We welcome all our viewers to the British Library – my name is John Forscott most of the public events programme here for the British Library It has been my pleasure to work with partners at the C 어려 International Festival of Literature to put together this weekend of events called the Irish Writers Week in London Mae'n gychwyn gyda'r ysgol ymddangos, Mae'n gweithio'r llwyddiadau a chael ffasgwylol. Mae'n fwy o bwysig i'w wahanol yn y maes yn y miolio'r ysgol. A yn y cwrthoedd y moment, mae gweithio'r llwyddiadau, mae'n gweithio'r lyfr i'r bywydau'r llwyddiadau a'r cyffredinol i Niall. Mae'n gweithio'r moment, mae'n gweithio'r moment gyda'r cyffredinol, ac mae'n ddweud, mae'n gweithio'r cyffredinol i'r cyffredinol i'r cyffredinol, for the call at that very last minute, and to all of you for being here. This is the manuscript's reading room, this is where some of the most extraordinary precious documents in the British Library collection are consulted on a daily basis, whether it's a letter for written by Elizabeth I, or, you know, a George Elliot handwritten manuscript, or whatever it might be on these desks every day are the most extraordinary treasures on the Выalum and paper that we have anyway. ac mae'n gwybod bod yn ystyried a'r cyfrifol, da chi'n gŵr fawr o'r fawr. Fawr iawn i'n gwybod, ac rwy'n fawr i'r cyfrifol i ffordd i gael ei gweithio ac i niw'r rhaid o'r rhaid i nyl i'r fawr. Mae'r fawr i'r rhaid i'ch gweithio, mae'n gweithio i nyl i'r fawr, mae rhaid i'ch gweithio i'r fawr, ac rhaid i'ch gweithio i'r rhaid i'ch gweithio i'r fawr, yn y gweld, i fewn gwirionedd. Mae'r ddweud wedi amser, rydyn ni'n dweud yn ychydig ymddangos eich ffordd yma'r fyddai, Nick McClouds King. Diolch i chi John. Rydyn ni'n ddweud yw'r ddweud, ac yn ddau'n ddweud gyda'r i chi. Fy'n gweithio gweld yma'r ysgol yw i gydig yma yn y rhan fyddech chi'n rhan, ond rydyn ni'n gweithio ar gweithio'r llesaf. Felly, mae'n ddweud ar y dyma'r cyfnod, mae'r ffordd yw'r ffordd wedi'u gweld i wneud o'r ffordd o'r ffordd, o'r ffordd, o'r ffordd, o'r ffordd ac o'r ffordd. Dyma'r mewn cyfeirio blaid cyfan yw'r gair. Fodd yma yn yr ysgrifedd yma, rwy'n fwy fwy yw'r ffordd o'r ffordd o'r ffordd o'r ffordd o'r ffordd yma. Fodd o'r ffordd yw'r ffordd o ffordd o'r ffordd, ond mae'r ffordd o'r blyniad. ..a cycogeographer, actor ac activist. He was 55 when he passed in September this year. For his career he consistently fought against oppression and injustice in his poetry and essays. He wrote about the working classes, about Palestine, about power and about corruption in London and Ireland. His skills weren't limited to his writing. His gift for bringing words to life in his recitals earned him a stellar reputation as a performer as well. On top of his literary talents, Nile was a formidable internationalist with activist concerns. He was the poetry editor for The International Times and led several successful activism campaigns. He was able to assist in the preservation of Rambeau and Vallane's residence in London Royal College Street and in protecting the land around William Blake's grave from redevelopment. The fabled literary walks that Nile organised have been referred to as psychogeographic investigations, which treated greasy cafes and elite hotels alike as places of poetic pilgrimage. His works were praised by the likes of Ian Sinclair, Yoko Ono, Patti Smith and John Cooper Clarke. Nile's older contemporary, Jeremy Reed, who had an impact on his early style, described him as a luminous custodian of the great poetic mysteries. Joining us first on stage today, Tam Bern has been an actor and theatre maker for over 40 years, working with some of the biggest names in TV, including the BBC, Netflix and Sky, as well as adapting several novels for stage. Please put your hands together and a warm welcome for Tam Bern. Thank you, Nick. Delighted to be here. I've come down from Glasgow this morning in order to be with you because I really love Nile. I've been up in Glasgow living there 15 years now, so I didn't get a chance to see him as much as I would have liked to, but he describes Ken Campbell in one of these poems as a one-off, but Nile himself, he was a real one-off, no doubt about it. There are many performance poets who talk the talk, but Nile walked the walk and that's what I really loved was the walks that I would go on with him and he would get me to read some of Blake's poetry on the way. I learned so much wrong and I really honestly feel inconsolably sad that I'm never going to be able to walk with him on that way again. When I got off at Gatwag, I came up to London Bridge and I walked through many of the places I spent with Nile and learned so much from him. So I am delighted and honoured to be here with you today and I'm going to read some of the poems from his most recent collection, London Nation, sold out already on its first print, but it's in the process of being reprinted at the moment. So I'm going to do a few of these for you. The first one, Imperial Nostalgias, it says after the title, after Valeho and my learning from Nile continues. Valeho I've just discovered was a great Peruvian poet and playwright so I'm going to learn about that. So, Imperial Nostalgias after Valeho. One, by the Irish passport office in Cromwell Road, a flood of A4 motorway fumes drugs the pedestrian with Imperial Nostalgias. I feel my race in petrol sniffing muscles. In the Anglican sanctum it is a redress to kneel by the luxury of a vase of lilies exchanging street perfume for this incense indoors with its underfloor heating.  But feel a final epiphany in the south transept with its icon of Elliot candle hovering as if to lean over and ask what I'm doing. Two, my mother, silhouetted in Marlebone Sun, worried half-weeping at the bronze of Holmes. I assumed he'd be on Baker Street. My belated shadow falls like Moriarty. Years earlier in her car, a thord of feet, we foundered in the vicinity of Goldersgreen. Orthodox Jews strolled on their shabbat home to family feasts. She got out, sighing. Strapped in the passenger seat of the small vessel, I was helpless as the bonnet shot up and she began funneling water into the too-hot engine. The holy people walked to the end of the dusk. We were back at the beginning, then elsewhere, shipwrecked in Jerusalem with no sea to Bobon. Three, Irish males in the English capital saunter on Georgian avenues, kings in exile. Tho they feel like blue-skinned barbarians, they moved big-eyed and slow as market oxen. When they've had enough of royal facades, the brihon law of alcohol summons them to a mock-tuder in for more than small beer. Soon they're wading in false-staffian barrels. They are important men. Quips rise to crescendos as names and surnames translate to champion, red king and chief, father's toast prodigal sons, apes of John Tenniel in a numerical realm that never has nor will dain to notice them, the city bulls, the Pythagorean money men, for my sister of the French name is almost French among the plain trees of Holland Park Avenue. Flannars, she turns it to Paris Boulevard with the ire and trance of a protest poet. It was on this grid she saw the male eclipse through the looking glass of a French cafe.  Then the masculine pilgrimage took sail, a riffraff transported to Australia, sparing only this martyr with hanged man Nimbus. I twirl my pen camera, spying on her, spying on him, father of raindrop children. I paint the portrait he could have done in fog. Now this one as well, yes, as the way of things, so many connections going to come back to some of those, but this morning on the pan before I set off from Glasgow I read this story in the Guardian about Oliver Cromwell and they're doing some symposium on Cromwell at the moment in Ireland. And there's this one guy there, Tom Riley, I think his name is, he's written three books saying Cromwell wasn't such a bad guy. He's facing trouble over there. I mean he is, someone's saying, I think Jay was saying, he was, you know, Nile was always for the underdog. Well, there's not any greater underdog problem than Tom Riley in Ireland at this moment. This is to the statue of Lord Cromwell. We cannot get through the bars to do what we would like to do to you. We cannot pass through the cordon of armed police who aim to guard you like a new model army but blue with silver nippled custodians on heads. Curiously, the protector is protected by some who remember one head, one neck, one life. How could such lush curls have been shorn by axe but care nothing for 600,000 Irish heads as collateral as cattle. Well, Dr Johnson keeps a cat, Lord Cromwell keeps a lion. That's got an exclamation mark there. Such a pet can't be easy to feed when all you have is a sword and Bible unless you recite from numbers while tossing it round head foreskins and ignoring its roar of rebuke in Gaelic. Gaelacht, Cromwell, Ort. That's not only got an exclamation mark it's in capital letters. Now you seem troubled by the latest debates regarding your own status. What would I do if I got through? Having thought about it long and hard I decommission your holier-than-thou book with immediate effect and place in your hand another book, the first folio of Shakespeare for it's what you tried to do to him that should most vex your countryman. Your ghost hates stone, exhumed, cut up and scattered at Tyburn. The real you is bare bones through and through I'll not bother with on the statue of Baroness Thatcher. Instead, moving on, this one, a quartet for Lysat, homage a Shane McGowan. If you look on YouTube I think it's Croc of Gold, a film about Shane McGowan and Nile did the introduction to that and it features him with a baran performing this poem with Julie holding the book for him while he taps away and he does a brilliant job of it that I can't possibly come up to but I'll give it to you anyway. In that as well, that was the other connection he talks about all stems from this time he was in the Toucan pub just off Soho Square, a little Irish pub and Shane McGowan comes in with Jock Scott, another great poet who left us too early and was a dear, dear friend of mine. I compared his funeral and Shane McGowan was sitting facing me in the front row with a Zimmer frame. One. We had met gods in detritus of London. We had met you, tall, paddling buttermilk manna from an embas oven. Ro dagda, bequiffed in ether but available. Two. The polis groaning again, sounding itself. The pained birds, Baudelaerian or Eliotian. Herbs under belly, chiming you. Circles of hell, reserved for living, cloth doused in petrol. Three. Apollo landings and the glow of the sun, a shade of JFK. Lwch, pushing the wheelchair of Cuckoolyn up a never-ending London hill to clatter down again. Four. Through gel ignited holes in your mouth, spat, distilled airs, isms and versicles, Glenside and Rose Moon. Poetry, excarcerated, drudgery annulled. The city droning to a metronome of ticking clocks and judges' gavels. This one was referred to by Dicklers. Just round the corner from here, the house that was occupied by Verlain and Rambeau. It was a big attempt to save this house. They did the performance of a play that I had previously performed by a guy called Johnny Brown, a group called Banda Holyjoy, called The Assassins, which is about the relationship between Verlain and Rambeau when they come to London. I was delighted to discover this poem while commemorating that incredible day. This was first written, commissioned, for an event that happened here to celebrate Ken Campbell in the British Library. It's called Mauve Baudelaire, 23 quatrains I Am Ken Campbell. One. The day of the show was itself a one-off with alchemists and numerologists, and gastromancers, for once sportingly agreed. Two. Nothing was normal this autumn morning. The weather was shrouding wondrous squadrons in the impregnated streets below the high Mansard roof. Three. Which one poet had already dubbed The Ship of Horus, and a rival poet, the Arc-en-Ciel. No traffic was abrading the human ear or nose. How could this be? Four. The Sunday silence was a sage brush of noiswness to purify the space below the red herring garret, below the blue wine brig, which had once bled tiger stripes. Five. The house we were safeguarding stood angel white. But if you looked close up, paint flakes were peeling. Six. Like decadent feathers off-molting albatrosses. Below the meccan door with its goddess number eight was a cast-iron Georgine-era boot scraper. Seven. Which obviously our poets in question had luxuriated in never using. But this decoratoire was a talismanic aid as we time travelled from 2007 to 1873. Eight. Where thankfully too no steampunk traffic, not a chariot, not an omnibus, not a penny farthing was interfering with or molesting us. Perhaps Metatron or Astarte or Ogmius had arranged it. Nine. Perhaps Thespis himself. But. And here was the heroism of it. Incredibly, roadworks had blocked off the junction of Plender Street and Royal College Street. Ten. The whole perpendicular of it. Nay, the very highle circling floods inverted triangle with a cordon of illuminated red plastic crowd barriers. Eleven. Embossed with one word. Crowley. And Sunday being the workers sabbath, the arena lay empty. I had seen a cordon of Crowley barriers before, erected in a ffune filled car park in SE1 as part of another much bigger 24 hour caper. But when I pointed out the occult chic and uttered a ser name to Rhym with Fowley. Thirteen. The structure had spontaneously collapsed like a set of dominoes. How the Colin demon cursed. Here, I was more careful. Footfall, which too often passes by fourteen, was coming our way and stopping. Or hooffall to judge by the positively goatish pans and baphomets hopping to the zone. Auditors were pointed inside the druggy high vis surround. Fifteen. Where piles of cement bags and sand bags became the communal powdery seating of a novel but one off institution. Ladies and gentlemen, the Crowley Theatre. Sixteen. It was October. More and more eccentrics kept popping up from the cracks like illegal mushrooms. The cast were flannering to and fro, limbering up. Seventeen. Sainly disguised as insanely French poets or the people they'd made suffer. Scripts in hands like real poets. Sticky moustaches nestled on limp-upper lips. Eighteen. Confirring on such pronunciations as club de ha-shashins, etc. And with a gamut of a low, a low accents. Transmogrifying London into lean dune. Nineteen. It seemed that the elemental, the aether and the imperian had deployed their full vanguards. When, just as the show was due for a final drumming and trumpeting, twenty, the man who was the very embodiment of the concept one off, materialised as suddenly as a genie from a silver spout. Twenty-one. With a presence both English and exotic, goblin-esque and goodifian, commanding the currency of eyes to flow in his direction. Twenty-two. Magician-like. He pulled a couple of items from his zebra wheelie bag. Two of what must have been one thousand and one comic mask tokens therein. Twenty-three. Is Moe okay for Baudelaire? He inquired before donning a starlet's Moe wig and a gold robe shimmering to the floor where we stood attendant. Just a couple more. If possible, that's alright. Okay, so, time? Two short ones? One more? Okay, one more. The other one is for you, Julie, in the shade of the brutal. You'll have to buy this copy to read that. But this one I wanted to read red bonnet and I presume that this was a reference to Blake who would walk these streets of London in his red bonnet with solidarity with the French. But I discovered from Hefcott last night that it's actually written as a eulogy to another great poet who has left us called Sean Bonnie. My son here on the front row wrote his dissertation on Sean Bonnie and Bouteau when we did a programme on resonance FM of Sean Bonnie's poetry. So, Niall wrote this when Sean died. Red bonnet. This is the head of Imbus. This is the crown of fire it wears in eternity. The analogy of the sun is no more the black and alchemical suns are out. The problem for classical and Christian cultures is that the dead seem governed in Hades, Tartarus, Gehenna Dis. In fact, they are free from interference. The red hot band about his forehead is slipped off. The police truncheon brandished at the cup of bone cradling his consciousness by way of warning is gone. No ruling class shades take a census. The dead are decentralised. One by one, they shake off bodies of finance, of law, of nationhood, of war. Here was Ork, branded poet. A red bonnet hemmed within. He snapped off chains from maps of England to firework on hot coals of Posey, spitting portals. Reading an extract from Nile's interview pamphlet, a writer and editor at New River Press, whose work has appeared across several media outlets, including The International Times, The Idler, The Independent and Vice. Please give a warm welcome to poet and Nile's stepson, Hefcott Ruthven. Thank you. It's a great honour to be here. It's a great honour that this event is happening for Nile. I've met the world to him. I really would not be the person I am if it was for Nile. So it's incredibly powerful. I couldn't compete with Tam and Alan reading poetry, so I'm going to read some words of Nile's in prose. He spent a long time doing this. Someone doing a PhD on William Blake wanted to interview him, and he refused to talk to her, Caroline Ritchie, on the phone. He said, I'll do it only by email. He sent ten questions, and he sent ten 2,000-word answers to each of the questions, which I think was more than she bargained for. I think it was really he was sort of writing his autobiography here. Some of the poems that you've just heard and that you're about to hear are mentioned. Several of the people who are here are mentioned. Let's get on. So I'll do the question. When, how and why did you start to take an interest in William Blake? As a secondary schoolboy, I performed the accustomed hop, skip and jump from the doors to all this huxley to William Blake. Irish Catholicism didn't stand a chance. Illustrated editions of songs of innocence and of experience and the marriage of heaven and hell were a denda to the popular music curriculum, and its break on through to the other side aesthetic. Blake was nothing to do with school or exams. His poem, The Schoolboy, took its place alongside pink floids and other brick in the wall and the smiths, the headmaster's ritual. I didn't know then that Blake was home educated but now halt him up as a great advertisement for not going to school. My own school was Belvedere College Dublin. James Joyce attended it. It features in the middle sections of a portrait of an artist as a young man. I learned early to circumnavigate Joyce's Dublin. Most kids I knew went to school in the suburbs but every day from the age of 10 I was travelling into the city centre. That was an education. A friend's father, John Ryan, author of Remembering How We Stood, had organised the first Bloomsday on June 16, 1954. Tracing the novels Root on Foot and Horse Drawn Carriage with Flann O'Brien, Anthony Cronin, Patrick Cavernor and Tom Joyce are relative. Finding out this history was extra-curricular manner. It showed how a literary walk could become a national holiday. There's hilarious footage of it on YouTube. Instead of bloom masturbating on the beach, you get Cavernor urinating. Though I didn't know it, I was rehearsing for Blakey in London. What's the origin story behind your Blake walks? I had an early poem accepted for a Poems on the Buses project, organised by Transport for London and Friends of the Earth. The theme was London, the Living City. My poem, Off Duty, described a drunk, injured man clinging to a lamppost. It was displayed on the 38 and 73 bus routes for a year. Apparently, there were 7 million passenger journeys in that period, so I could lay claim to a vast readership. At the end of the year, the poets gathered at the London Transport Museum to be presented with laminated poems and then taken on a mystery tour by bus. The destination was St James's Piccadilly. Poets stood at the Grinling Gibbons baptismal font where Blake had been baptised on December 11, 1757. We recited our poems and I did a bonus a capella London to a tune of my own. Though I doubt I'll be working with TFL again, I'm grateful. Going to such a powerful site, it was like I'd been introduced to William Blake, the human being. So I sought out more Blake sites with the help of Paddy Kitchen's Poets London and Lloyd's Biography of Blake. Another Londonist, the busy chronicler, Ed Glinant, had once done a Blake walk, but I only found out about it later, so I decided to do my own. I invented my own routes and routines and did it every Sunday. For a couple of years, just before and after William Blake's 250th anniversary in 2007, it became a well-known fixture. It was written about by journalist and author Nigel Richardson in the Great British Walks, featured on a Radio 4 programme, The Poets of Albion, and was the subject of a film, slideshow and article for BBC London. You've been very immersed in the London counterculture and poetry scenes for decades. Who have been some of your main influences and interlocutors in this period? In London, when I first took to a garret, I thought I was the last of the Bohemians. Such is an immigrant's lot. You don't know anything or anyone. I was an aesthetic migrant, not an economic migrant. In my Dublin, it didn't feel there was a bona fide underground or counterculture, I mean apart from the Virgin prunes. In London, the underground was as vast as Hades. In Ireland, I had seen many of the poets, but did not think it was possible to join their ranks. They seemed too robed, too druidic. In late 1995, Alan Ginsberg came to London. I saw him read Thrice in one week. In the Royal Albert Hall, Waterstones, Hampstead and Megatripellis. Even with terminal illness, he was a whirlwind, promoting three different books, chanting poems, singing with a harmonium, answering questions. He made poetry possible. It was heroic to witness him in action and hang out in his milieu, all poets themselves, such as Tom Pickard. The next magical poet I encountered was Jeremy Reed. In Dublin, where he was a scandalous import in the early 90s, I had shoplifted his books regularly. In London, I saw him do readings and eventually began doing readings with him. This is the best way to hang out with other poets. Poetry readings, direct transmission. I've learned immeasurably from Reed's presence and example. He's the psychic offspring of David Gasgoin's loss and Kathleen Reyn's enithamen and ferociously, hilariously anti-establishment. In his quintessential poem, West End Dilemma, he imagines William Blake leading two lions on a leash through Soho. His elegy for Kathleen Reyn homages the poetess as Blake's secretary. Once, I opened for one of his readings by chanting some of William Blake's poems with guitar. He sent me a cheque for 30 pounds written in purple ink. I wanted to frame it, but it was too broke. We did a wonderful joint reading at William Morris' clum Scott House in Hammersmith, right on the river. Even the birds enjoyed it. We have since co-created on Blake's steps a never-ending series of open forum readings at the sites of Blake's birth. They are outdoor in Soho streets. The last one we did was March 29th, 2019, now known in newspaper headlines as The Brexit Day That Wasn't. After visiting the site of the club de Hauchachines, he's in France now, I had eaten a ball of Nepalese black and there was no shower at my cheap hotel. Going through French customs at Calais on a hot sweaty afternoon, the sniffer dog went ballistic as soon as it saw me. I denied having anything illegal in my possession. The customs man uttered to the immortal line, I know my dog. I said I'd just had breakfast and there were crumbs on me. He moved the dog away and he put a sandwich in front of its snout. The dog didn't blink. Then he led it back towards me and it went mad again. I warned them that they were wasting their time, but they took me into the back of a lorry for a thorough search.  I was strangely relaxed. What could they do? You can't be jailed for possession of an aroma. As it happened, they let me go after finding nothing in my bag, but a few bottles of Saint-Emilien. Through my brother, the actor, musician, cartoonist, poet, Roddy McDevitt, I got involved with the 24-hour play The Warp. It was written by the poet Neil Orham and directed by Ken Campbell and Daisy Campbell. Again, I did a few readings with Neil, author of Beauty's Shit and many other books of poems. His poetry and plays are highly subversive. He dramatises the English counterculture from 1956 to 79 and beyond. One role I performed was Marty Mission. He's based on the real poet Harry Fainlight, another countercultural figure of importance, for whom I've organised several tributes. I worked very closely with Ken Campbell on his next project, Pigeon Macbeth, transpositions of Shakespeare into the Bislama language of the Republic of Vanuatu. Being a poet, I found I was able to master the language and so, though I wasn't Ken's best actor, I became the Pigeon Guru. I translated Yeats into Pigeon. We did theatre shows all over the country and gave workshops teaching the language in two days. We even spent two weeks in Newfoundland performing at the International Sound Symposium and the Capitol St John's. As anyone who's worked with Ken Campbell will tell you, it was another worldly experience. On the day he died, London was a veil of tears. Check out my elegy for him, Moe of Baudelaire, 23 cot trains. When 9-11 happened, it ruined everything. Jihad, credit crunch, austerity, Brexit, war on terror, war on drugs, class war on core. I've since worked with the influential Michael Horowitz, who wrote about this change in reality, in the new wasteland. Quite rightly inspired by Ginsburg's 1960 Surgeons in London, in England. Michael seemed to single-handedly open a door into Albion and through his poetry jazz concerts, anthologies and new departures magazines. It's like he stepped out of Blake's painting, Glad Day. He invited me on several occasions to his poetry Olympics at the 100 Club, Oxford Street, wonderful gigs. As well as Michael, I found myself fortuitously bumping in to other 1960s luminaries, including the filmmaker Peter Whitehead, impresario Fraser Clarke, mystical author John Michelle and the amazing poet-anarchist Hethcott Williams, after who I'm named. I feel extraordinarily connected to the cocaine-like moment of 1960s London. Not from watching documentaries, but from knowing these and many other characters. My copy, Dave Tomlin, Miles, their utopian auras are still intact. My biggest regret is not getting to meet or see in the flesh David Gasgoin and Kathleen Rain. It was just possible, but it didn't happen. Thanks to the visionary artistic director of the Irish Cultural Centre, Rosalind Scanlon, I was empowered to run a poetry reading series over several years at Blacks Road, Hammersmith, Irish and International Poets to Visit, included Trevor Joyce, Maggie O'Sullivan, Sean Bonney, Dmitri Prigof, Geraldine Monk, James Byrne, John James, Michael Donnelly, Tom Raworth, Fergal Gaynor and many others. Perhaps the most illustrious bardic poet to visit was Robin Williamson of the Incredible String brand. Another, Christopher Twig, is a supremely talented poet-painter musician with whom I've shared many Magico religious adventures. My closest interlocutor now is my partner, Julie Goldsmith, who is a highly magical painter and sculptor. We collaborate naturally. It just happens. It's not forced. Some of the characters she paints are from walks, including Thomas de Quincey and Anne of Oxford Street, which is the cover of London Nation. Her painting, Ghost of Marlowe, made the front cover of the London magazine. Her Wildflower Song is a lovely floral portrait based on a notebook lyric of William Blake's. Thank you. Our next reader is someone that we've seen on our screens for almost four decades. Widely known for his role in Young Sherlock Holmes, where he played a teenage version of Dr Watson, who also starred in The Dictator, A Voyage Round My Father, Mrs Dalloway and very many more. Please give it up for actor and producer Alan Cox. So, four decades. Let's cast our minds back one decade. So, 2012. 2012, in the anarchist bookshops, two books appeared. Royal Babylon by the previously mentioned Hethcote Williams, poet, magician, friend to the Hyde Park Corner Speakers, and Portalew by Niall McDevitt. On the back, Niall describes the book as, Portalew is the most lavatorial offering to date. Well, it's written as if it's by someone else, but I suspect it's by Niall. Portalew is the most lavatorial offering to date from Malcolm Tent poet Niall McDevitt. This temporary public convenience of vulgarity, resentment, poverty and insolence. Its assault on conservatism is tinged with the rancidity of a low-flying Irishman. No friend to the Windsors, the Daily Mail, the London Met or Tesco. He, in fact, seems to be entirely friendless. One of those unenviable men who sits alone in weather spoon pubs looking for someone to whinge at. And Hethcote wrote an introduction to this collection of dismal poems. Headed Insurgent Poetry, and he says, he quotes Lawrence Ferlingetty. Now, we've already mentioned Alan Ginsberg, Harry Feinleit, and Lawrence Ferlingetty was part of that international poetry incarnation that happened in 1965 at the Royal Albert Hall, organised by Barry Miles, Jeff Nuttall, and filmed by Peter Whitehead. Anyway, so Hethcote mentions Lawrence Ferlingetty. In his poetry as Insurgent Art, Lawrence Ferlingetty says, if you would be a poet, invent a new way for mortals to inhabit the earth. This is what Niall McDevitt courageously attempts in both his poems and in his life, the two cross-fertilines. Niall publicly denounces at the right wing historian Niall Ferguson, who has, with a grating crassness, insisted that the concept of conquest, as in the case of the British and the US empires, was decided since Ferguson regards imperialism as liberation. At one of Ferguson's appearance, it was reported that security men removed a self-styled shamanistic poet, Niall McDevitt, from the lecture when he accused Professor Ferguson of trying to alleviate guilt about the empire while reciting a poem in Pigeon on the imperial legacy in the New Hebrides Island in the Pacific. This is just what insurgent poetry is for. Niall Orham quote. Niall was the author of the warp that was mentioned earlier. Niall Orham quote was once used as an epigraph to an anthology of contemporary French poetry, which simply said, what is going on is a war between those who believe in poetry and those who don't. Niall McDevitt also was a staunch believer in poetry as an instrument of change, poetry designed to create a new mindset where, for example, the homeless intent cities being blasted by water cannons can be firewalled by poetry. And remember, 2012 is the time when Mayor Boris Johnson got a new water cannon, if you remember. He didn't actually get a chance to use it to clear the occupiers around St Paul's Cathedral, but if David Cameron and Niall Clegg hadn't been more effective, he would have. So this is a poem to get us into an Elizabethan mindset, which we've just left behind us, but also back 400 years as well. So this being written in 2012. Elizabethans.  We will lay this city desolate and flat as this hand for thy offences. These two fingers are the walls of it. These within the people. Which people shall all be thrown down thus? And nothing left standing in this city. But these walls. Ben Johnson. One. As we were once Elizabethans the first, we are now Elizabethans the second, and may one day be Elizabethans the third. The scaffolding won't come off the building site, and we'll never get to see or use the building. The French yawned and grew tired of their ornries, but still live among pyramids, Sphinxes and obelisks. We won't be Elizabethans the second for very much longer. Caroleans the third, or Williamites the fifth in waiting. But we go on making honey in our collapsible beehives because there's nothing wrong with making honey. So bring it ten years forward to this, going into reprints soon to be available, and also there are some copies I believe for purchase at the end of this gathering. And from chapter three, Psycho-history, not only did Nile do these Blake walks, these walks tracing out the memories of Christopher Marlowe, the collective memories of Christopher Marlowe. And like Hethgurt Williams, he felt that Shakespeare had been allowed to steal too much of Christopher Marlowe's thunder, and boy, what thunder it was. And if Marlowe hadn't been stabbed to death at the age of 29, who knows how he might have surmounted Shakespeare's artistry. So one of the great mystical figures over the Elizabethan moment was the Geomancer John Dee, and one of Nile's walk took in the ompolos in Greenwich, which is where it is said that John Dee initiated Christopher Marlowe into the mysteries of the British Empire. So this is Nile's poem, John Dee. And bearing in mind that just past Barns Railway Bridge is a council estate called John Dee House, and just round the back there's a little blue plaque which says that Queen Elizabeth I would meet John Dee on this site. John Dee. The name appears to derive from the Brethonic Dave River of the Goddess, or Holy River. John Dee. Your name is Talismanic, magic mirroring friends to your occluded house for consultation on the shores of Mortlake. Not progressing on a steed or a bark today, but by red bus, stopping off at St Mary's to divine your bones, feet shuffling from chancell to a Christian plaque. Remembering you as cleric. O man, named after the Holy Delta, a stained glass, honeycombs, empty pews. In the green-brown Thames there are red shrouds, a dust of ochre, Elizabethan wigs. One of your 20th century friends steps into the water to test the new souls of his leather boots, measuring as if in Louvain how fast it's rising. Soon the bench he picked on is swallowed, then the towpath as the river climbs to its apex at four o'clock in Beltane's sun, flexing like a Chinese dragon, then magically, impossibly stopping and about turning to flow east again. Lundrunguffa called. Isn't there, O man, named after the Holy Delta, but only an atmosphere of D, D, D, a tree trunk touching my forehead, whispering of seed sown grounds, a library of cifers. And among this collection are a series of masks, which just makes me wish that Nile had embarked on the challenge of more verse drama. But this is one called The Heads on Poles, and as you may know, up until the 19th century, the heads of traitors were exhibited on spikes. Up until the restoration, they were at the stone gate on the old London Bridge, which was kind of like the Oxford Street of the day, except it had severed heads welcoming you on the way in, rather than Christmas decorations.  They would be cut open, disembowled, and then decapitated, and then they would be split in four, they would be quartered. We still hear of hung, drawn and quartered. Then the head would be tied with a piece of sacking, it would then be dumped in tar to preserve it, and then it would be put on a spike and exhibited on stone gate as a reminder to what might happen to anybody who said bad things about the Queen. So, the characters in this mask is Francis Bacon, friend and advisor at this time of the Earl of Essex, who indeed ended up as a head on a spike on London Bridge. And one of the candidates in the wacky world of Shakespeare and scholarship, which Nile did not have any truck with, P.S., by the way. Francis Bacon, William Blake makes an appearance and three heads. The heads on poles, a mask. Francis Bacon excerpted from his essay on travel. As for triumphs, masks, feasts, weddings, funerals, capital executions, and such shows, men need not to be put in mind of them. Yet they are not to be neglected, first head. Why hanging? Why drawing? Why quartering? What for? The national self-interest? The holocaust of the poor? No, it was for Christ. Well, the schism of England.  My privy parts inflamed. Second head, this failure, this head pinned on as badge of defeat by a peeler state.  I once smiled through this show, third head. The living heads look at me, dropping tears of pity. Retuning to their meals, their indenture. I have no followers now. Who would follow me here? Fourth head, I behold the vaults of power. Freed, not praying, but halting. Their schemes, their stratagems, the little ease of their religion. Please hate them too. Crossing the garden bridge, carting me with you into the bowels of Rome, William Blake. Bacon, supposes that the dragon beast and harlot are worthy of a place in the new Jerusalem.  Corus of heads. Black sheep warped in our natures, imagining we could outmaneuver the black shepherds, yonder without the pen. Witness the petrification in iced eyes as dragged and swung, as pressed and cleaved. The ghosts were deciphered from our bones. Rocks smashed backs. Ropes singed necks. Blades cut bladders more. And colon. It was much better than it is on television. Our message is truncated. I'd now like to introduce two people to the stage.


Thank you very much for the invitation to share what we're doing here at Newcastle. So I'm just going to talk about from data to discovery in terms of our research on storage and the connections that we have. So in telling the Newcastle story I'm just going to tell you a little bit about the systems and the tools that we have and then talk about the three workflows that sort of make up those systems and tools and the connections and integrations between those. So to tell the story I'm just going to introduce you to the systems and the tools that are in this space at Newcastle. So for research data storage we have Home Cloud, we have an enterprise version of Home Cloud here. For data archiving and publishing we're using a tool software app that was created to run on our cloud that's called Crater. For data management and registry for the data management and metadata curation workflows we're using Redbox and Mint similar to what Chris was just talking about. And for publish and discovery we're doing that via our institutional repository which is Nova here at Newcastle. So I'm just going to talk a little bit about the workflow and how they all connect and just describe that to you. And after I've done that I've just got two small videos, short videos that just actually just show you that in action so you can tell you about it and I'll actually show it to you. Unlike Chris I wasn't keen to do a live demonstration because it would probably go wrong. So I'm using it now. So it's a research, so the very first, these are the three workflows. So I'm just talking about the connections between the two. So our research data storage. So in that is our Home Cloud which is Enterprise version, I think it's seven, that run at the moment and that sits on, I think it's a petabyte. And on that we have this app which is Crater. Crater was developed, it's made in 2013. We started working on Crater and it was born from work that Peter Sefton was doing at University of Western Sydney or Western Sydney University I should say at the time and it was a collaboration between University of Newcastle, Western Sydney intersects who are doing the development and in those early days University of Sydney as well. So Crater was about the problem that we had identified in the library about wanting to have this connection with the research data storage to look into our data management and publishing workflow for Redbox and the Mint. So and since Crater was developed, the development started way back in 2013, there's been a few development cycles along the way. So there's been a few sprints and agile developments to get to where it is now and also there's some future development coming which I'll tell you about at the end. So in that workflow, that research data storage workflow, that's what's sitting there. In the data management publishing one we have similar to Cris, Redbox and the Mint. So the Redbox is our metadata stores descriptive curation workflow and it's hooked up to the Mint which is our name authority service for our party records, our staff members, our researchers and also for, I forgot what I was going to say, our grants. Sorry, that's what I was looking for, information about our grants and then that's connected to NOVA which is for discovery. Sorry, I'll just run through quickly. So in the research data storage workflow, that first one now, what researchers do there or users of it? So they log into the old cloud environment that we have. They create a crate. A crate is a data crate. They add files to that crate and the files are the files that they work in files from there that they have on our own cloud so they add it to the crate. Then they have the opportunity in Crate it to also add metadata and from there they can review the metadata and then they can publish the crate. When they publish the crate it moves across a couple of things happen. One of those is it comes to the library into the next workflow, that data management and publishing and the researcher receives an email with a lot of that metadata in it. And then in the data management and publishing workflow, the one sitting in the middle there, that's where the library works on the metadata that's come across, the alert that's come across from Crate it. So that alert arrives into that system. The library works on it so we augment the metadata and we add metadata and we probably have more conversation with the researcher to actually work on permissions and probably more on descriptions. And when we're happy with that we publish a report and it goes across into Lola for discovery up through research data in Australia. So this is Vicki's highly sophisticated systematic diagram. So it's just a way of very simply demonstrating sort of what's happening. So we've got IonCloud, the researchers are in there with us. It's a storage they're working fast. I should say that IonCloud is just one of the storage options we have at Newcastle. But if you want to have the connections to publish, IonCloud is where we have the ability to do that in capacity. So from the Crate it to two things happen. When a researcher uses Crate it and they publish or submit a data crate, they press the button, which I'll show you shortly. Two things happen. So our metadata alert goes across to a red box system and it's like the button of a record. So it's an alert that has information that's been collected while the researcher's been working in Crate it. The second thing that happens is that the data crate itself, so a zip.file that uses the Bagot specification that came out of the California Digital Library, that data set then actually data crate goes into our storage layer. So the metadata alert goes across and it's ingested into red box. So more work happens there. In red box we all met that. And then from red box we send a mark, a DC, a RIFCS record across to Mova. Embedded from that metadata alert information all the way through that process, travelling with it is the URL to the data crate in the storage layer. So the institutional repository has a priv interface into the storage layer. So it's able to be the gatekeeper for the access to the data. It's publicly available. It's only publicly available to Mova through that priv network access. So just quickly, this is a very three minute video. I'll quickly just demonstrate what I've just told you in terms of own cloud and Crate it. So the researcher logs in, they see all their files in own cloud. They're able to toggle up and they'll see a little icon that's called Crate it. They can by default, they have a default crate for their data, but they can create a new one. So I'm going to the process of creating a new crate. So this is my study on green fox. So it's flattening the metadata to go. And this is a description on my crate. So when I fix my typo and I click to create and now I have a crate. This is told me at the top there in yellow that I've got a new crate. Now I'm toggling and I'm going back to my files on own cloud. And now I can add my right clicking the crate to let you add to the crate. So I'm just adding in my data dictionary, my population information on frogs, and environmental information. And I've got some images, but basically you pick and choose what it is as the researcher you want to package up that goes into that data crate. And when you've finished, it's telling you as you go that it's adding things to the crate so you can actually see it. So we'll go back to Crate it and we shall see the files have gone into our crate. Now over on the right-hand side the researcher or the user has some ability to add some metadata around those files that will go into that crate. And this is going across to start the butt of a record for the library to augment for publishing. So there's a few things here. So we've created information with the title, the creators, we're just adding them now. It's hooked up to our Mint system. So it's actually doing a lookup against the Mint and it's bringing it back. It's hooked up to the Mint again and it's searching for grants. So we can select the grant, pull that information back in and so forth. So there's some more work going on around what actual metadata should be here which I can tell you a little bit about. There's a feature to check the crate to make sure that all the items are valid and it's still there since you added them. If you want to hit the button to submit you get to review all the metadata that you've entered. At this point you can go back and change it or you can hit the submit button. And that submit button is then sending it to you from the research that has storage the data crate information to the library. So you can send an email to additional people that you're working with to say that that's what's happened. So that's how Crater is running on our cloud. The research can also zip up the data crate, a copy for themselves and also save elsewhere if they want to. So the submit button has done two things. It's set that data crate or that data set to storage for archival purposes and then it's actually sent it across to the library. So this is our red boxed instance which is not publicly available to the library user so it's fairly as is and I'll just start the process to show you what happens here. So when you log into the system the very first thing you see in the alerts is an alert that's Hunter Valley Green study on green frogs. So that's arrived in the source next to own cloud dash Crater. So it's telling the library where it's come from storage and it's arrived. So we start the process of looking at that record. We go into it and then we start working on it. And Chris showed you before there's various things the library works on. So we can add lots of information there through a conversation with the researcher as well. So that's basically how it works. This is just demonstrating that the information from the crate comes over and is populated as put in by the researcher into various sections in the system. When we're finished we hit the button to publish the record. So this is where we do it and the record is published across to our institutional repository and it just shows that it's actually being published. So finally after the hit publish button it arrives in Melbourne. So it has behind the scenes that's sending receives over as well and it's harvested from there. We harvest it up to Research Data Australia. So I guess the last thing I would say, so that's the process and that's the three workloads and that's how they're connected from the research story of John Cloud through the red box myth to the library through to Discovery on the other end which is facilitated through NIVA with that connection back into research data storage if it's applicable. So lastly I would mention that I've said that there's been a number of iterations with development on the Crater Tool and are currently funding further development and enhancements to the tool at the moment which they'll be trialling with Cloud Store Plus. So there's a group that's working on that. So obviously Arnet, Interceptor doing the development and also University of Western Sydney and University of Newcastle because we've been working on this quite a while now. So that's the end of my presentation. Thank you very much. Fantastic. Thank you Vicky. Vicky, if anybody has any questions, Vicky, can you put them in the... Oh, there's this one here already. It says once a project is complete and all cratable data is packaged up and published and archived, how do you ensure researchers go back and delete all remaining redundant data in only Cloud? I have to actually... It'll be a policy or a business rule within IT and I actually don't know the answer to what we actually do here. When you're selecting the file straight to a crate, Vicky, does it track where they are? If a researcher moves them around, does that then become disconnected from the crate? Yeah, so it was fairly quick. So I did talk about... It was fairly quick on the screen, it flashed up. It was that one of the icons across the top in the navigation and credit was a button that was checked and demonstration and I just did it and validated. But what the purpose of that is, it's like checking to see if the names have changed, if the files have been removed, and is exactly that because it's referencing where those files are from the files. So I presume then the advice would be to sort of structure a location pretty much where you're going to have it and set it and not change with it too much. Yeah, but if you do, you just have to do a little bit more work when you're going to package it up.


In physics, work is a force applied over a distance. So intuitively, work measures the amount of effort it takes to move something a distance, right? Work is a scalar quantity. It's not a vector quantity like velocity or force. The direction doesn't matter. It doesn't matter whether you're pushing your car to the left or to the right or up or down. Moving a heavy object like a car takes the same amount of work independent of the direction, right? If you were in a parking lot and you pushed it around Southern Utah University's campus back to that same spot again, in terms of displacement, the net displacement would be zero. It's like no distance was measured compared to stopping and starting there. But definitely work was exerted in that process. Drying in a circle takes work. It's without a direction there. So work is the amount of effort it takes to move something a distance. And we can actually compute work very quickly using vectors. So if a constant force F is applied to an object and moves the object in a straight line, some distance D where this is a direction, right? It's a length and a direction, then the work is gonna equal the dot product between the force vector and the distance vector. So dot products give you the work between force and distance, which we saw from the law of cosines that F dot D is the same thing as take the magnitude of F, the magnitude of D. So the magnitude of F would be how much force is being applied. D here would be the distance has to be traveled and then take cosine of theta where theta is the angle between F and D. So we measure the angle between these forces because they don't have to be in the same direction the distance in the force. So let me give you an example of that. So a shipping clerk pushes a heavy box across the floor. He applies a force of 64 pounds in a downward direction that makes an angle of 35 degrees with the horizontal. If the package has moved 25 feet, how much work is being done by the clerk? Let me draw you a picture to help us illustrate what's going on here. So we have the ground, we have a box. This box needs to move 25 feet. This is our distance vector. We have distance equals 25 I, like so. What about the force vector? Well, the force vector because the man is probably taller than the box, that's typically what happens here. So he's exerting the force in a downward direction, right? But with respect to the horizontal, this angle is gonna be 35 degrees, like so. And he's applying a force of 64, 64 pounds. So you'll notice that if the man's pushing at an angle of 35 with the horizontal, since he's pushing across the floor, which is horizontal, that's the angle between them, right? And so we then see by the formula above, the work is equal to the magnitude of the force, which is 64 times the distance, 25, times cosine of the angle between them, which is 35 degrees, for which we then can put that in a calculator, of course, 25 times 64 is 1600, but you're gonna need a calculator eventually for the cosine of 35 degrees. So putting that in a calculator, you end up with a work of 1,311 foot-pounds. Foot-pounds is a measurement of work. One foot-pound is the effort it takes to move one pound, one foot. So we get about 1,300 foot-pounds to push that box 25 feet. So we can very easily compute the work if it's given in a trigonometric form using the formula F times D times cosine of theta. But we can also do the same thing if it's an algebraic form, and actually I think in the end, algebraic form is gonna prove to be simpler. It always is when it comes to vectors. Suppose that a force is given as 35i minus 12j pounds, and we're pushing an object up a ramp, all right? The resulting distance vector, the displacement vector is gonna be 15i plus 4j. This is gonna be measuring feet. What's the work between them? Now, this one seems a little bit weirder to set up because we're describing both the force and the displacement vector in terms of these unit vectors here. This is the algebraic form of the vectors. It makes sense to be like, oh, I applied 64 pounds in a downward direction of such and such angles. The trigonometric form of vectors is more natural to describe, but when it comes to calculations, it's much easier to use these right here. But we have some interpretation, right? So this means it's 35 pounds to the left or positive 12 pounds downward, right? This one right here means it's 15 feet to the right, four feet up. So you see a picture like this. So don't worry about the conversion. I skipped over the conversion here, but you can convert from the trigonometric form of vectors to algebraic forms. If you wanna find the work, it's just the dot product of F and D right here. So we're gonna get 35i minus 12j dot. We get 15i plus 4j, like so. So multiply together the horizontal, we get 35 times 15. And then multiply together the horizontal, we get negative 12 times four, like so. Multiply these things out. 35 and 15 gives you 525. Four and 12 gives you 48. So we get 525 minus 48, and we end up with 480 foot pounds of work. Like so. And so whether it's easy to interpret the algebraic form of the vectors, sure, the geometric interpretation of these vectors is a little bit more challenging. But in terms of computing the dot product of work, it's so much easier. So this is a very important application of the dot product in physics. Computing work can be done by taking the dot product of the vectors. And you can do that either in the trigonometric form or in the algebraic form. Algebraic form is definitely gonna be easier, but it does require translation between trigonometric and algebraic that we skipped on this exercise right here. And so this brings us to the end of lecture 31, which also brings us to the end of our chapter nine about vectors in our lecture series here. So thanks for watching everyone. If you learned anything about vectors or trigonometry in these videos, please give those videos a like. If you wanna see more videos like this in the future, of course, subscribe to the channel. And as always, if you have any questions, please post them in the comments below and I'll be glad to answer them to help improve your mathematical learning.


People like There'd be if like Six nine is on the Spanish side. He's like I guess big over there. I don't know you could tell me yes or no I don't really follow six nine like I'm not into that cuz he got a song with the Spanish girl And she's like Yeah, I mean they doing a thing but So do you feel like stuff happens over here could affect your reach over there Or you feel like y'all keep it pretty separate or like people know about his whole story and don't care Different people got different morals.  Mm-hmm.  You see how like over here the whole snitching thing.  I don't care. Oh So they so that's kind of good. I guess cuz I just could go really far at that point If you think it's good, I mean I Don't think it's good So you think people should have more of course.  Okay, so so in making choices in the music industry. You seem very strategic All like your choices you make the people you work with the songs you release the video and things like that so like um So are you learning from someone are you learning as you go? Did you get advice from somebody? I'm definitely learning as I go and like I said the people in my team They teach me everything and we're all growing together, but I definitely learned from them and They're guiding me in a great way, and I feel like yeah That was T want more check out our website at www.talkitatownshow.com and don't forget to like comment and subscribe


Hi you guys, happy January. Kicking things off today by showing you some ways that you can source denim for your projects. All month long, if you've missed it, I am trying to show you guys some really fun projects, either refashioning with denim, making projects with denim from yardage, just get you guys in the spirit of loving denim as much as I do. So today we are at my local Goodwill and I'm going to show you the best places to look in the Goodwill for denim and it might not be exactly where you think. So we're going to look at some sections to look at and then what to look for within those sections to find the best denim for your refashion projects. So let's go inside. All right, in no particular order, just based on how my store is laid out, I will start along the wall of dresses. My store has everything categorized by color, so it's typically pretty easy to identify where all of the denim dresses are going to be on this very long wall. But what I'm looking for whenever I am going through the dresses is a dress that has a lot of fabric, you know, I kind of think of it a little bit like yardage. And if I find a dress that has a lot of yardage or has an interesting detail like the bottom of the skirt that I could easily hack off and make its own maxi skirt, then the next thing I want to do is take a look at the like the makeup of this denim. Is this something that is going to be purely denim? Is it blended with any rayon or elastane? If I find something then the denim is just really beautiful and it's something that I really love, then yes, I'll cross reference, check the tag that's on the usually the side seam of the garment just to confirm that it's 100% cotton. But yeah, just looking for lots of yardage and you can usually find those in long maxi dress dresses or maxi skirt dresses, especially those ones that are kind of shaped like a mu mu that have no waist seam or really any details going on, which thankfully were pretty popular not too long ago and you can find them pretty readily at the thrift store. Next up is going to be the plus size slash maternity section and I know that this is controversial. I know that there are people out there who say leave the plus size jeans, the plus size clothing for plus size people who need to buy clothes affordably. I get that. But sometimes when you're going through here, you will find items that just are not wearable anymore. Either they are dirty, have a big stain on them and you just know nobody, no matter what size you are is going to pay for a pair of jeans or a jacket or whatever it is. If it's stained or dirty or ripped or you know whatever is going on. So I always still give the plus size maternity section a look see just to see if I can find something that is unwearable where I can take the parts of it that are still good and turn it into something that is usable. All right, as I continue to go around the store next stop is going to be outerwear they call it and this is the women's outerwear section. So I will quickly just you can easily scan the top of the hangers to pick out the denim jackets and I have quite a collection of jean jackets at this point. Again, what I'm looking for are parts of the jacket that I can cut off and combine with something else or parts that I can leave of the jacket and then turn it into something completely different. Interesting details that I think in my mind oh this could be something else like the bottom of that jacket was kind of pleated like that could that be like a pleated skirt? I don't know I'm just like thinking through that as I'm going what is this if this weren't going to be a jean jacket what would it be? But this is a prime example that jacket there of something that had interesting details to it right had like all of that embroidery on it you could cut that up and put it on something else and it would be really stunning. This is the wall of men's button down shirts. Now you are going to see a ton of blue button down shirts when you go through them you're looking for the equivalent of like a chambray it's going to be a lightweight denim and I'm just looking for good quality not a lot of stains mostly the the backs of the men's shirts are going to have like the most undisrupted yardage if you want to think of it that way but I've also been able to find so many cool denim shirts in the men's section that I've turned into skirts or I have turned into dickies or different things like that so don't skip on the menswear section just because you're not a man definitely you can find some cool things in there. Okay next up is men's jeans and when I'm searching men's jeans I am looking for like sturdy like rugged high traffic wearable um denim that is already stood the test of time that's really strong and really durable that I can turn into things like tote bags and things like that for whatever reason men's denim typically has no stretch in it well I think we know the reason um women's wear with different curves and shapes of our body they're ready to wear market has determined that elasting fits more people so they can sell more of these jeans but in menswear they don't really have those curves so you're going to find a lot more hundred percent cotton straight up denim with no elastane nothing blended in okay next up is women's skirts now outside of being able to find really cute details like this button placket that you'll be able to apply to something else I have found so many great maxi skirts um that I've been able to turn into dresses and I'm a mid-sized girl I'm not super small so um I could even turn a maxi skirt into a dress now granted it was backless but I was still able to do it it's one of my favorite makes this is my absolute favorite place to find denim quote unquote yardage and that is like the house wear section where you're gonna find sheets and comforters but they also have drapery here and I have found denim curtains in the past and that is just straight up yardage of fabric with some hem and or tabs you have to kind of look a little bit closely to determine if it's actual denim like if it's twill weave or if it's just a denim colored cotton they definitely used to make denim sheets and denim curtains back in the day so don't think that you can't find it just because that's not really a popular thing today but you can definitely definitely find denim in this kind of house wear section all right I took this video just to show you the vast amount of women's denim that is available at a thrift store it is wild and sad and kind of like creepy all at the same time there are rows and rows and rows of women's denim like it's just there's no shortage of it I do skim the women's denim when I do that again I am looking for unique details look how incredible this was I love that little like embroidery detail you could easily cut that out and add it to the back of another jacket but different stitches different like if they have lace attached if they have ribbons or like I said the the denim is like dyed in a cool interesting way but yeah I'm looking for things that are that are unique and different that I could apply to some other kind of project whether it's clothing or an accessory or something like that and finally I'll kind of just give a quick look see through the scarves again they can kind of be viewed as yardage you just never know where you're going to find a little piece of chambray something or another so I'll give the scars a quick look all right so all done this is my loop for the day and you can see that there are plenty plenty plenty of jeans to be had there so do not feel like but you're taking them and cutting them up there's no way they could sell that many jeans and some areas of the store that I skipped if you didn't notice was women's tops there's just not enough yardage you know if we want to think about it that way for them to be useful and shorts I just skip over shorts to same reason why buy shorts when you can just buy jeans and then you have like the legs of them to use too so it's kind of like a I don't know you just have to think about it as how much fabric am I actually going to get from this but while you're shopping the jeans is also important to look around and think of like little notions or laces or trims or things like that that you can use to adorn your denim so if you want to make something super unique there's something in mind that has a particular kind of trim to it a ribbon whatever it is you will be looking for that as well so happy shopping I'm gonna be ringing like I said lots of fun ideas for you guys all month long so stay tuned for that but hopefully this will help you navigate your local thrift store and source some really cool denim whether you're going to wear it as is or cut it up I'll see you guys soon bye