, they are out of the test and their score goes back to the last successful shuttle they made. To pass the test, a level must be reached determined by your age and gender.


Today we are at the John Thoreau Cancer Center in Hackensack and I watched Kathy ring the bell after her treatments. I made these bracelets. I get the money from Rajeebel.org and then I donate all of the 100% of the net profits to get bells. It's very inspiring to see young people take, you know, action and take a part in something as important as cancer awareness. Having the bell outside of the treatment room for when the patients complete the radiation is a wonderful thing to have because it can be a long road. Even in the short time that we've had it, we found that it really keeps morale high. It's been a very nice addition to our clinic.


Hello, friends. I'm Sanjay Gupta. I welcome you on Sanjay Gupta Tech School. This is my website where you can find all the Salesforce video links together. So those videos are created by me and you can watch them to learn Salesforce. In this video, I'm going to demonstrate like how you can create roll-up summary if you have lookup relationship. So using Apex trigger, we can do that. So in case of master detail, we already have roll-up summary field, but in case of lookup, that field doesn't work. So we can create a custom solution for that. So the problem is, so this is a real-time scenario that you might need in your projects as well. So whenever an opportunity is created, updated and deleted, then we need to roll up the opportunity amount to accounts and will revenue. So whenever we create any opportunity, so we can link that opportunity with an account. So if opportunity is looking to any account, so in that case, we need to add the annual, sorry, we need to add the amount to that annual revenue field that is available on the account, right? So this is our requirement. So here you can see this is account. And on account, we have this annual revenue field. And on opportunity, if we see, so on opportunity, you can see this amount field is available. And if I open opportunity, so you can see opportunity account shares lookup relationship, right? So now let me explain the code that you can implement. So there will be three scenarios, insertion, updation and deletion. In all the cases, you need to roll up the amount to accounts and will revenue. So this trigger should be written on opportunity because whenever you are inserting, updating, or deleting any opportunity, then this operation should be performed. So all three events are available here. Then I check trigger dot is after, then in insert, I'm calling on after insert. Then in update, I'm calling on after update and similarly after delete. While we insert records, so trigger dot new is available. Then on updation trigger dot new and old map and deletion trigger dot old. So this is trigger and through this trigger I'm calling these three methods. Those are defined in this class, opportunity trigger handler. So this is the class where I implemented all the code. So here you can see on after insert method is defined. So it is starting from here till here. So it is receiving new list. Then I'm iterating new list and fetching opportunities one by one in OPP. And if OPP dot account ID is not null, then I'm fetching the account ID into this ACC ID set, right? So this is created here. Then I'm calling this method calculate annual revenue and passing account IDs. And this method will be returning accounts to be updated. So we need to check if this list is not empty, then we need to update the account, right? So this is the first method that will work on after insert. Then similarly I created one more method for after update. So here you can see we have new list and old map. Then iterating new list, checking if OPP dot account ID is not null and amount is changed. So this OPP dot amount is new version of the amount. And through old map we are getting the existing value if both are mismatched. So that we can have the account ID, right? And rest of the things are same as we saw in insert. So we are calling this method calculate annual revenue and passing the account IDs. Then third method is on after delete. It is also same but the only difference is we are having old list instead of new list. So you need to reiterate that and if opportunity account ID is not null, then you can get the account IDs and you can pass those IDs into this method calculate annual revenue. And if the return list is not empty, then you can update the accounts, right? So this way three methods are collecting account IDs. Now the main method comes here, which is calculate annual revenue, which is receiving account IDs. So here I created one list accounts to be updated and a map account ID to annual revenue, which is of ID and decimal type. And here you can see this for loop. So it is important. So this for loop is doing what it is doing. It is querying all the opportunities where account ID is available in this set, right? So we already collected all the account IDs. Those are related to the opportunities. So if the opportunity is available, sorry, opportunity account ID is available in this set. So we are querying those opportunities so that we can collect the rule of value. So now here comes the map. So if map is containing the account ID, right? That is on available on opportunity. So in that case, we need to get that value. So first time this if condition will be false because map is empty because we are having first opportunity. So this map obviously it will be empty. So now here you can see at line number 55 total is initialized with zero. And if opportunity amount is not null, then we are adding up opportunity amount to total and we are putting account ID and total into this map. So if it is not null, then amount will be added. Otherwise, total is already initialized with zero. So zero will be stored here, right? Then let's say we have one more opportunity that is related to same account. So in that case, a second time that this map will be having the account ID, right? Because either this if was true, otherwise total as zero was put in this map along with account ID. So if second time this account ID is available, so we are fetching the value, the calculated value that is available in the map. So it may be zero or it may be some amount. Then if the second opportunity amount is not null, then that total will be updated. And then again, along with account ID, we are updating the map, right? So map has a nature if we put same key again and again, so latest value will be available in the map. Previous one will be erased. So this way this map will be having account IDs and respective total of all the related opportunities, right? So after completion of this loop, after completion of this loop, we need to check the map if map is not empty. It means it is having some values. So we need to iterate it based on the keys. So we are fetching key set, then creating account instance, then putting the ID through this I variable, putting the revenue by getting the value of a particular key in this ACC instance and adding that into this list. And then returning this list. So this list will be returned here in the delete, then it will be checked whether it is empty or not. Accordingly, it will be updated. Same with the case of after update and same with the case of after insert. So this way, the common method is working for all the insert update and delete methods. So now we need to test it whether it is working fine or not. So let's say I have one account. So ACC EMP one, right? So I am opening this one and ACC EMP. So I have opened two accounts. So here you can see opportunities already available, but amount is null. So annual revenue is already null here. Right. And ACC EMP one. So it is having two opportunities. One is having amount as 5000. One is blank. So annual revenue here you can see it is 5000. Right. So now I'm moving here, opening anonymous window. So here you can see opportunity one I'm creating. Name is test 11 stays date. And this account ID. So this is the account ID of this ACC EMP one. So for that account, I'm creating two opportunities. Let me create two more. So OPP three. So these I will be creating under another account. So that we can see bulk roll up. Then four. So now it is done. And here I need to update these as well. So I need to add OPP three and four. And here I need to update the account ID as well. So from here I'm copying this. Putting here and putting here. So this way total four opportunities will be created. Two under one account and two under another account and for one account total should be 15,000 and for other total should be 15,000. But as you can see 5000 is already available. So it should be 20,000. Here it is null. So it will be 15,000. So now let's perform this operation. Execute highlighted. Okay. So one mistake here I need to write insert. So now I'm refreshing this one. I'm refreshing this one. So on this one you can see 15,000 is available. And two more opportunities are created. One was existing and two are created here. Right. And remember one thing I use this null here. If existing amount existing opportunity amount is null. So that should not be calculated. If we commend this and we directly use this OPP dot amount. So null pointer exception will be there. So this you need to remember. And here you can see 20,000 is available because now this account is having four opportunities. So 5000 was earlier one and then five and 10,000. To be created. And one is having null. So this way in session is working fine. And let's do one more operation. So now we need to update the opportunities. So for that we require ID. So I need to put ID here. And I need to put ID here. So I'm going to update one, one opportunity for each of the account. So I'm going to do a test to make sure that I'm not wrong. So which I'm updating 11. So test 11. Opportunity I'm updating. So here it is. So I'm opening this one. And from here also I'm opening this one. So it is related to. ACC. EMP. So I'm copying this. And pasting it here. Then I'm copying this. it here. So now I need to update OPP 1 and OPP 3. So I am removing this, I am removing this, this as well, this as well, right? And instead of insert, I am using update and I am making these as 50,000 both, right? So now selecting these and clicking on execute highlighted. So again, I am doing a refresh. So you will see rollup, rollup will be changed like we updated two opportunities on two separate accounts. So this I am showing like bulk operation will also be performing well. So you can update or insert or delete from UI as well. So that we can also do. So here you can see it is 60,000. So you can calculate the some fifth. So the opportunity which was earlier having 5000 we made it 50,000 and 10,000. So 60,000 is annual revenue and here 65,000 because 550 and 10. So it is 65,000. So this way it is working fine. So I was telling you from UI also you can update the opportunities. Right? But in that case, you will be able to update only one opportunity. So that's why through developer console, I'm showing you how you can perform bulk operations. So let me show you a deletion from UI. Right? So this test 11 is having 50,000. So let me delete this one. So it is deleted. Now I'm repression this account. So you will see 60,000 will become 50,000. So these operations you can perform from UI as well or you can perform through developer console or you can perform through data loader or data import wizard as well. So here you can see annual revenue is now 10,000 because one opportunity is deleted. So that's why rollup is all automatically updated. So this way I hope you understood how we can perform rollup summary operation on lookup relationship with this example. So keep in mind, you need to cover all three scenarios, insert, update and delete because in case of rollup, if you insert, then also parents should be updated. If you perform update on that specifically, then also rollup should work. And if you delete any child, then also on parent, updation should reflect. So this way I explained you the total one and if you want to perform rollup summary based on count, max, min, so other operations that you can also apply here. So you need to modify this logic that is implemented in this method, calculate annual revenue. So I hope this will help you in your projects so that you can implement rollup summary on lookup relationship. So I hope you understood whatever I demonstrated you. And if you want to watch more Salesforce related videos, so you can go to this website and you can find various video links. Those are created by me. Thank you for watching this video.


What's up everyone take down here welcome back to another video if you guys are watching this video and you see that other hockey card videos Do not have the backgrounds like I'm doing right now, and it's just faced down on the table here That means it was recorded before September 2020. I have about 32 videos now That's are still recorded before this that need to be uploaded So every week a new hockey card video moving forward some weeks I might do two hockey card videos So comment down below if you guys want to see one or two hockey card videos week today We have SP authentic for 2019 2020 Hobby packs this one is really thick this one here's on the lighter side We're gonna check them out and see what is inside I'm really debating on buying a hobby box just because the blaster box From what I can tell is almost out of stock everywhere except for the places that sell it for $50 I'm not paying $50 before a Blaster box when I could pay $200 for a hobby So getting right into it. We have a base card for Tivu Trevenin not familiar with the player. Sorry if I butchered it Base for Alec tuck this one might be going on my eBay just because I already have that one We have an SP essentials which you can only get from the hobby box not the blaster box So the things I've usually opened for Matt Murray I'm not a hundred percent sure what this card is value Dats. This is the first time for me receiving it Personally, I'm gonna keep it just because it is a goalie card and I collect goalie cards But if it's a value, I might put it on my eBay Nico his shear I already have it and John and cling bird already have it and The last hobby pack I only bought two from out of the box in Ottawa. This is a thick one We're gonna see what is inside. I'm hoping for a Jersey card or something Matthew Brazall already have that base Eric Carlson already have that base we have Spoiler alert the I didn't even know they did this that is why the pack was so thick a thick piece of cardboard disappointing a Mark Andre flurry, I believe I already have this one. So this one's going to go in my flurry flurry PC in my binder We have a John Tavares Think I already have this one so this one may go on eBay as well when I say eBay I mean a mystery pack on eBay I'm not gonna put that card on individually because nobody's gonna buy it for me individually and The last card the only hits out of this pack is a Matthew Kachuk limited red limited I didn't even know about this. So this is hobby only so honestly I'm not a hundred percent sure if buying the packs individually is worth it of course a Hobby box is $200 Canadian the blaster box is $30 Canadian you some places charge 50 So these here the packs individually were $10. I Honestly, don't know if I got my money's worth because buying the other packs For example, the next video I have to record is for these which is from basically the blaster box or retail box I've been getting Jersey cards numbered cars autographs out of it This here is supposed to be in the next step up. It's a hobby bat pack and this is what I received So I'm not a hundred percent sure if this was worth it But I'll find out the value for the limited chuck card and the SP essentials They might stay in my collection or I might flip them on eBay This was a short video because I just wanted to open up two hobby packs that I recently purchased To see if I wanted to buy a hobby box in the future I'm kind of leaning towards no and just sticking with these packs here But anyways, hope you guys enjoyed this video This one is going to be another video that is going to be a second hockey card video Normally I do one hockey card video week this one here since it's so short It's gonna be an extra hockey card video whenever I do upload it So hope you guys enjoyed please take care comment down below what you guys think of my new backgrounds and should I have things Stands to put my hits in let me know in the description or description below Let me know in the comments below. I'm gonna leave this video here. Please take care. Peace


Good morning, Hank. It's Tuesday. One of my favorite words is together. I really think togetherness is the superpower of our species. Like, yeah, we as individuals are very smart, as animals go, but it is our collective knowledge that has made us so successful. No individual human could build water sanitation systems and electrical grids and transportation systems and write Hamlet, but together we've done all of that and much, much more. This also means, of course, that the systems we rely on are deeply dependent upon large-scale human collaboration. Like, last night I was eating some broccoli and I started to think about the number of individual humans who had contributed to that stalk of broccoli. The people who grew and harvested the broccoli, the people who transported it, the people who built the truck it was transported in, the people who stocked the broccoli at my grocery store, and the people whose tinkering and use of agricultural science has over the centuries dramatically increased the yields of broccoli and so on. There's a similar story behind everything we consume, the electricity we use, the books we read, the medicine we take, the YouTube videos we watch. All of it is deeply dependent upon human collaboration. The word together comes from the verb to gather, and for me at least one of the many surreal and terrifying facets of the COVID-19 pandemic is that suddenly many of us are unable to gather. Our communities have changed so suddenly, children no longer in school and businesses closed and shops with empty shelves and many, many people losing their jobs, and people who gather in sports stadiums or offices or workout classes or places of worship cannot gather in the way they always have. Our family is self-isolating, a phrase that like social distancing I didn't know a month ago, but is now ubiquitous. In fact, I think one of the signs that a big and lasting change has come to the human story is when specialized language gets integrated into everyday language, see also case growth factor, transmission rate, and so on. It's now clear that this pandemic will put many people at risk of serious illness and death, and we must, must, must listen to experts and isolate ourselves appropriately. For information on the health and systemic risks of the pandemic, I'm watching Dr. Aaron Carroll on healthcare triage because he is an expert in this stuff. I'll also put some other resources I have found helpful in the doobly-doo below. So we must isolate, but we also must find ways to stay together and to remain connected so that we can keep humanity's superpower. In some places, this has taken the form of dancing the Macarena on balconies or coordinating nationwide applause for healthcare workers. Our family has taken to having virtual cocktail hours with friends every evening, we're playing virtual board games, and we're trying to reach out to the people we know whose work and life will be most affected by this crisis and the people who might feel most alone in a period of self-isolation. Hank, you've been hosting wonderful Twitch streams where you play Stardew Valley with your son, which my kids have loved, and that has inspired Sarah and me starting tomorrow. We will be hosting regular live streams here and on the Art Assignment channel where we drink only a little wine and make only a little art. There's a great Discord for Nerdfighters called Tuataria. If you're looking for social connection or you can join Life's Library Book Club for free links to all that in the doobly-doo. I've also found YouTube videos helpful from watching Grant at 3Blue1Brown explain exponential growth to me to watching Jane Wong at R's Poetica read me a poem. Right now I find poetry especially helpful because it gives language and form to so much that I'm feeling. Hank, Robert Frost once famously said that the only way out is through, and I believe that. I also believe that the only way through is together. So let us find ways to work with and for one another and to serve and help one another, especially the most vulnerable among us and let us make it out the only way we can together. Hank, I'll see you on Friday.


the peritoneum is a single continuous sheet of cirrus membrane. Throughout development organs become draped in peritoneum like so. If we cut this model in half we see two layers here. So any peritoneum that is in contact with or heading towards an abdominal organ is called visceral peritoneum. All other peritoneum will be adhered to the abdominal wall. And it's called parietal peritoneum. So to better understand these relationships we're going to bring in this model which is a simplified schematic of the abdomen.  The deepest layer of the abdominal wall is this thin fluid secreting membrane known as peritoneum. It's stretched around the whole abdomen and I use the phrase stretched around because this is the literal meaning of the word peritoneum. In this schematic model everything with this coloured border is peritoneum. As we mentioned before its subcategories are visceral peritoneum that's in blue and then parietal peritoneum which is in tan. Visceral means of organs and parietal means of walls. Visceral peritoneum is adhered to abdominal organs while parietal peritoneum is adhered directly to the abdominal wall. There are some areas where the peritoneum doesn't cover the abdominal wall where an organ gets in its way. The pancreas is one example that's only partly covered in peritoneum and its posterior surface is in contact with the abdominal wall. This makes it a retroperitoneal organ. It indents into the peritoneum like so. Most abdominal viscera are completely covered in peritoneum. They achieve this by effectively growing into the peritoneum. Think back to our animation from before the organ becoming draped in peritoneum. So as they do this as they grow into the peritoneum they take part of it with them and end up completely surrounded by it like so. And the layer that surrounds them is called visceral peritoneum now and so is the peritoneum which heads out from the wall that they took with them. This being a schematic version of the liver. There are two layers extending from the liver which contribute to the visceral peritoneum of the stomach. And double layers of peritoneum connected like this to the stomach are known as omentum. The double layer attaching to the lesser curvature of the stomach is the lesser omentum. The double layer attaching to the greater curvature of the stomach is the greater omentum. And the greater omentum extends down like so. It then folds up, moves over the large bowel to become continuous with the peritoneum of the posterior abdominal wall. The mesentery is more difficult to draw and visualize but it is enough to know its origin from near the left side of the L2 vertebra to the right sacroiliac joint. And what it goes out to envelop is all of the small bowel some of the large bowel too.  Click the link in the video description to navigate around this model yourself. And good luck understanding this difficult topic in anatomy. Hit subscribe if you liked this video. Thanks for watching and we will see you next time.


From the people who brought you the great tapestry of Scotland, an embroidered epic of Barney Prince Charlie's victory at Preston Pans is on display in a free exhibition at the Scottish Parliament. 104 metres long, with more than 10 million stitches, is one of the world's longest tapestries. The Preston Pans tapestry at the Scottish Parliament from the 21st of June to the 20th of July. Admission is free.


Hello, and I want to welcome you all to a new format for all things LGBTQ. This is an all video show. And as you can already see, our interview E is in the wings and waiting. But first, we want to acknowledge that we are taping in Montpelier, which is unseated Indigenous land. Our first interview is an old friend that I am so delighted to bring back because we're going to talk about the needs of LGBTQ plus youth in the era of COVID. So this is Mara Iverson, who is the Director of Education for Outright Vermont. Welcome. Hello. So let's start with, you recently were one of the panelists and a UVM webinar on whether the needs of LGBTQ plus youth in the era of COVID. So what do our youth need and what is outright doing to meet those needs? It's a really good question. And I'm so glad lots of different people and lots of different forums are asking it because I think the first most important thing that youth need right now is kind of wrap around all over the place supports, lots of people thinking about the question and trying to do things to help. And then I think the next thing that they need is actually something that's a little bit difficult in the normal times, but is becoming typical of all of us. And that is a little bit of fluidity and a little bit of willingness to change minute to minute if the sudden need is different. So an example would be that for the beginning of the kind of lockdown period, what a lot of youth needed was immediate reassurance that things were going to be okay, that there were going to be systems to catch them right then. And then that need sort of faded a little bit. They still need to know that there are people and that there are organizations and that the schools got them and that family members and friends have got them. But to an extent now they sort of figured out what exists and what doesn't. And then for a while what they needed were supports to help them keep functioning in routines during school. But schools out now. And so really what kiddos need of all ages at this point is a chance to try to do things that are fun and freeing and affirmative. And for the nice thing about summer is that you can imitate normal summer in a pretty typical way and that's a good thing for most of our youth. If you've got a youth who's a skateboarder, that kid should be at the skate park socially distancing from the other kids at the skate park but out and doing that thing. If your kid is a swimmer, you should be at the stream or the river or the reservoir again, socially distancing, taking care of yourself and reminding them to take care of themselves. Because honestly youth are kind of like, they're filter for what's dangerous and what they need to take care of is different. And so sometimes they need their reminder like look I know the mask is uncomfortable and obnoxious and you can't see your friend's face, but do the thing, right? And also I know the temptation to climb all over one another is incredibly intense. People miss human contact and also we've got to have conversations around that. So I think that that's really the big thing that youth need right now is that they need some some attempts at normalcy, maybe even some reduced screen time, which is can be hard because right now if you're not out in the world, there's almost nothing to do but screen time. But it gets exhausting and it gets exhausting on youth the same way that it does on us as grownups. So those of us as grownups who feel like the zoom fatigue, kiddos are actually feeling it the same. Youth are feeling it similarly. So I say that to because I'm about to tell you what outright offers and what outright offers predominantly right now is virtual based is screen based. And so our Friday night group continues every single solitary Friday night at six thirty youth from ages like thirteen up through their teens are welcome to jump on that call and they talk to each other and they even break out into smaller rooms so that they can be in smaller conversations. I know when I facilitated at one point, we decided to have like a light show where the kids all, you know, like flickered on the different kinds of lights they had in their room. And then we played like Bruno Mars and danced around. So there's lots of different stuff that that we're trying to do to to keep the youth connected, but a lot of it is still video based. And the same is the case for our supports for families. So, you know, the transparent group is online. And that's mainly the way that we have pivoted to support is to put everything that we can in people's hands around the state and to lower barriers to the technology pieces and also to try to encourage youth when they are with us. Into those things like I was talking about before, the like go outside connect with people but do it at a social distance. So we're some of what we were provided is a little bit of that kind of like suggesting that when they're not with us, maybe offers them an opportunity to think about something different to do. So, yeah, that's the that's the stick right now. As far as what we're offering and it's also my recommendation on if you can encourage youth to do things like do a craft project. Pick up a new skill that maybe they don't have already, that doesn't involve only being on the computer. It helps to relieve some of the monotony that gets heavy for mental health and helps people to realize that things are still happening in the world and getting outside is just good for your brain right now. A little bit of vitamin D, a little bit of fresh air really can make it possible to get through in a way that is hard at the moment. So if I were an LGBTQ plus youth who is watching this program and I want to access the Friday night group or the other group that you suggested or I'm a family member, how would I do that now? So info at outright dot VT dot org info at outright VT dot org is the email address and you would send an email there and from there we get you access to all of the things. And the reason we do it all through that one centralized area is for kind of like computer security purposes. We don't want youth being in an environment where someone could come in and zoom bomb them and make them uncomfortable or even do harm. So some of the protection that we're offering is that if everything comes in through that central area, we can get info directly into their hands without like posting it on Instagram and Facebook where it's publicly available and people can use it to do nefarious things. So you mentioned that this is summer and there are some. Thank goodness. And there are some of the traditional summer activities that people can still participate in. But what about outright camp? What's happening with that this year? We made the really, really difficult and painful, quite frankly, decision to do an all virtual camp. Now we are all on board and we're excited and we are going to make it the most awesome thing that it can be. But the decision itself required some serious reflecting and even grieving because we know what it is for youth to be physically in space together for a whole week, freed to be who they want to be, to experiment how they want to experiment, to be in an ultra supportive environment connected with peers and get them and grownups who really get them in care. And we know that it's very different to to shift away from being in that place that is a retreat. It's away from the rest of the world physically and other people can't be in the space and other people can't tell them how to dress or tell them how to act or tell them what makeup to wear. And this is different. So we recognize that it's going to be different this year in that you might so have to be in your house in a place where people put limitations on you when you're doing camp things. But we're trying to think of some ways to be expensive. So we'll have lots of workshops. My guess is that we're going to still have our talent show online. And I have now been to several talent shows online and they turn out to work out pretty much exactly the same as in person talent shows, except maybe with less interpersonal sweating. So I actually think the talent shows online are even better. So the youth can have a lot of the experiences that we would have at camp anyway. We're even thinking of doing like a box that will have some of the interactive pieces that make camp what it is and send it out to all of the participants so that throughout the week they can literally physically interact with things that everyone else is also physically interacting with. And they can have some of the symbols of camp available to them so that we can kind of manifest the physical in whatever ways we can. And we'll have some affinity groups, some places for people that have conversations that are deep and to connect with each other. And I think the plan is also to do some encouraging of the being outside to think of some activities that we can do where, you know, maybe maybe it's even something like everybody's going to take their little device out onto the sidewalk and we're going to sidewalk chalk together, something like that. So that's the imagination here at camp this year is provide the same support and love and to provide connection with peers and to recognize also together that we know that there's something that's missing that is irreplaceable and that we're not trying to pretend that this is this is this is a perfect replacement for the irreplaceable. And I think that that's that's how we're going to do camp in a way that is that that most honors the needs that you have right now. Because I also think that a big need that youth and grownups have is constant reminder that we do understand that this is not normal times and that the things that we are doing are not perfect replacements. And so if your spirit feels like it's just not reaching the full tank in the same way that it's a recognition that that's not on you. That's not on your body. That's not on your brain. That's on the circumstances are actually really different. And so we can offer that there is something to mourn. There is something to feel loss about. And since we can then process those feelings together, we can go and then there's something awesome that we can build that's different. And there's cool stuff that we might build that we could keep for when we are back in connection. But we've got new virtual capacities that create connection for people who couldn't get physically to camp before. So I think it's a it's a good place and a good time for opportunity. And while we're we're all going to miss like the kids piling on top of each other in the smallest possible spaces, just for hours on end in a kid pile, we're going to find some other things that are restoring and and beautiful. It's it sounds as though outright is being incredibly creative, resourceful, resilient and looking at this may not be a short term, but a long term kind of response to covid in the needs of our youth. It is without right be able to sustain this on an ongoing basis. And in our last three minutes, what could we do to truly be supportive of outright as it's doing this work? Um, I think that it is sustainable. We can do sustain the virtual pieces that we're doing. The most important thing that we need right now are first of all, LGBTQ adults who are willing to offer a little bit of their time to be people who do that support and facilitation of the groups that we have. And then honestly, we continue to need dollars and cents because there are lots and lots of things that we normally would do that help us to keep those things sustained, help to keep us paid, help to keep us able to figure out the next Zoom project that needs to be purchased that can't be done right now. So the the more support that we have financially, the the less we have to worry about the dollars instead of the creativity. So with that, our time goes too fast. Thank you so much. And I'm going to ask you now. So I've got the commitment from you and let people know I want to schedule another follow up into you with you in the near future so we can talk about the ethnic and social equity standards work group to which you were appointed as working with the Department of Education because I think people have some misconceptions about exactly what you are charged with doing. And then I want to talk to you as a member of the Montpelier Rocksbury School Board. So you will come back. Promise. Pinky promise. And with that, thank you. And I so enjoy spending time with you. Thank you. I would like to welcome Judith Chama to our show for an interview today is very exciting. I haven't known you very long, but what I've known, I've really appreciated. And so here we are. Judith, can you tell us a little bit about your background? Like, you know, how did you start writing and where are you from? And your details about about you? Yeah. Well, I started writing pretty late in life when I was maybe in my late 30. And it really happened kind of serendipitously, you could say, I had at that point thought that I wanted to be a feature article journalist. And I just didn't like it started. And one day I saw this ad for a poetry workshop at a women's center in Montpelier. And I thought, well, you know, I don't know about poetry, but it'll probably loosen me up. And so I went and, you know, I just will never forget going home from that that first day and saying to myself, I've been waiting for this my whole life. And the person who was teaching it, Nadelle Fishman, was so good. She sort of stayed with me after the eight weeks were done. She's now, you know, became a mentor and now is a dear friend. I've remained a dear friend ever since. And from there, I went on to get an MFA at this program that morphed in where it was located from the Vermont College to Norwich University and then to what it is now when I graduated, it was Norwich University. Yeah, is that what brought you to Vermont? Or were you here previous to that? No, I was here for quite a while before that. Again, I seem to bumble my way through into just about everything. So it was the very early seventies and I didn't have a job for this summer. I was going to school at the University of Toronto. I came here, stumbled on a job on the long trail as a caretaker, said to I was married at that point to a man. And and, you know, we just said to ourselves, we just never want to leave here. So, you know, I dropped out of school and came here. So I had been I had then got an undergraduate in the finished my my undergraduate studies at Goddard in their low residency program. And you're married, right? Now, I am married to my darling, Lisa, to whom my book Minnow is dedicated. Yes. Yes. We got together and, you know, oh, approximately two thousand and threeish and have been married since it's been legal to be since it's legal. Very good. So I'm going to I'm going to read what Allison Prine, who is another well established writer in Vermont. And then I would like you to read Minnow, which I really think it's the title and your first poem in here. And here's the book and. Judas poems is sensuous, vivid and richly detailed. Minnow wakes us to the urgency and grace of natural landscapes and intimate connections. And I think Minnow for me really spoke to the times we're in right now, sorrow. There seems to be a lot of real sorrow in the world. And the poem talks about that, but it also talks about how we can uplift ourselves and how we can be positive. So if you wouldn't mind reading that poem. Sure, calm, you know, covered in this cover of night, the serious air, cold fog swirling around us, the minnow that lingered while we talked, dirt surrounding us, soot everywhere, the path fringed with fungus. It takes something serious, something drastic, like leaving your bed, like finding a stick to really change. All night we stayed covered, cold, the path filled with fungus, soot all around us. And still we smelled wintergreen. We smelled apple and berry. We made a bed that was soft in the night, a serious night. We touched hands and our breath was swirling, stick snapped, turtles fled. We looked different to each other and smelled. It was good. It was serious. The path was fragrant with fungus. We slid a stick in the water and talked. The minnow we saw disappearing. Thank you. That's really beautiful. And you have a first collection, too, that people can can still get from you, your first collection? From me. It's out of print. The publisher went out of business a long time ago. But I have some. Yeah. OK, so. Also, books of translation, too. I translate with a with a friend from Ampelio Michiko Uishi, who writes in Japanese and then does the the first translation. And together we work on honing on the on really making those poems into poems in the English language. And we have two books, two books of those that are published as well. Great. And we are always into the natural world.  And so we were always interested in the natural world and how, you know, to interpret that as, you know, into your writing, into your work. I suppose you could say so. I grew up in Buffalo in a very urban setting. But my but actually my favorite place in the entire city was the zoo and that connection with. More than human. And, you know, I have I have memories of places like the side of the railroad. You know, bank where the wild where the milkweed was, you know, of the mud in a construction site.  But yes, those are my strong memories. And then, of course, when I came here, it was. Overwhelmingly amazing. I know, I found that, too. So you came directly from Buffalo with your ex to want. Yes. And then I had a series of pretty. I feel like I've had wonderful work in my life. Well, one of the first jobs that I really loved was I was a typist B for the state. And I was working for what this was pre OSHA. I was working for what was then the division of industrial hygiene and working with a bunch of people who were just so labor positive and so proud of making conditions for the dusty trades. You know, granite, slate, marble, best is talc clay. Making that safer for workers. And it was. It was pretty inspiring work to be part of that, to learn how to take X-rays and meet people from all over. And it was in Barry to learn from the person who is supervising me about Barry's rich ethnic heritage. And a bit later after I got my MFA, I became I taught in a number of such a number of circumstances, one of which was an arts based senior center in Morrisville called the Out and About Center. And that was I did that for 12 years, leading first writing workshops. And then as the funding changed for senior centers and people with more profound disabilities were there, we changed to what we were doing to storytelling. And again, it was such deep cultural learning for me in terms of getting to know people who had lived through all the enormous changes of the 20th century and what was essentially Northern Appalachia, making their livings and subsistence farming and logging and mining. And I then I was also teaching non-traditional college age students through a given that set of programs, undergraduate programs that were at Vermont College and then Norwich University and then Union Institute. And and lastly, my such beloved work and such deep learning for me of being the executive director of what was then VSA Vermont and thankfully now has a better name, much better name of inclusive arts Vermont, which is engaged in arts and disability and was just such incredible, joyful work.  How did that have an effect on your writing? I know you had a reading at the synagogue there and and how is all of that influenced you do you feel? Yeah, it's certainly profound. I grew up in a family that not only was highly identified Jewishly and but was part of a really intense immigrant and refugee community. One part of my family were Holocaust survivors and I also experienced some quite a bit of death early on in my life and that led me to, you know, the kind of existential questions that children and people of all ages struggle with. So the combination of sort of the cultural, ethical background that I grew up in, you know, again, highly labor. Positive labor oriented that sort of. Connection and, you know, the spiritual and questioning is in the community. Just just I really love the community. I also love, you know, the same way. I love what people do that is richly engaged, you know, everything from cooking to singing to making beautiful ceremonies. I just it's to me that is just part of the way I love what human beings can do. And so the poems in Mano you know, there's quite a few of them that reference Jewish tradition in one way or another. And yeah, it's just it's. It's part of my. The way I am in the world, you know, your fault. Yeah, your inner self, maybe your yeah. So I would like I would like to request that you read one last poem before we have to leave. And I want to thank you for being here. It's wonderful to see you and you. So. Well, Linda, thank you so much for your wonderful show in the first place and for being your wonderful inquisitive. Positive self, thank you. This is really, it's really fun to be here with you. I'm really honored. I think I'll read the point. My neighbor's footprints frozen on yesterday's path softened today to flush.  The beach is bare again. The gulping surf testy in its winter thaw. The sand here and there, a sudden soup. Grace and drizzle have left us the place to ourselves. I think I must be late considering death and purpose, the sky and all that's beyond bearing. The dog races to a lingering goal. The clouds begin to break apricot at their evening edges, then deepening to pink. It seems a long wait till spring and the possible. You know how it is each year settling in unfamiliar, uncertain. In a few months, the sun on our arms will shed a layer, put our backs into our paddles. There's always a point, the boat slipping from shore, the air's sharp, the lake's still too cold for swimming, woods full of moss and fungus, when we're tugged into a bewildered hope with nothing beneath us but a whisper. Thank you, Jared, that was wonderful. And we'll see you soon. Take care. Thank you so much, Linda. Bye. Hi, everybody. Welcome to a very important interview with representatives of Vermont Pride Theater at The Chandler. They have been guests before. Andra Kisler and Susan Loinder here to talk about the exciting virtual 10th season of the Vermont Pride Theater. They're members of the Vermont Pride Theater Committee. And also actors who are gonna be performing in one of the shows. So welcome. Thank you. I'd like to start, if I could, by asking you how you happened to adapt to this new moment in our culture. How did you happen to produce a virtual celebration of the performing individual arts since nobody's in the theater, the physical theater these days? Well, I think a number of things came together for us. We were of course watching what was happening around the world and the governor's social distancing policies. We had, I think really how this started for us was we had a fundraiser that was planned. And it became really clear that we couldn't have an audience. So then our fallback position was could we have the singers come in and record it? And then we got all this information from the CDC that singers were incredibly vulnerable because they're projecting. And so we tried to finagle different ways. Could we have people come to the theater an hour apart and just sing on their own and there's no duets. And I think as it became more and more clear as we went down that road, we just weren't gonna be able to do it in a way that made sense. And so as to me personally, as that was happening, I was like, well, there's no way we're gonna be able to do the shows. Like if we can't do our fundraiser and people aren't comfortable. And if anything were to happen to an audience member that would just be horrible for the theater and the community. So I think we had a sense that this wasn't an option. Really, I mean fairly early on. And then it was kind of interesting was that this is our 10th anniversary.  What are we going to do for this huge finale? This is wonderful. Is Vermont Pride Theater going to continue beyond this? We've had meetings about it. Who's going to be the producer? What will happen? And then this is what happens. It's like, oh, we should go out with a bang in case we can't sustain this. And it's like, it feels a little like T.S. Eliot, right? Going out with a whimper, you know? But really trying to find a new way to deliver the art form. And that's been, I think, kind of the cool if there isn't upside to any of this is I've been doing some readings with friends on the weekends reading plays and comedies and some Shakespeare. And to be able to interact with people around the country and sometimes around the world and share a piece of art has been super cool. And for me as an actor, and I've done stand-up and stuff to not have the laughter and the applause and the response has been really, really challenging. It's been really tricky. The technology really does put something between you and your audience. So it's been really interesting to adapt. And maybe Andra can tell you a little bit about how to manage props and your lighting and your green screens. It's crazy. It's so ridiculous. So I saw David Zach, who is Sharon Reeves, our producer, Sharon Reeves' brother, was the initial instigator, actually, of Vermont Pride Theater with his sister. He came in from Chicago 10 years ago. And for the first three or four years he was directing our shows. And so I watched, and I think maybe Susan saw it too, a production that David did in Chicago of A Late Snow, which is the show that Susan and I were in last year on the stage at Chandler, but it was done as a virtual show. And it was very simple. It was just the person saying the line was there with a white background, maybe a glass of wine. That was about the only prop I saw. And we have grown exponentially since then. We have backgrounds, as you can see behind me. I'm obviously not really at Chandler, but there it is right behind me with our rainbow flags. So we have various backgrounds, even different places where we're sitting in a truck, depending on which character it is. We have props. We have props that are handed from one person to another. Susan and I wanted to include our cats because we have two almost identical cats. We thought it would be great to be able to pass a cat, but everything has to be doubled. There's another one of these so that the person who is receiving it has one too. It's very confusing. It's been very impressive though. It's been really, really tough, but also really, I think it's gonna lead to a better product. Because I think the people just sitting against a black backdrop with no action is really challenging. The challenge I think on Zoom is to really make eye contact with people and to have the illusion of action. So we're seated virtually most of the play. There's a couple of times where you bend over or you have the illusion that you're standing up, but mostly you're really trying to act. And so to have all these props, I have a steering wheel. I'm in a truck, things are happening. There's sound effects that are gonna be layered in back later. Has been really, really, really adding another layer of I think challenge, but also realism. And we're hoping that putting this all together and recording it in a way where we're recording it so it's gonna feel like it's live, but there's none of the glitches or somebody's internet goes out or that you get frozen. So the idea is to have as close to a live performance as we can have without any of the frustrating moments that you sometimes have in Zoom meetings. Well, it seems like you've adapted and that this might be a gesture of continuity for the Pride Theater Festival at the Chandler if you were speculating about its future. This seems to be a really positive step toward continuing your work in subsequent years. Yeah, one of the things that we talked about with the director there was doing more community outreach and trying to do some educational pieces in the schools, for example. And Zoom would be a perfect way to do that if we could find some scripts that were age-appropriate and go into the schools virtually or maybe even in person with a clip of some sort. I think it would really give us the opportunity to spread that information out across the state. And we're hopeful that this will open up a new audience for us. So again, on the plus side, folks that don't always drive from Burlington or maybe beyond White River Junction or New Hampshire, those kinds of things. We're hopeful that anybody can be sitting at home and click on this. It's not the same as live theater, but it could be a whole new venue. Absolutely. Well, let's talk about your current offerings. We wanna make sure we tell the audience what is in store from July 17th to August 1st are the place, but there's a photography exhibit called at the right place at the right time, which starts earlier. Would you mind telling us a little about that? It's photographer John Gilbert Fox, Hanover resident. And his free, well, I can jump in. His freelance photography has centered on theater and dance. He's also known for his 25 years plus work as a photographer for Vermont life. And so he is going to include photographs of such gay icons as Franklin, Kamini, Gore-Vidal, David Hockney, and Paul Cadmus. And this is an exhibit that opens in advance of the place at the Chandler Theater. Is that right? Yes, and also it will be available in two ways. You will actually be able to go to Chandler, walk into the building and see the exhibit in person with proper social distancing, wearing a mask, letting them know that you don't have any respiratory symptoms, or you'll be able to watch the, see the exhibit online, which will include an interview with a photographer, an interview by David Corville, and that should give some really good information. And Susan, you know a lot about the auction and what he's going to donate. Yes, so he was so grateful from the committee's perspective that he's willing to donate some of his photographs, and those are going to be available online for people to bid on, there'll be an auction. And he also has some signed books where I've been told, including if people wanna feel like this is one of those times where you buy back something just so you can maybe rip it up. So he apparently has a signed book by Anita Bryant. So I think Anne and I will be trying to help bid each other on that book. And what are the dates of the exhibit? It starts early and should I think August 2nd? Yeah, so we'll go through Sunday, August 2nd, which is the end of the theater festival as well. I think it doesn't open on the 10th, it's next weekend. It says it'll open online at 7 p.m. on Thursday, July 9th. Okay, but in person. It's probably that, because we're set with their hand. Okay, I got it, July 11th. Yeah, Saturday, July 11th is in the main gallery and the gallery hours are from one to four on the weekends and all day during the week through Sunday, August 2nd. So let's talk about the plays. Please, please. I'll, Susan, how about if I talk about the homosexuals and immediate family and you jump in for the cloudburst? So the homosexuals is a show that we had done in our, I believe it was our second year of Vermont Pride Theater. And we had a whole lineup of the plays that we were planning to do this year. And then when the lockdown happened, we just kind of backed up a bit and said, what can we do? So the homosexuals was a show. I was in that in our second year, I believe.  And he comes to the city just to find his community. And this year it's directed, it was originally directed by David Zach. Now it's directed by Richard Waterhouse from Newbury, Vermont. And it has cast members from all over. There's a New York city person and there's someone from North Hero in Burlington. There's someone from Provincetown. And it should be a really great show. Actually, two of the actors who were in cloudburst with Susan and me will also be in the homosexuals. It's a fun show, it's a moving show. If you saw it eight years ago, you'll wanna come and see it again. If you didn't, you'll definitely wanna see it. So that's really kind of fun to reprise that. And- Okay. Susan. Cloudburst. So cloudburst, I've been calling it sort of the elderly lesbian, Thelma and Louise. They're basically two older women and one of them is blind and has some physical disabilities and ends up getting put into a home and her partner of many, many years busts her out and they go on the lamb. And it's set in 2010 before the right to marry happened. It's set in Maine and so they take it on the lamb to go to Canada to get legally married so they can't ever be separated again. And it's funny and at times poignant and heartwarming and silly and I get to act up and play somebody who's very crass, who's definitely not me.  Your character's not that nice. So it's been a challenge. And then immediate family is a tale of what transpires when a mixed race group of siblings and have siblings gather for a wedding. And that was written by Paul Oakley Stovall and it's a new play. The playwright also, it's so exciting. If the playwright, if the world were normal right now, the playwright would actually be touring in Hamilton right now. Oh, just learned that today. So he is an actor, singer, dancer as well as a playwright. And that also has a cast, all people of color. And it is a cast from all over as well. Massachusetts, I guess, New York City. And it's being directed by a woman who was in the show that we did last summer. Oh my goodness, how embarrassing to be, just the name is Susan. What was it? Diane C.B. Walters. Yeah, she played the grand mother. All together now, that's right. I just pulled it out of the deep recess. I'm sorry, I wanna give credit to Margo Whitcomb who's our director for Cloudburst for like herding the chickens and taking on this comedian form. And we have some very lovely young people in the cast with Anna and I, I feel quite like an elder state swimmer in this play because we have these young people in the cast with us. We're constantly saying things like, go to file and there's a drop down menu and click on this. Well, this is great, tickets are $10 and you can get them by going to Chandler. We'll put it up on the screen. Chandler-arts.org I think, but we will put the exact link up for you when we air the interview. This time has flown by. Are there any last words? Final farewells before your performance. I would just say the performances are gonna be repeated so that if folks miss the first weekend, there'll be another opportunity. We're spreading this over three weekends. Typically we just do two. So we're having two shows and we're only doing Friday, Saturday night. We're eliminating that Sunday show. So look at your calendars, make that plan. And the idea at the end of each show is to have a mini-life talk back so people could type in chats with questions that they might have for the actors or the director. I love the talk there. We're really looking forward to it and we think people will be intrigued and hopefully we'll laugh and enjoy it and I think it's a new era in filmmaking slash theater. So I hope people will jump on and also share, share, share on Facebook if we could push out links to this. That would be really helpful. So it's www.chandler-arts.org. That's where you get the tickets. Do it friends and thank you very much for joining us. Thank you. Thanks so much. That ends our special interview show. I hope you enjoyed it. Bye-bye.


This is my first time roasting chestnuts and I know you're supposed to like maybe slice them to be able to let that pressure out but I did not do that so I'm just gonna stand here and hope that most of my food doesn't explode right now because if it does I it's gonna be kind of hard to eat it but here's the moment roasted chestnuts mmm a little sweet what am I gonna do now at least I don't explode them all over the kitchen do not explode do not explode my first whole steaming chestnut time for me to start planting some of these too good not to share


Christian Jack Curry back here on this breaking news edition of BP TV. We now welcome in our Michael K and Michael This has just been a tremendous day for Brian Cashman and the Yankees bolstering their squad Absolutely and they still have about no just under 24 hours if they want to do anything else and you know You look at what they've done and what they have to do They probably will trade Joey Gallo at some point, but I don't put it past them at all They have kept their top prospects So if you really want to make a run at Juan Soto and make this a breathtaking trade deadline edition for the Yankees Well, you could do that as well I'm not saying that you will but I'm amazed that they could do all the heavy lifting heavy lifting that they've done and they Still have their short stops in the monolithic system and they still have their catchers as well So at this point till we see how they perform looks like the easy-to-good job Michael if the playoffs were to start tomorrow We all know Garrett Cole would get the ball in game too I think a lot of folks have been wondering for the past several weeks Who would get the ball in game to how likely is it that the Yankees picked up that picture today in Montos? Well, I think that there's a lot of possibilities according to who they're going to face So if Louis Severino comes back and it's totally healthy I still think he could be the game to starter than Montos would be the game three But I'm not sure we're gonna see Louis Severino in the game until the end of August Maybe the beginning of September and whether or not they'd be able to stretch them out enough So Montos certainly gives Aaron Boone and his staff a very legitimate number two and let's not forget You have Nesta Cortez there as well who's doing a really outstanding job So the Yankees have some viable options as they go into any kind of postseason series all Depending on the matchups for the the other team Michael They did what they needed to do bringing an outfield or an Andrew Ben and Tendi and Jack broke the story today about Scott Efros coming over from the Cubs. I want to focus on the Bullpen right now. We talked about the rotation, but we just talked in our last segment. There's more diversification for Aaron Boone now out in that bullpen Yeah, it's gonna be interesting to see the way it plays out because they've got to make two roster spots now Who's gonna go down and who's gonna stay obviously who has options? That's important as well But I think Efros is the one that really excites the Yankees Aaron Boone said today He's been on their radar and that he started hearing about Efros in April so obviously the front office was even before that They like everything about him what Jack just said in the previous segment They have him it under control for a very very long time. He can get out righties and lefty So that gives them a different look now I think in Lutrivena what they've done is they've gotten a guy who has been really outstanding before and he has not been Outstanding this year and the Yankees fix people. I mean look at what they do with clay homes They turned them into this closure beast that struggled now of late, but for the most part outstanding He was an all-star as well. Maybe they see something with Trevino a release point Maybe they want to accentuate certain pitches and the like so I think that both of these guys could really help But the guy I believe that they're most excited about is Efros Michael the Yankees have the best record in the American League right now for a huge chunks of this season They've had the best record in the major leagues But Brian Cashman and his front office recognized that there were areas of improvement with the flurry of moves that they've made and that We've just discussed. What kind of jolt do you think that sends to the clubhouse? I Think anytime you make big-time moves like what the Yankees did last year when they got Rizzo and Gallo that Excited the team. They said oh, okay, the organization is all in as well Again, this shows the Yankees are all in they traded a lot of good young prospects I think over the last two years Brian Cashman because the Yankee farm system is so flush with talent has improved his team by trading 33 minor league players now There's a method to his madness as well Some of the guys have to go on the 40 man roster at the end of this year anyway And he wouldn't have been able to make room so he puts them into deals But that's not what the the guys on the 26 man roster looking at they're looking at is this team better after these trades I mean when you bring in a guy like Ben and Tendi, you're better when you bring in a big-time pitcher like Montos You're better than you hear that your organization was also in on Castillo You heard rumors about them being in on hater as well. They are going for it prospects are nice You want to hug them all those things? But the Yankees want to win a championship and they just prove that over the last two days that they're going for it And if we know it and if the people that are fans know it the guys in that locker room know it as well And I think it excites them it probably propels them to another level prospects are nice parades are better Michael And I just have to ask I know you talked about Soto when you first came on But would you be surprised if anything else happened they have until six o'clock tomorrow? No, I wouldn't be surprised I think I think the gallow deal has to be made the eighties have 41 guys on the 40 man roster So somebody definitely has to go so there's a trade there But the eighties have set themselves up that they could relax and not panic and if something presents itself That's exciting that could take them to the next level. I believe that they would do it now Do I believe that big deals happening? My gut feeling is no But there is another deal coming because I have to get deal with the roster situation and then the gallows situation as well


first of all I thought that he was a robot then I realized he's missed a pancake block is that a pancake block or is that a headspin? right my friends what is going on and welcome back to another video yes yes it's true I have a standing desk once more and it feels amazing feels absolutely incredible to be standing here able to react to what I'm gonna see in a more dynamic you know feel you know what I mean I'm not I'm not captain of chair I can actually move around it's fantastic absolutely fantastic so with that being said this is a remake unfortunately this doesn't happen often but it has to be done you know when you've when you've got a series with a hundred videos in it and you're only gonna have 97 that that doesn't sit well with me and it certainly doesn't sit well with you guys and I know it so I have watched Quentin Nelson once before that was the first time I'd ever seen him he's a menace he's he's missed a pancake block that's all I can remember I can't remember how big he is I feel like he's a little bit shorter than what I'd expected but we're gonna get into all of that shortly this is the 29th best player in the NFL for last season as voted by his peers let's have a look see and yeah first of all I thought that he was a robot then I realized he's missed a pancake block is that a pancake block or is that a headspin this is a terrible song why am I dancing kind of catchy though dominated would you feel by him if you just you trying to get up he's like no stay down you try no stay down my name's Quentin Nelson I don't know man it's pretty that's okay I didn't actually see I heard it last time but I didn't see him actually go over to him so what's he he's probably gonna look at it holy shit that's a giant that is a giant I tend to think you'd be more famous as a punter at that size than offensive lineman 24 he is an absolute mauler alright how big is he for some reason I I remember thinking he was like 6 4 6 5 but I was surprised that he was a little bit shorter at 6 2 was I right absolutely not he's 6 foot 5 330 pounds he's an absolute monster he's picked up in the first round of the 2018 draft by the Colts with pick number six he is 24 years of age as they said and he's the youngest of four children he was noted to be a large baby at birth at 10 pounds 10 ounces in fact or 4.82 kg that's a large baby played at Notre Dame which is cool at the NFL draft he was measured at 325 pounds so effectively he's put on 5 pounds 6 of 5 325 that is a fucking huge man that is a humongous human especially being able to move you know as effectively as what he does 26 and a half inches on the vertical jump that doesn't matter 8 foot 9 and 8 foot 9 on the broad jump at that size and that weight that's that's quite impressive and there we go 35 reps on the bench press 35 reps so this is what he's most effective at right and that's what effectively they have to do it with blocking right so you can see how the bench press certainly can transfer over to the Pancake Block and we're seeing it right here you don't want to get his hands on you big queue big queue all right oh my lord that is it that is a sick play he cleaned that up real good didn't that is oh that's perfect that's that's um that's pretty I'm gonna say that's pretty it's not it's not it's not it's not every day that I'll call something that an offensive lineman does as pretty but that was pretty that was finesse that was about as finesse you can get as a court as a as an offensive lineman in my opinion oh can you imagine the feeling of being a running back slightly undersized running behind that guy oh it'd be like heaven oh that's so cool I've always thought you know I've always always wondered always thought that relationship between the running back and the offensive lineman has got to be one of the you know the most closest one of the most rewarding relationships in the game of football that is one huge human to be running behind this is a player for that not quite bro that is amazing now I saw that in the last video but obviously it's been a while completely forgot but I'm gonna say something similar in this video than it did last time that is the play that I want to see more often okay that's the fridge times two at the line how he didn't score then I have no idea but I'm telling you if you one yard out bring your biggest guy on doesn't matter if the other team thinks you're gonna do that it doesn't matter if the other team knows what you're gonna do if you've got a guy that big no one's stopping him come on guys get condensed all right get condensed don't worry about these white you can put a wide receiver out there if you want but get get condensed get all your men in and drive for that line like a big scrum in the game of rugby that is something that is something I want to see more often in the game of football ever since I saw the fridge I've always thought that yeah he is so young with so much potential mr. pancake robot Quentin Nelson I mean look at him look at this guy he looks like the Joker mixed with the fridge I'm not gonna lie doesn't have a nickname big Q big Q let me look Quentin Nelson nickname we've got what do we got ill gray because all he did on film was teabag opposing players they're gonna call him Earl gray all right we'll leave it there with that being said guys with that being said in the next one we've got the third and final video of the day Richard Sherman and if there's one thing I know about Richard Sherman one thing I remember it's that look of absolute terror discussed disbelief at the seahawks going for a quick slant over feeding the ball to the beast mr. beast mode martial and lynching going in you guys know that picture I know that picture we're gonna see we're gonna see what is up to for the 49ers that was at the seahawks apparently at the 49ers so let's see in the next video thanks for watching guys thank you so much for watching I'm feeling good I don't know if you can tell you know I I'm feeling better than I was down in Queenstown put it that way so that's that's good right because I was feeling pretty good down there but I feel even better up here because I'm one step closer to being back with my kids I'm sick to death of focusing on myself too much you know I can't do it I'm a dad I'm a dad times two and it's about time for me to be a dad but before I do I'm banging out these last-minute videos so so everyone watching wherever you are in the world thank you thank you so much and I'll see in the next one there'll be plenty more videos to come as per usual don't ask me what they are because even I don't know but as far as the next 20 or 21 or 22 they're gonna be these top 100 players so as always hope you enjoy I do this for entertainment purposes only and I'll see you in the next one thanks guys peace out


It is a tremendously exciting time for the ICT industry. We are at the unique and uniquely disruptive moment in history, where many exponential developments in technology, science and society are coming together. We in the ICT industry are the heart and backbone of those developments. The infrastructure, innovation and technology that is powering change on such an unprecedented scale. There is no one single development that is key to the near future. It is the impact of so many different strands from artificial intelligence to biotechnology, from the sensor powered internet of things to big data analytics and software defined networks from wearable tech to deep learning that is going to make the difference. If you think how different life has become in the space of such a short time since the widespread introduction of just one new technology, the mobile phone and then multiply that many times you begin to understand the scope of such change that is taking place at this moment. First of all I would like to welcome you all to this event that delegates from across the entire industry ecosystem from governments, businesses, international organizations and research institutions from across the globe. Disruptive technological developments are leading the convergence and partnerships between ICTs and vertical sectors from manufacturing to banking, health to energy. ICTs increasingly no longer operate within just the industry but are competing in an arena of activity that involves stakeholders from all other sectors. My main message is this, let's learn to work together to collaborate to find partnerships that might be unusual but are effective. Together we are stronger and it is only by working together that we will find the solutions to meet global developmental challenges and drive the industry forward. Let's work together. ICT has always been unique. It is the only major event of its kind that brings together an audience from the public and private sectors from heads of government to leaders of the industry from developed and developing markets. Its program of debates, networking and knowledge sharing opportunities bring together the ideas, the innovations, investment opportunities and partnership potential that really matters. It is an event that not only debates the need for cooperation and collaboration but actively fosters it indeed. Where else in the world can you meet a minister from Africa over coffee, discuss the future of spectrum allocation with a regulator from Asia in a panel session and network with a CEO from America at lunch. Meeting, discussing and networking face-to-face that is the value of ITU telecom world. Exchanging ideas, inspiration and contacts. It is a tremendous event and one I am very happy to have been part of. Well, these ages have been tremendous satisfaction for me. As the Secretary General of ITU had the opportunity to really have an impact on highlighting the importance of information and communication technology to the world. Today broadband is in the heart of every national development plan. Today ICT is part of the solutions of all of the major problems and challenges the world is facing today. From meeting the Millennium Development Goals to climate change and environmental sustainability to sustainable development agenda that we are talking about. Therefore, leaving ITU at the end of my eight years as Secretary General I feel like leaving the legacy of having highlighted the importance of information and communication technology but most importantly bringing the ICT community together. Eight years ago the communities were strongly divided along some ideological lines and today I can talk about one ITU within and outside our community and therefore I am very happy to see that movement coming together and also bringing all stakeholders from the government and private sector together, all of them thinking as one. And I am also happy to see the legacy continuing inside ITU because the team that has been elected, Secretary General, Deputy Secretary General and the three directors are really all in tune with the past eight years that we have been working together.


SCP-639 is a Caucasian male, approximately 1.6 meters in height, and weighing 78 kilograms, age 24. SCP-639 is viewed simultaneously on all angles, regardless of viewer's position. Being in front of the figure will have a view of his front, back, sides, and so forth. Attempts to capture the subject in any sort of photographic medium yields a heavily distorted figure. Exposure to SCP-639 causes extreme eye strain and mild paranoia, with subjects reporting not knowing if he was coming or going, or what he was even looking at. Effects do not persist once SCP-639 is removed.