Hey everyone, welcome to Alchemy Star, so I've been playing this game for roughly 2 months. Going 3 started this in January, I don't know, I forgot what date was it but I started exploring this game. I was supposed to play this game during launch but it was really kind of stupid with me not to play it during launch so I was 6 months delayed when I played Alchemy Star so I had to take a look at how the game is and to be honest with you guys I'm actually hooked with this game so I'm gonna show you my progress so far since January 2022 so this goes to show that you know I'll just point out that even if you are a beginner and if you want to start the game today it's not really a problem because again your progress will depend on the effort or your gameplay or your you know your your logins every day so let's check out the lineup that I have for each element let's sort this out so we're gonna be starting with water element obviously one of my weakest elements so far so I am missing a lot so definitely this lineup I'm not too proud of so I'm missing Sharona of course Regal for water from the old seal Bethlehem Carlin Fleur Bethel those are the aurorians that I need so so far water is my weakest element so I'm not really I haven't really given them you know any improvements because I lack the key components but for Spire later I will show you what my progress is for each of the elements so next up we have fire so fire kind of second my second element that in terms of ranking and I'm gonna rank them so water will be last will be fourth fire will be second in terms of how I built them how invested resources to them so I've since already Charon is here I see Faust and Maggie so that is basically my not Maggie Barber is actually part of my top five so basic can get me through a lot of what they call this a lot of hard stages already what I really need for this lineup is definitely Novio Graham Victoria that's it and Jonah if I can get Jonah then frostfire of course for the old seal but definitely for the old seal frostfire will be my last to get from there so moving on to the next element which is forest forest is probably one of my strongest elements here so um one of my favorite ororians would be hero probably hands down not one my favorite so hero I could actually splash her with lightning lightning was actually the first element that I was really consistently leveling up but it lacked it lagged down in terms of good ororians that I had to pull so going back to forest so hero me guard recently I pulled her ultimate I eventually took her to 80 I knew she was good um then my top five is again a hero me guard packed a rea sometimes I would bring Sikare or Shoban so Shoban actually goes well with the hero so that is why it depends but Sikare I just lack one copy of her then um she's already five yellow stars in so forest is um hands down my best element so far and um what I lack is Nikini's Paloma, Hedy, Louise so and Mythos so again I lack a lot still after two months and and half probably next is the last faction or element so we have here thunder so thunder so again the ranking for my faction in terms of how strong they are I think would be forest fire then I would have thunder then water is the last so right now for my thunder um they kept me they kept me competing actually during the first month they were the best uh element that I had but now not really so I have Luke, I have Revi then I have Grunru I usually bring Beverly together with Grunru not Eridion for converter so Luke, Revi, Grunru, Beverly and the other one would be Florene um the last slot actually has a lot of variations already sometimes Nadine for healing um but bring Schwartz sometimes Erika not really as solid as my fire and my forest teams I have Wrath here but I haven't leveled her up yet and but I also have Luke so I haven't used Wrath that much although I got her recently so what I'm looking for thunder is Rikwim, Michael definitely those two I really need those two in my lineup so what do you think guys of my lineup how do you think I have done so far um to be honest I haven't been I haven't been free to play I just to catch up on the game I had to spend a little so um well I had to do it I'm catching up for most most free to play who have played this are free to play until today but I have to play catch up in terms of how to review the game how to play how to because I plan to do guides actually so again um I had to spend and learn a lot from the game so so far I think I've learned a lot already and still learning so far but um let's go to old seal let's take a look at my progress in old seal so definitely this is my first one Rikwim I haven't gotten one yet from old seal but the sequence for old seal will be Rikwim next is Regal because I need a lot of support for water I need him badly then next would be Mythos and Frostfire will be the last that I'm selecting so that's it for old seal we'll go to we'll cover Colossus last so progress for the game so far um secret territory um I actually was able to clear up to level five I think this is the highest one so far so I'm clearing level five already so kind of decent right so for for the lineup that I have then if we go to the other ones uh Spire so my progression in Spire is um Thunderbolt Spire is 43 again as you can see forest is 60 fire is 54 then recently I was able to bring up water because after Mythos one of the stages is uh sorry after um I forgot the name so as you can see there Spire is at 31 because I want to get Regal from the old seal so again after Rikwim there's part there's one stage here that requires you to level up to 30 so I accomplished it so I guess I'm prepared already so that's it um so last top would be my progress in Colossus so so far I have had upgraded the Colossus uh majority of it bridge the ones that I haven't fully upgraded are this one I'm just gonna claim this okay this is going to be exploration workshop starlight chamber and simulation room are the only ones that I haven't really completed so just want to collect this resource guys so actually I actually was able to you know um already get a hang with the game um nothing to I think I'm progressing really good at this point so those are don't that is where I am I'm sorry I'm late to the party but nevertheless I'm here I'm gonna create guides give you updates give you tips um I have to I'm actually um fast tracking my progress and I'm actually creating a a very quick reference guide for the beginners I haven't finished it yet um it's gonna be in google sheet so everybody could view it I'll share it here with uh with with the channel so I hope you guys follow me in the next few days and next few months to come for alchemy star so effective today I'm gonna be creating guides for you guys and for this game so anyway guys if you consider my content you know worthy of your subscription please do support my channel please do subscribe to my channel click that bell icon so you don't miss any future videos for alchemy stars and you know by the way I also cover figure fantasy so I dedicate myself to covering games um not just do reviews but cover review cover games in depth so that I may give you guys you know um a piece of what I know or what I can help you with so again guys um take care stay safe and this is the warden and I'm out of here


So when I do stories like this, I'm usually looking at, why are we talking about this topic? And a huge reason we're talking about this topic is it's really the only other major full-on AAA game that has been announced by Nintendo, but we don't have concrete news on it. Of course, we're talking about Metroid Prime 4 because as you may or may not be aware, there is brand new rumors floating around from a fairly reliable source, someone we actually talked about in our last video and this actually all comes from the same podcast. So we talked about his Switch 2 stuff in our last video, but this is also some Metroid Prime 4 stuff. And we're talking about Special Nick from Xbox Era, but before we dive into what he had to say about Metroid Prime 4, from a buddy he claims has actually literally seen Metroid Prime 4. I mean, that's why we're talking about it. I wanna remind you we're on our road to 150,000 subscribers. And so, yeah, if you could just go ahead and wringling that dingaling, which is the notification bell, so you get notified of all of our stuff, you can also drop a like and subscribe to the channel. That would be great. So what did we learn from Nick on his podcast from Xbox Era, which we'll have linked down below? Well, he said a couple really exciting things about the game. First off is that visually it looks unbelievable.  I mean, Metroid Prime Remaster already looks incredible on Nintendo Switch. And we would suppose a made from ground up Metroid Prime game specifically for Switch, heck, maybe even Switch 2, is going to end up looking visually stunning. So being an impressive visual feast isn't really that surprising. And I know you might go, well, on Switch, wouldn't it be surprising? Not when you played Metroid Prime Remaster. There's just something about the outer space theme and some things that make certain elements a bit easier and less taxing on the GPU and CPU, allowing for a massive emphasis on visual quality in other areas and other details, such as enemies and explosions and obviously, Samus herself. So it should be a pretty big visual feast anyways. But if that was all we had to talk about, we wouldn't even be making this video because talking about the visuals doesn't really mean much. Just saying it looks unbelievable is not anything new for Metroid Prime. But this next part is, so this is just paraphrasing with a little bit of a quote, it is surprisingly open for a Metroid Prime game and has much larger areas than in prior games. Now, okay, do we have an example? Actually, yes, his buddy who literally was watching the game being played said it reminded him of Halo Infinite's vastness. Now, for those that might not be aware of what this means in regards to Nintendo because you're just not really that aware of what the heck is going on with Halo Infinite, well, Halo Infinite, if you play it, actually has basically an open world and it's really, really huge. I can't begin to even describe how big the world is. And so when it reminds you of that, while they're not saying that the game is open world, the fact that we could have several areas and zones that are super vast, open world-esque, maybe more like a kin to Pokemon Legends RCS to give you an idea where it has not an open world but an open zone. And look, we have had some of these open areas in Metroid Prime games before, but they're not really that big, if we're honest, especially compared to modern gaming. To imagine that is obviously incredible. Though I can give you some other details that you may not be aware about Metroid Prime 4 as well. These are just from my own personal sources and have been talked about on the channel before, but I understand we don't really have individual videos on Metroid Prime or Metroid Prime 4 pretty much at all on my channel. So you might not be aware of things I've said in the past, but Metroid Prime 4 is basically done and it's coming out in 2024. That's what I've been told from some of my own personal sources. So take for that what you will. You stack that with how visually stunning it is with the vastness of it. Yeah, it looks incredible. I can also tell you it definitely is coming to Nintendo Switch. And we even had a recent report we had in one of our prior videos. Again, it wasn't titled a Metroid video, but we put more than one story in most of our videos. This sort of being the caveat where we're literally just focusing on the one game, but it was stated that it was coming next year and coming to Switch by other people as well. I just am very, very happy to see this happening. And the statement about it coming to next year from the other people by the way was that it would be the Switch's swan song suggesting it's not going to be a cross-generation game. Rather it's gonna be the last major exclusive title dropped on Nintendo Switch next year. So that's pretty interesting. Also, sort of suggests it's the last major exclusive coming from Nintendo for Switch. That might shock some people who thought maybe they would still drop some games on Switch, moving forward, do a bunch of cross-gen stuff. Maybe that's not gonna be in the cards for Nintendo and the Switch platform. Maybe they will do a hard transition. Well, obviously still keeping up online support and all that stuff, encouraging third-party releases. Maybe Nintendo is not gonna have that much in the cards for it. Of course, it feels weird when I hear that Metroid Prime will be the swan song because I'm pretty confident Pokemon games are gonna be releasing on Switch the next couple of years. The Pokemon company doesn't like to abandon popular systems for systems who haven't sold very well. If that's the case, and Pokemon is literally about to go exclusively on Switch too, out the gate, then Nintendo will have done some pretty strong, big strong army of the Pokemon company and Game Freak to make that happen. And I don't know why they would when Nintendo just makes bank on Pokemon anyways. Let it be on Switch only or let it be cross-generation if they could somehow do that. Of course, they struggled to get games to run on a single platform. Can't imagine what it'd be like if Game Freak had to try to optimize for two platforms. They're barely optimizing for one in some cases. I gotta admit, Pokemon Legends RCS runs pretty well. That was also by Game Freak. Why does that run so well while Skyrim and Violet doesn't? I can't explain it other than they have different teams making different games and they just for some reason aren't communicating on how to optimize. I don't know. Maybe they're not even using the same engines. There's probably already information out there on that anyway. So I probably shouldn't even speculate on that because I could have just did a quick Google search. That being said, I wanna thank you guys so much for tuning in. This is a much shorter video because it's just about the single individual topic. And I wanna let you guys know that I really appreciate you guys being here. I was teasing on Twitter because I already knew about this news before it started to break in other places. I was hoping I could wait till tomorrow that this was gonna break our streak of our Switch 2 videos. I already knew this video was gonna be made. It's funny when I'm reading all the comments on all the Switch 2 videos because they've been doing incredibly well and I thank you guys so much for tuning in to all of that stuff and there'll be more Switch 2 videos in the future. I just find it funny when I read some of the complaints that all of that being like, oh my gosh, this is all you talking about. I'm like, if you guys pay attention, I was putting other stories in with those videos that weren't just about Switch 2. Like we had the Red Dead Redemption thing. That news when it broke that it was coming to Switch that was in one of those Switch 2 videos. It's almost like I was using the attention Switch 2 gets to deliver the other news that you guys never tune in to watch. Okay, I shouldn't say never, but a lot of you guys don't tune in to watch. So I'm still doing the news. That's what we do. We reveal the news, we talk about the news and we bring it to your screen. Thank you so much for being here and I'll catch you in the next video.


The IAA Board of Governors is meeting this week at the agency's headquarters in Vienna, Austria. In his opening statement, Director-General Yuuki Amano set a nuclear test by the Democratic People's Republic of Korea on September 3rd was extremely regrettable. This new test, the sixth and largest since 2006, is in complete disregard of the repeated demands of the international community. The agency remains concerned about the continuation and further development of the DPRK's nuclear program. I call upon the DPRK to comply fully with its obligations under all relevant resolutions of the United Nations Security Council and the IAEA. The Director-General updated the Board on verification and monitoring activities in Iran. The agency continues to verify the non-division of nuclear material declared by Iran under its safeguard agreements. The agency supports member states' efforts to face the challenge of climate change. Without nuclear power, it will be very difficult to achieve the Paris Agreement goal of keeping the rising global temperature this century well below the two degrees Celsius target. Board members meet five times a year. The Board of Governors plays an important role in IAEA policy making. From Vienna, Austria, this is Alejandra Silva reporting for the IAEA.


0. Accounting software 2023. Import bank transactions into zero.  First, a word from our sponsor. Well, actually, these are just items that we picked from the YouTube Shopping Affiliate Program, but that's actually good for you. Because these aren't things that were just given to us from some large corporation which we don't even use in exchange for us selling them to you. These are things that we actually researched, purchased, and used ourselves. Focusrite Scarlett Solo 3rd Gen USB interface with software suite. I've been using a Focusrite for years for my audio needs before which time I had a USB microphone which plugged directly into the computer. But I think you'll find, as I have found, if you want to increase the quality of your microphone, you will need an interface and the Focusrite is the go-to interface as far as I'm concerned. I've been using this for years now. It works well. It's easy to use. It seems quite durably built because I only do the screen recordings. I only need the one Solo interface. However, if you have multiple microphones you need to plug in or if you have other instruments you need to plug in, you can look at a similar model that has more input ports. If you would like a commercial-free experience, consider subscribing to our website at accountinginstruction.com or accountinginstruction.thinkific.com Where we have many different courses you can purchase one at a time or have a subscription model giving you access to all the courses. Courses which are well-organized have other resources like Excel files and PDF files to download and no commercials. Here we are in our Custom Zero homepage. Going into the company file, we set up in a prior presentation the bank feed file. In prior presentations, we set up a checking account which we can see in the accounting drop-down either in the bank accounts or in the chart of accounts. Let's first look at the chart of accounts down below noting that when you first set up a zero account, there will not typically be a checking account because zero really generally wants you to connect to the bank as you add the checking account. So you can add the checking accounts either here by selecting the checking account up top or we can go to the accounting drop-down and the bank accounts where we have the special bank account area and we can add the bank account here. Now remember when you add the bank account then it's typically going to ask you for an institution as though you're going to connect to the bank feeds. If you don't want to connect to the bank feeds as we do not, we set up the bank account and then in the next section we said skip the connection to the bank feeds because we want to be uploading the transactions from the bank at this point in time instead of getting them directly from the bank feeds. I'm going to go back to the accounting drop-down and the banking then so now we have our checking account here and we're going to be uploading the information into the system at this point in time. If you don't have anything in there yet you can just go to the manual import or we can go to the drop-down here and we say import as statement noting that when it says a statement you probably are going to think of a PDF form. We're not using a PDF form. We're entering the transactions. The format types provided to us are they would prefer the OFX and then they've got the QFX, the QIF, the QBO and the CSV. Now the ones that are most likely in my experience available to you, you could have in your bank account all these available to you but just remember you're not looking for a PDF file of your bank statement. You're looking for the transactions in these formats. The QBO is probably quite common these days type of file and if they don't have that then the CSV. I think the QBO is usually a little bit easier possibly to upload into zero with having less kind of glitches than the CSV file which could have a few different kind of layouts that might be provided from the bank but the CSV file is also the one that's going to be kind of most common. So if your bank for whatever reason doesn't have any of these file types it's likely that they'll have a CSV file type which is just a comma deliminated file type which you can open with Excel. If you want to look at a template you can see what the template looks like over here. We checked that out in a prior presentation. We have now imagined that we downloaded this information from our bank, from our financial institution. Here it is in a QBO type of file. Here it is in the CSV type of file. Now I think the QBO file is more likely to have less difficulty to directly upload now into the zero system. Remembering that this looks like it's like a QuickBooks desktop icon like you're going to open up the QuickBooks desktop software but this is really a QBO data file which is just the bank data file. So if I right click on this once again and just look at the properties to it you can see it's a QuickBooks OFXdata.QBO type of file. So I'm going to use that one here. So I'm going to go into zero again and we're going to upload it. So down below we've got the file to upload. I'm going to select the file or we can drag and drop the file. I'll go ahead and select it, go into my desktop where I've got just a bunch of stuff and I want to go into that checking account. So here it is I'm just going to pick up the checking and so it pulls that in so I can see attached down here the QBO file so I'm going to say great. Let's say next now and now it's showing me some of the data so it's kind of given me an example of the data. You can see here review and complete import summary of transactions. It's pulling in 91 transactions so we can kind of double check if that seems appropriate from the information from the bank. Zero will check for duplicates when you complete the import. That's often one of the problems when you start pulling data in from the bank account is to see if you have duplicate information so zero is getting better and better at basically detecting whether or not you have duplicate information so that you don't have pulling in data twice. Obviously you can check them off or you can uncheck them off. They're checked off by default. It looks like everything is pulling in correctly so I'm going to complete the import completing the import. So so there we have it. So now this information has been pulled in. So just to reorientate ourselves I'm going to close this top bit up here. If I if I now go to the accounting drop down and go into my bank accounts. Now I can see that I have the statement balance is showing here in my checking account. And then if I go into the drop down I usually just go into the account transactions and that will pull us into this area where we have these three tabs. The reconcile the bank statement in the account transactions. Now remember nothing's in the account transactions because I haven't actually entered any accounts on our side. We haven't entered any data on our side because we're imagining that we're going to basically create our books for the most part from the bank feeds. So we're going to make our accounts from the bank feeds on the bank statement side of things. Here's the transactions that got pulled in from the bank statement. And you can see over here they've been unreconciled meaning they haven't been reconciled to anything that we have put in on our side as kind of like a bank reconciliation component in here. Now of course they're not reconciled for us because for the most part we're going to be creating our books from this information. And so then on this side you've got the reconcile tab which is basically now saying if there was any matches I'm going to match up what's on the bank to what's in your books. Now if there was a match you would have some green items over here that zero is saying hey look I've seen these two kind of line up to each other. We don't have any matches because again we haven't entered anything on our side of the system. We're going to build our side of the system primarily from the information from the bank. So what we're going to do is go through this information and we're basically going to add it as we go. Now note by default I only have the three tabs up top. And I believe that's because a zero is basically saying hey look I think this is the easiest way for most people to kind of match things up. But we could add another tab possibly for the cash coding which kind of gives a more of a summary look of things. So if you want to add that tab then you actually go to the user settings and then you can add the tab there. So we can go to the dropdown up top. We can go into the settings and then I'm going to go into the users and then within the user settings. And remember zero is quite nice with the settings over here in terms of how many users you can have. I don't think they have a limit on the users which is pretty good. So I can go into a particular user and then down here in the bank account and balances by default it has a reconcile and edit statement lines non cash coding. And then it's got bulk reconciliation and statement line editing cash coding. So the bulk could be a little bit faster sometimes but possibly a little bit takes a little bit more of a learning curve to look at. So let's just take a look at that update permissions and then if I go back into the accounting dropdown and we go into the bank information. I can then say let's go back into the dropdown here to like look at my account transactions where I typically go. And then now you've got this added tab here of the cash coding. And so this allows you to kind of sort so that when you have like multiple transactions that have the same payee for example it's quite common then to sort by the payee. So that then when you're assigning out the accounts and whatnot you can see them all side by side. And so when you're doing bulk data input if you're doing data input for an entire year's worth of information this is often a useful tool. And that's often the case when you're when you're first like connecting the bank feeds after that point in time. Then I think the thought process is that this method is actually easier oftentimes because it gives you a little bit more information on the transactions as they come in. And for most small and mid-sized businesses if you're doing this like real time on a day to day basis then it's then it's oftentimes going to be fairly easy to kind of match things up or record transactions as they come in. It's going to be usually you would think when you have bulk transactions you're entering a whole years worth of transactions or something like that.  If you're in the United States for example or over your first starting your accounting system and you're in the middle of the year and you want to pull in all the data for six months to start off with. And that's when you would think the cash coding could be easier due to the fact that you can sort your information by the payee and then try to put in the like transactions at the same time and put the account line items in line by line here. It could be nice and easy. OK, so that's going to be the general process. Note that nothing has been added to the actual financial statements yet. So although I have all this information in here if I go to the accounting drop down. I'm sorry if I let's go to this tab to the right access close that tab. Let's right click and duplicate this just to show that if I go to the accounting drop down and open up my balance sheet then I don't have anything in it yet right because even though I have all this data in the system. We haven't given it enough information to actually start populating our financial statements. What does it need to help populate the financial statements. It needs to know which accounts to be assigned to from our chart of accounts. And we can also give it and probably should be given it of course who the transaction is involved with the contacts meaning the customers are the vendors which will start doing next time. And as we do that we could set up rules so that in the future it will know pretty much automatically you know what the transaction will be and it'll be much easier going forward.


Another guy I like this week is one that I talked about last week. That's Immanuel Sanders He's been the deep threat in this Buffalo Bills offense He has 20 targets this year seven of those have gone 15 plus air yards Josh Allen will get it together a little bit more throwing those intermediate and deep balls and Immanuel Sanders will continue to benefit from that He has about a 16 and a half percent target share in this Buffalo offense through three weeks I think he's a great add off the waiver wire once again


A useful idea in geometric problems is tape and scissors. You can put together a geometric figure by using tape to join two pieces, or using scissors to remove parts you don't want. So for example, let's say we have the polar graphs of r equals f of theta and r equals g of theta. And suppose the two graphs intersect at 2 pi thirds, write an expression to find the area between the two curves. And notice the area we want can be found by taking all the area enclosed by r equals f of theta, then removing the area enclosed by r equals g of theta. So to begin with, the area enclosed by r equals f of theta, well that's one half r squared d theta, and our limit of integration is going to go from zero to pi thirds. And in this case, r is f of theta. So the area between the two curves will be the difference where our first area is one half integral from zero to pi thirds f of theta squared d theta. Meanwhile, the area enclosed by r equals g of theta, one half r squared d theta, and our limits of integration are again going to go from zero to pi thirds. This time, r is g of f theta, and we'll subtract this amount. And unless we know what f of theta and g of theta are, we can't do much more than set up the expression. So maybe we know that this is the graph of r equals four cosine theta, and r equals six over pi theta. And again we know that the graphs intersect at two pi thirds. Let's find the area between the two curves. Since we've already found an expression for the area, let's ignore it and redo the problem from the start. Wait, wait. Since we've already found an expression for the area, let's use it. So again, the area that we want could be found by taking all of the area and then removing the area enclosed by r equals g theta. And so our expression was this. So the area enclosed by r equals four cosine theta, we can calculate that. And similarly, the area enclosed by r equals g of theta, which gives us the area of the region between the two curves.


Seven, six, five, four, three, two, one, go. What's up guys, welcome to today's vlog. Today I have a brand new tool to show you guys, so we're gonna do a haircut with this tool as well. This is the Donald Scott Twist. So you guys have seen the carving comb in a lot of my videos, which has the 100% cut side, the 50% carve side, and usually a comb. Well, this is the twist, which has a twisting rotating handle. So you can choose whatever comb you want to. So we're gonna use this tool and also announce that it is available on freesaloneducation.com. You can get it for $34.95. Really cool tool to work with and add to your collection. So the haircut that we did today is a nice long haircut. I wanted to do a long layered haircut because I believe that a lot of people get confused with elevation and razor cutting. So I wanted to show you guys how elevation and razor cutting works well together and how you can create different elevations without actually elevating the hair. I know that sounds very confusing. So the mannequin that we cut today, this is the nice soft fringe that we create. Also some nice layering throughout the haircut. So you can see a nice soft, a lot of texture, but it's a soft haircut. It doesn't look like it was razored and that's the whole point of the cut today. So I hope you guys like the technique. We're gonna get started. Here we go. All right, guys, so you're gonna start off this haircut by parting your guest hair in the natural way that they wanna wear it. So if they wear it on the left-hand side, part on the left-hand side, if they wear it on the right-hand side, do it that way. We did it on the left-hand side for this demonstration. Then I go from the high point of the head, the apex, down to behind the ear. Then I draw a line from that point at the apex all the way to the opposite side, pretty low, right below the parietal ridge, kind of the recession point of the head to section off the top section. Looks more like a triangle. And then I go from the apex down to behind the ear and separate that triangle. So we're basically creating three different triangles on the front of the head to separate the front and the back. I like to braid off the hair. It seems to be a good way to section. It also is a good presentation for your guest as well. You don't have to use as many clips, but it keeps the hair nice and separated and pulled away nice and tight. So we did a couple of braids and then clipped it away. Now I'm gonna go across the occipital bone. So I went vertical, straight back, and then across the occipital bone to create my panel. Then I do the same thing on the opposite side and twist that up and clip it away. So creating two sections on the back and then I start working straight down in the back of the head. Now I did say we were gonna use a razor in this cut. We are, but I like to clean up the bottom of the haircut to start this one off to get a nice clean guideline and pick my length when I do a razor cut. I don't want the bottom of this haircut to look too broken. If you wanted it to be kind of broken up, a little more textured looking, then you definitely could go in with the razor and cut the baseline, but I'm just holding everything down at a nice zero degree angle and creating that cut. Now check out the angle that's created by holding the hair down at a zero degree angle. Because of the head shape and how the head shape curves in from the occipital bone down, you get that 45 degree angle by holding the hair all the way down. So you're getting a nice soft bevel on the edge. Now this is the Donald Scott Twist. This is the new tool that we have on freeslawandeducation.com. Love this tool because it's nice and compact. It's a small version of the carving comb, but it has the same functionality and it also allows you to use whatever comb you want to. So if you're more used to using a traditional razor or you're just doing a razor cut and you're not adding too much scissor work in there, this is a great tool for that. So now I'm gonna bring everything out vertical, half inch section, bring it out to me, nice, quick strokes with the razor. The quicker the stroke with the razor, the more of a line that you create. So if you're trying to create more of a precision feel to a haircut, if you do quick strokes with it, you're gonna get a more precision feel. The larger the stroke, the more layered you're going to get the hair. So now I'm gonna show you guys a demonstration on if you use a larger stroke with the razor. So we created a tighter stroke to create more foundation on the base part of the haircut. Now I'm going in with a much larger stroke and also look at the angle I'm using that razor with. No matter what razor you're using on the hair, it should be at a 45 degree angle as you go in to cut the hair. But because I'm using such solid, heavy strokes with the razor, you're gonna see that when I go to elevate it up, it's just like holding it out at pretty much 90 degrees. So the more heavy you are with the strokes on the razor, it's just like holding the hair way up in the air. So a lot of people say, well, how do you cut the hair when you hold it in the air with the razor? You don't have to because it's all based on how you take the strokes with the razor. Now you can hold it up in the air, there's different techniques for that. But for me, I like to hold the hair down because that's where it's gonna fall anyways and just use larger strokes to remove more bulk and create more of a layered look. So now I separate, I'm working on the opposite side and because I don't wanna work with too much hair in my hand, I kinda flip the top over. So I only work with half of this section. So I go through with that tight stroke again. Everything's coming straight back to me. So customize that to fit your guests. If you wanna work with overdirection or whatever in the back you can, just understand what it's gonna do for you. I'm going straight out cause I wanna create a more balanced feel in the back of the head as opposed to overdirection, which is gonna push weight behind the ear, which is not really what I'm looking to create. So now through the top again, heavy stroke with the razor, creating those layers and this just gives it a nice soft kinda seamless feel to the back of the haircut. Now I'm using a nice fresh razor blade. That's the most important part about razor cutting a lot of you out there that are afraid of using razors or you have clients that are afraid of you using a razor, just educate them on the fact that if you use a fresh blade and also we're using the Donald Scott Liquid Tool Glide, our prepare spray, which prepares the hair for razor cutting. It's a phenomenal product for getting that slip on the hair and keeping the hair nice and conditioned. So now I go through, I create the face frame basically the way that I did that because we kinda rushed through it. I comb the hair down, I slide the razor along the face frame just to create that but it also leaves a little bit of extra weight in there as well. Now for the top, I comb everything over to me. The entire top section, I bring it over, I do a nice heavy stroke. This is kind of the finale of the haircut. The part that I love the most because has the most impact in the whole look.  So now we're gonna go through, we're gonna start to blow it dry. I'm gonna use brocato active which is a nice oil, it's a finishing oil, I'm gonna put that in the hair, it's gonna give me a nice sleek look. I brush the product through with my Ergo paddle brush and then I start my blow dry. I'm gonna do a flat wrap around, a little bit of lift with the paddle brush so I don't flatten the hair too much but just really following the head shape, don't we all wish we could make hair dry that quickly and then I go through with my Vibra straight iron. The thing I love most about this iron if you guys are looking for a new iron is the fact that it vibrates as you pass over the hair. So it doesn't put as much friction on the hair so it creates less damage and it just runs over the hair a lot smoother. Now we're gonna go in with our Puffin scissor, this is our Mizetani Puffins, it's a dry cutting scissor. So I just wanna define that face frame just a little bit more and then I'm gonna go through and do some tease cutting. Now I wanted to break down tease cutting, I've done this in many videos but some of you guys are first time watchers. So as I cut into the hair, I slowly close, so watch my thumb, if you need to rewind it and play it back, watch my thumb and how I close down on the hair and then you'll get faster and faster at it as you go but just keep practicing it, something you can do while you watch TV and just go through and slide it. Same focus on this technique, just moving that thumb and go through and slide cutting and breaking up that face frame.  And that's the end look at a little bit of firm maximum hold hairspray from Bercato as well and that finishes off our look. I wanted this to not feel too textured and too undone. I wanted a nice soft cut because a lot of people think that the razor is damaging. A razor is not damaging as long as you have a brand new blade and you prepare the hair the way that it should be done. Hope you guys like it. All right guys, if you like this cut then definitely let me know in the comments below. Also, if you would like to pick up a Donald Scott twist on freesaloneducation.com, run over there and do it. I'm also offering 20% off the entire store if you use the code MATVEKVLOG. So if you're looking for scissors, combs, clips, anything, go check it out on there. Thank you guys so much for watching. Go join fsesocial.com, create a profile, talk to all the thousands of hairdressers on there. I look forward to talking to you on there. Thank you so much for watching. I'll see you on the next video.


Water sanitation and hygiene is one of the main components in humanitarian response. The basic needs for a person in terms of water per day is between 7.5 liters and 15 liters. In a camp that has 50,000 people, it's 750,000 liters per day that we need to supply to water points in the camps. The challenges are everywhere. During the rainy season the roads are cut off. In some places only an helicopter can land and on top of that we have insecurity. We are supervising and monitoring and doing the job every day with a structure of natural staff and service providers and setting up the infrastructure for water and creating and mobilizing the network of hygiene promoters. My name is Antonio Torres. I am the wash coordinator for IOM South Sudan.


All right, are we good to go? We are good. Amazing. Thank you all out there in the audience for bearing with us through our brief technical difficulties. Welcome to Reimagine Theater, a panel series that brings artists and community leaders together to envision a new theatrical world. My name is Alex Lee Reed. I'm the Associate Director of Arts Engagement, Youth and Learning at Seattle Rep. I will give a physical description of myself for our blind and low vision attendees.  I'm wearing glasses and a silver septum. Behind me are several plants and wooden blinds in my cozy dining room. I'd like to start by acknowledging that we are on the traditional land of the Coast Salish people, including the Duwamish, both past and present. We honor with gratitude both the land itself and the Duwamish tribe. This acknowledgement does not take the place of authentic relationships with Indigenous communities, but serves as a first step in honoring the land that we are on. For more information and how you can support local Indigenous communities, visit the Land Acknowledgement page on our Seattle Rep website. I want to say that I deeply, truly, truly, truly appreciate every one of these panelists for being here with us and having this conversation tonight. We're doing these panels so that we can envision what a future of equity and justice looks like and how theater, how the arts and how educational theater specifically should be a consistent part of community voice. The leading questions for our discussion tonight are number one, if you could wave a magic wand and build a new theater landscape, what would you create? And two, what does theater at the heart of public life look like? Of course, we'll go into, we'll have several tangents and side roads and deeper levels of conversation spinning off of those questions, but that's what's going to be guiding us tonight. For those of you out there in Zoomland, think about your questions, your answers to these questions as well as we'll be engaging you in the conversation throughout the course of the night. In the meantime, feel free to ask questions, send your reactions, blow up the chat. We're young and hip, we love it. They are. I speak for five out of six young hip individuals on this here Zoom. Speaking of those younger and hipper, I'm gonna throw it to my co-facilitator, Ms. Malia Silva. Would you please introduce yourself? Then we'll have the rest of our panelists do the same. Hi, I'm Malia. I am the youth intern at the rep. Yeah, am I supposed to give a physical description? Please. Okay, cool. So I have dark hair. I have light skin, but like not like heckle light though.  And I have brown eyes and my glasses have been described as those a 30 year old divorcee might wear. So we're rocking those. Yeah, Micaela, or wait, Malika, sorry, Malika.  That's fine. Hi, I'm Malika. This is my first time doing anything with Seattle Rap. So that's pretty cool. I'm Indian. I have brown skin and I have caramel highlights. That's the description of me. That's about it. Does Gary want to introduce themselves? Hello, I'd love to. Hey, hi, I'm Gary. Words. Hey, hi. Oh, I am white. I got blonde hair. I'm wearing a lovely sweater right now that is white and has wonderful designs, alpaca. Yeah, yeah, and I got tons of rings on. Wait, I was supposed to say someone, Daisy. I am a student at UW and I have done sort of many different arts things around. I use sheer pronouns. I am white. I have long brown hair that you can't see all of, but it exists below the screen too.  Yes, absolutely. Hello, my name is Kennedy. I am a freshman at Santa Clara University and I've done quite a few productions within the Seattle theater scene, including their most recent August Wilson monologue competition. I am a light-skinned black individual. I have brown eyes and dark black or dark brown hair, I guess, that's currently pulled into a bun. I'm wearing a black turtleneck and then behind me I have kind of this tan colored wall. And I will pass it to Thea. I think that is all of us, yeah? Yeah, yeah. All right, thanks for that, friends. So I wanna start out the conversation a little easy, chat a little bit, talk about some of your experiences in educational theater. Then, Malia, I'll hand it to you if you wanna ask some questions of your peers from this perspective before we really dig into the big questions. So what's on my mind? I'm curious when we say educational theater, right? You all agreed to join this panel on discussing what educational theater could be and should be. But the question I wanna ask is, what does educational theater even mean? Anyone feel free to chime in? We don't have to be civil. Cool, I'm gonna start off. So I think educational theater is opening up opportunities for not just only young adults, but kids as well and teenagers too. We don't see a lot of youth teenage engagement in theater. You will have high school theater, but other than that, it's very less likely to just see community theaters that is very inclusive. So I work at a Bellevue Youth Theater. It's in Bellevue, and it's mainly focused on youth and teenagers. And anyone that auditions will get a role in that, which I think is pretty cool. So in my opinion, youth engagement should involve everybody, and everyone should have a lot of opportunities. Well, when I think about educational theater, obviously I think about educating people into the basics of how theater works and how to act. But I also think about it as educating people about less known topics and less known groups and stuff. I, obviously a lot of that was shaped by the August Wilson Mama competition and my views on that. So yeah, when I think of educational theater, I think of educating people about different groups and different experiences through different times through how those groups tell stories and whatnot. I think it's pretty cool. I also, when I think about educational theater, I think that it can, we can, I mean, this isn't how we think about it now, but I think that it could be expanded to include people of all ages. We see the most educational theater for young people, which is really, really great. But I do, I think that we could involve adults who wanna have more art in their lives and who want to learn more about theater, who didn't get to do it as a child, who grew up in a place where the schools were underfunded and they didn't have good arts programs or any access, or who just like have gotten older and realized that they want other things in their life, right? Cause like art is a really important part of living a balanced and like happy life for lots of people. And so I think that everybody deserves access to arts education, including children and young people, but also including everyone. I would say that it's, I would say that it's about like, not necessarily teaching you how to act, but like guiding you on like how to approach this art style and therefore you learn, you educate yourself about the world around you and you and how you fit into the world and how you fit into yourself. And by exploring different characters and different scenarios, you're able to, you're able to sort of figure that out along the way, which I think is really cool. Oh, I'm sorry. Sorry, go ahead. Okay, I think for me, educational theater is inherently just theater that educates you, which sounds quite backwards, but I think for me it's any theater experience where you learn, if say you're an actor, you learn about behind the scenes aspect. So you learn directing, you learn, you know, set pieces and how that helps create a production, but also theater that educates people on issues that are largely unheard of, from communities that are largely unheard of or unheard from. Stories that come from people who have largely not been listened to, I think really is at the heart of educational theater because it not only educates the people that are bringing those stories forward, but it also educates the people that are listening to them and thinking, wow, I've never heard that before. That's a great story. Laika, you had something else you wanted to say? I was gonna say the same thing as Kennedy did. Also, like when people perceive theater, they mostly think about musicals and just they don't really like big musicals and stuff like that, but they don't talk about all the little stories that you can also like watch and do and as well as like learning other aspects of theater that isn't just acting. Thank you all. Malia, I'm gonna throw it to you. I would love for you to talk a little bit about your track to becoming our youth intern, our first ever youth intern at Seattle Rep and what made you decide specifically that this is a path that you might be interested in pursuing? The track was actually pretty simple. So I was kind of like, yo, Alex, can I work here? And he was kind of like, sure. I don't know, maybe. And yeah, but the reason why I asked is because while the monologue competition was going on, I was kind of like, I kind of like this, you know? And after, and I was just kind of thinking to myself, like after it's over, what am I gonna do? Like during the competition, I was just very emotionally invested. And I still am, but it was just in a different way. And I just found a passion that I never really had before. I never really looked at acting as an outlet. And I was kind of like, maybe this is what I wanna do with my life. Let's give it a try. And I like it so far. Lovely. And Malia, I know for a fact from working with you over the last year and some change now, you've got a lot of opinions about how we do what we do. Opinions, ideas, I don't say this as a bad thing. It's one thing that I adore about you. But I wonder if you can kind of guide us into this first big question, right? This is our wouldn't it be cool if our magic wand question? Yeah, sure. So like, okay. So the question is if you could wave a wand and change the acting world, change it or turn it into, or create whatever you want, what would it be? So yeah, what do you guys do? You wanna answer that question first or last? Yeah, oh wait, is that what, is that what, I was just, okay. So kind of like an idea that I had for it is like, here, wait, I made a list. I would say that first we diffuse the sort of like prestigious air around theater because like, yeah, we all watch movies, but like theater, like going to the theater and watching a play is now considered to be such a snobby thing to do. And honestly, and like even acting is considered a snobby thing to do.  Like, it's like, I think that if you get rid of that sort of atmosphere, that theater is all Shakespeare and what have you and get down to it, theater is people expressing their emotions through bringing words to life. And like, I think that people could be passionate about it and it would be more widespread. And that could be achieved if you sort of diffuse the air around script reading itself and like reading just in general.    And then they got together and Shakespeare was, and Hamlet wasn't having them. And like, if you diffuse that air and sort of see it for what it is, get past behind all the fancy language and the fancy faces that sometimes represent the theaters, then yeah, it also changed the faces that represent the theaters. Cause right now, we see, like growing up, I never saw anybody on screen that looked like me. I don't know if there's like any well-known mixed actor that I know right now, probably not mixed with the things that I'm mixed with for sure. And like, it's an even like in most theater representation, I'm pretty sure like the rep is probably one of the most diverse theaters out there, at least that I know of. And even then, even then it's everything can be changed for the better. And I think that by seeing more representation in the theater and in movies and in playwrights, you know, us minorities, like every minority, you know, Indians, Samoans, Hawaiians, fricking, you know, I don't like, I don't know, there's a lot of people in the world, like everybody. And yeah, that would be my changes. I'm sorry, that was long-winded. Anybody else wanna go? Not sorry, you're perfect. Building off of that, I love that. I love the role that theater has in sharing and amplifying unheard voices. And I agree, well, obviously I agree, because I said I love that, but yeah, no, I agree. There needs to be more representation, not only with the people who are acting, but with the kinds of stories that are being told. It's one of the reasons that I loved learning about August Wilson and learning, or in like reading his plays is because it's just, obviously it's an experience I never had. And it's just a complete different type of play than I'm used to. And I just, I love that. So I guess if I had to wave a magic wand, I would make it so that minoritized voices are able to find more of a, more, that, that, that. It will just find like a speaker in theater, like the megaphone, that's it, a megaphone in theater to not only amplify their presence and make their presence known, but also their culture and their unique experiences, these stories, I love it, and I think it's fantastic. Can I throw this question to you next? Yeah, absolutely. I think I definitely agree with all of the talk about including more minorities in theater because that's not something that I ever really experienced before I truly got into the theater scene specifically at Seattle Rep as well. I think going off of that, including more minority representation in those ancient stories that, well, I use the word ancient, but those older stories that Shakespeare and all of that, seeing more minority individuals in those kinds of roles or creating a space in which there were, if I could really go back, if there were more minority representations within those stories because I never saw myself in Shakespeare. I never saw myself in Greek tragedies. So I never really thought that that could be something that I could connect with. And to an extent, maybe I still do, but I think that that could really be something that could really further the beautiful diversity that already exists in theater as well as expand on it, yeah. Thanks, Kennedy. I'm getting silly. Walk in the line of not being afraid of the Zoom silence as we're thinking about these really kind of big questions and also want to poke y'all a little bit. Go in, Daisy. I'm happy to go. I would really, if I could live with magic wand, I would really love to see people get more excited about theater, which I think is exactly what everyone else is talking about too. I would really love to see people, the same way that we are excited about TV shows and movies, and we have these other very well-known and new music. I would love to see people get that excited about theater, and I would love to have new shows be as big of a deal and have experiencing live art like that be a thing that people are so excited about and invested in. And exactly the reason why that doesn't happen is because of all the roadblocks that everyone else is talking about so beautifully, because it seems elitist, because the history of discrimination in theater, because it is scary and weird still to go to some theaters for like, there's a lot of history, there's a lot of baggage that isn't good and isn't pretty and is not welcoming. And I think if we can ever find a way to move past that and move beyond that, I would really, really love to see people get excited about theater because they feel like it belongs to them and feel like it is for them and feel like they are a part of it and it is a thing that is supposed to serve them, right? So that's what I would change. Thanks, Daisy. Malika, I'm going to throw it at you. Oh, cool. Adding on to what everyone's saying, bringing more awareness. Also, bringing awareness to audience, it just seems like going into a play, not a lot of people go and watch a play in the theater because they're not aware of it. I think that we should be able to showcase, there's a play that anybody can watch.  So I hear that we wish to demystify what theater is to remove the elitism that air of theater is not for you to communicate to the public, to the community, to everyone that theater is for everyone, to make spaces for elevating stories, the stories that we're not telling. Right, yeah? Okay, so that's what we want to do. But what does that look like? I dare you to dream here. Okay, if you had, as students of theater, if you could walk out of your house and into the most ideal room, right? We use the term room loosely being in the room. That could mean a classroom, that could mean a theater building, that could mean maybe something outside of the idea of walls. I don't know. But if you could walk into this ideal space where you feel seen and valued and safe and loved and like your story matters, what does that space look like? It's okay to speak and draft. Your answers don't have to be huge or profound. It's okay to be a conversation too. You're welcome to respond to each other. I feel like for me as a black woman, that would look like walking in a room and everybody's black. The director's black, the producers are black, the entire cast is black, even the show we're doing is black. For me, that's what that would look like because I... Should we just pick up where we left off? Not from the room? No. Our audience is trickling back in. Apologies, everyone, for our abundance of technical difficulties today. Sorry about that. We're going to jump back into our conversation. Kennedy, can I give it back to you to... Yeah. Yes, absolutely. So as I was saying, my ideal room to walk in would be a place where everybody is black because that is one of my identities and the identity that I would feel most comfortable walking in and being in a room where everybody is like me, producers, directors, actors, the show that we're doing is about black people for black people or for anybody, but specifically really highlights crucial black issues, as well as black women, because I think that there is a lot that can be done, especially when it comes to black women as the directors, the producers, that kind of thing. But just in general, just being in that space, I think would be my ideal scenario because it's, for the most part, never really been my experience. There have been spaces where I felt quite comfortable, including the monologue competition, but there have never really been spaces quite like that or quite like the one that I would want to walk into. What are some thoughts about this? I would say that if I could walk into the perfect room, I think that I would want it to be all different types of people. I wouldn't want everybody to look just like me, because while I've never seen that before, the whole point for me of diversity is different people, but at the same time, it would be really cool if all of those people had the same sort of attitude and mindset toward the space that we're in. Because I find that the room that I'm most comfortable in is when everybody is kind of like running around, able to be silly, but at the same time, knowing their job and doing it well. That means I think that anybody can do that, of any color and any age. You just have to pick the right people. When I think about the ideal room, I think honestly, I think I think of my high school theater class. Just, I was thinking of this when Malia was speaking about like, you know, everyone running around, but they know what to do, do their job. I love the energy. Having like buoyant, like, you know, happy energy is like something that's really important to me. And if you're not having fun doing a show, if you're not having fun doing theater, then like, what's the point, right? I think that is, I think of, you know, it's a diverse place. And we're covering something like, we're covering words. We're doing a play that is like, okay, well, currently we're doing a collaborative piece, which I think is really fun because that allows us all to like, express our own bit of personality, our own like bit of who we are and bring ourselves to the stage. So something like that or something like showing, something like the August Wilson, right? Like something, I'm saying like a lot. Something that is not a terribly widely shown perspective view and bringing that into more of like a public sphere for people to watch. Like a decent size audience, but not too much that it's going to make you have a panic attack. And again, that energy, that vibrance of just joy of what you're doing.  You know your role and like what you're doing. I mean, my mind sounds a little bit silly compared to some of these really great ideas, which I think speaks to my relative privilege in those spaces because I do feel mostly comfortable in theater spaces already. But if I were going to make it, if I were imagining my ideal room, and I think one of the things that does make me feel pretty uncomfortable a lot of the time is there's sort of like a, like a smarmy, shoozy, got to be really nice to each other, but like not really like it's like this fake like, like saccharine, is that the word I'm saying correctly? Sugary. Just like a lot of false niceties and treating, and not always explicitly, but kind of going in with the idea that like other people are here maybe to help you get places and you don't want to make anyone mad, you don't want to be authentic because you might make someone mad and they might not like you in the future and then you won't be able to do things. And there's I think this sense especially in theater and maybe in the entertainment industry at large that like the connections matter and the connections you make matter and that means you like, you can't engage authentically and you can't actually enjoy being around the people you're with because you have to like be thinking about the long game and be thinking about how this will affect you in the future. And I hate that. I really, really don't like it. I wish that I could just like, it's not like I like talking to people. I wish that I could just actually talk to the people that I'm with and enjoy being with them and not have to think about like the other levels that are going on, especially because those feel like they're really fake sometimes, but I still like I should think about it just in case. So I think if I were to make, if I were to walk into one of my ideal rooms, it would just be a place where there isn't anyone trying to play the long game and people are just there and trying to, trying to actually be nice to each other and actually make each other feel comfortable and not with any ulterior motives. If that makes sense. That totally makes sense. Thank you, Daisy. Adding on to what Daisy said, like the people that like, if it's my ideal room, I want them to like actually love being, like love doing what they're doing. And like, I think it's important. Like if you don't feel comfortable being in theater or like not liking what you're doing, it can cause a lot of conflict. And also like I want to be able to have like communication with the people that I'm working. Sometimes like with theaters, things can get lost in communication if it's not like led properly. So it's very important for me to like have communication with not just like my co-actors, but like the tech team and the production team. So yeah, that would be my ideal room. Thanks y'all. And to further dig into this question a little more. So we know what the room looks like. We know what the room feels like, but what's happening? Okay. What is, if you could now walk into your ideal room in your ideal company, right? With your ideal peers, team, creatives, all of it. Right? What is the work that you're doing or what is the learning that you're doing? What is, what is the thing that you wish for that doesn't currently exist? In that, I would really, in that ideal world, I would really want to work on something that is very vulnerable or makes people very vulnerable.  And I think that maybe in the ideal world, we could do work like, yeah, Shakespeare is cool and all, but maybe like something that's relevant to today. 2021 right now.  But like, it's really like, it doesn't even have to do with zoom or the pandemic or anything like that. It could just be like what we're feeling, what we're thinking, maybe it's just, it's just vulnerable and authentic and it's current. That's what I want. Again, like adding on to Malia, like, showing the story how it is. Like when we look at like TVs or movies, the way they perceive high school and college is totally different from what it actually is. Talk about that. It's like all these stereotypes of like, geeks are like this, like band people are like this, theater kids are like this. Like it's all so fake and like, I guess like with right now, we have so much stress with education, getting into college and like how expensive college is. And then you look at TVs and shows and these kids are getting into Ivy leagues and I'm like, how is that possible? And they're like handling schoolwork and activities and they don't talk about like what kids go through with like depression, like what teenagers go through with depression or anxiety, like pressure from parents and peers. It's not something that's like talked about. And I want to see that like with theater and I think that we are able to do that with theater. I literally thought I was going to get bullied in high school because of how they portray on Netflix.  There was this whole dilemma and then I went into high school and I was like, so it's nothing changed. It's literally no different than like elementary. It's still it's not bad.   It's just so fake. Yeah, I agree.  But then as I've gotten older that hasn't changed. So like, yeah, I'm wondering if it is. Sorry. Anyways, um, yeah, that it isn't authentic. It isn't shown and you're right when most of the, most of the drama, most of the stress for characters comes from like interpersonal relationships, like what's going on, but it never has to do with like the actual stress of like, how much you have to do to get there and like the work you're doing every day. Um, and yeah, that would be a really cool thing to actually portray in theater, especially since, you know, uh, well, um, most of, yes, most of us here. Hi. Uh, are younger. Um, and we have. I'm sorry, Alex. Um, and have a much more like modern view of like how high school goes and that goes into the thing I was talking about earlier where, uh, in collaborative plays that you can write, you allow or you're allowed to like bring much more of yourself bring much more of your background and like how you grew up who you are into it rather than playing a separate character, which there's fun things you can do there, but it's always like, there's always a bit of distance between you and the character. Um, I think there's also something to be said about the portrayal of characters of color in that same vein in that at least when I watch the TV or I watch a theater production, I always notice how the black character is portrayed. It is always the super extroverted outgoing fashionable. Um, you know, sidekick and I think more accurate representation of how just people of color in my case specifically black people act is I'm very shy. Um, I think the only accurate thing is I like to think that I can dress well. Um, but besides that, you know, Friday nights, I'm not at a party. I'm in my room watching TV.  There are people who had, you know, they had really tough experiences in high school. I was one of them, but it's, I have yet to see an accurate portrayal of high schoolers, especially high schoolers of color. And in that, um, again, like everyone's been talking about the struggle of college and being able to pay for college and applying for college and all of that. Um, also just the fact that it seems like none of the characters like go to school ever, which I find very interesting. Like there's some, it's just like, I can't remember who said it, but how they're getting into Harvard yet. I've never seen a scene where they're in class. Um, again, just more accuracy when it comes to these stories, be it on the screen or on the stage. Um, because I really think that that could help out somebody who's looking for that role model or that representation to think, oh yeah, I could do that or I could be that. Like adding on to all of that. I think that like another thing, except the characters are just too polished, like in their looks and in their actions because like you see them like, for example, I watched, I forgot what show it was, but I watched some of the show about like this Indian nerd, by the way, hi, I'm Indian. That's Indian nerd and like, it was like, she was like, supposed to be like really nerdy and you know, not very attractive. So the script said, and I think that they're always casting for that role. Somebody who, at least the actor doesn't seem like they would be a reader is actually pretty attractive. Um, has never been through the situation like the unrequited love situation or like, I just feel like, yes, it's acting. Cool. You know, we're not the characters. But at the same time, by not casting people who may have had similar experiences or by casting the complete opposite of who you're trying to portray, especially if they're never accurately portrayed is ridiculous. So, yeah. If I could go off that just really quickly. I do. I do have to agree with that just in that all of the actors looked so polished and pretty. If you take, you know, before, for example, Zendaya is supposed to represent me. She's got like clear skin and like perfect hair and all of that. But like these characters are supposed to represent me who I have bad acne days. You know, sometimes I don't always look as perfect. Sometimes my hair looks a mess. Um, but on top of that falling into those like those tropes of this is how a certain kind of character is supposed to act. Specifically, I also, I wear glasses. And so it's always interesting to me in how the female character, the male character or whoever wears glasses is ugly until they remove the glasses until. And the funny part is they're not ugly with the glasses, nor are they any better necessarily without them. So it's always interesting to me when the glasses are what make you ugly. So, and I think I really, I think you talked about how when you went into high school, you thought you might have to like take off your glasses. That was the same way for me. I would literally look at the board. I'm blind, but I'm like, I cannot wear my glasses. So it's just interesting and how those kind of messages then are filtered into us and how we perceive those and perceive ourselves as, oh, now I'm not supposed to wear glasses. I'm not supposed to say that I'm a theater kid because that how, what are people going to think? And so I just think that that's also a very interesting point. Wait, I'm sorry. Something just came to me while you were saying all of that. Like you, okay, so you know how you just said certain things are great to us because of the TV stuffs?  I was like, okay. Like, that's not supposed to happen. You're not supposed to be telling me 12 year old, telling me six year old that they're fat. Something's wrong with them because listen, one time I was riding the bus, right? I was still in elementary. I remember this clear as day this six year old was fixing her makeup. And I was like, like, like makeup itself is not the issue. If you like wearing makeup, you like wearing makeup, there is nothing wrong with that. But at the same time, the idea that makeup makes you inherently look better. And sometimes it does, but the idea that you have to wear it to look good is ridiculous. The idea that you have to be dressed up and polish all the time. Listen, a good friend of mine, she came in with her hair like this. She went into class the other day and I was like, girl, you look a mess. And she was like, oh, I just woke up. And I was like, relatable. So the thing is, is that nobody ever talks about that. When's the last time you saw a character come in with a bun that was actually messy? Or with sweatpants that had a bleach stain on them. Something that's actually, you know, or like they say, oh my God, my color family is so embarrassing when really they just be asking how your day was. You know, you really want to talk about an embarrassing color family. Bring me the slipper. Go get the metal spoon. Because that's like, I'm sorry. And also the fact that the color main characters are always ashamed of how different their family is, has put that trope into our society. The reason why some of us color peoples are ashamed of our family is because we learn that we're supposed to be and we're not.  Y'all all talked at the top of our conversation about this wish to see more representation in theater generally. And how we can use theater as a platform or as a megaphone to use Gary's analogy to amplify those stories. But I would love to hear y'all riff for a little bit too about how we can use theater to explore our own inner worlds. Kind of going off of this what we see and the messaging that media film TV and theater is guilty of it too, frankly. The messaging that media ingrains in us. I wonder, well, that's all I'm going to say. Actually, I was about to answer that. So at BIT we did this story called Rama. It's part of my culture and it's a mythology that we did. And doing that story helped me not only learn but also teach my peers about my culture and it made me not be ashamed of it because growing up I was so ashamed of being an immigrant and it was like, oh, it was always a stigma and it helped me understand my culture better and not hate it and it helped me become more like, oh, my culture is who I am. Leigh, I'm going to throw this back at you if I can put you in the spotlight for a moment. As we're exploring identity and we're exploring representation in your internship and there's an ongoing conversation about how by decoupling your culture and there's an ongoing conversation about how by decolonizing theater and decolonizing education we also are decolonizing ourselves and getting rid of all of the bullshit, BES, nonsense that society has put on us for all of these years and I wonder if you can riff on that a little bit. Can you like format that into like question form, please? I framed that in the form of a question. Malia, how does this show up for you? Really is the question, right? Can you talk some about the work that you're doing in exploring your own identity through building these classes for your peers as an instance through the play guides that we're working on creating? The glad to identity is. I would say what shows up for me is like, is the fact that a lot of places sort of do this thing, colleges do it, high schools do it, eaters do it or even like movies where they'll have like a couple colored characters, a couple colored writers, colored students, what have you and they use that as, oh, we're diverse. And what shows up for me is that by creating or attempting to create things, whether it be, you know, you one day writing a monologue or like getting together with a group of peers and presenting like an idea for like a play that you guys can perform or, you know, asking to be the youth intern at Seattle Rep.  Like because my goal at the end of the day is to have all this racism crap, something that kids just read in a history book.   Like it was just all white people like, huh, that's crazy. Yeah, yeah. That would be really the ideal world. And what do we need? What do we need in order to make this happen? I think we just need, like, we need time because we need a couple of things in one of them this time because people, a bunch of people think that like, you know, change is going to happen overnight and it's not, you know, like there's always like these like big movements after another that sort of fall away and some of them creates a platform for the next movement to build on. And I think that by, you know, taking baby steps, slowly making change in ourselves, our communities, and therefore affecting, you know, the representation we have in theater, then the representations we have in movies and in shows is going to be the ultimate thing. So I think that first we need to start with ourselves than our communities. And by communities, you can start with your friend group. You can start with your classroom, you know, your school, your district, your state. And then you can go, then you can be like, yo, Hollywood, open up. And because I genuinely think that, you know, movies and shows should place more inexperienced actors, you know, fresh starting actors, which is kind of a different opinion, but like, yeah. Can I add something on to you? Yes. Like we, when she, when she mentioned that like, like new actors who are just starting off, I feel like we should like when there's teenage characters in the show or something, I think it should be played by teenagers. And if they don't have to be professional, they can know like some, like they have some acting skills. Yeah, I agree. There is like a bit of a thing. Less so in theater, more so in movie where it's like, you want to get these big name people because they're just known rather than getting like inexperienced people and allowing them to like, have a chance to shine, have their moment, right? Give them the experience so that they can get up to that level. I'm going off of what Malia said, saying that it starts like in your community. Like building from there. I think that it doesn't even just have to, I think that we can add a step between district and state where we're also talking to other communities across like, I'm going to say the states, but it could just the world, right? Because theater isn't just in America. And because it's changes isn't going to happen if it's just one state, right? It has to happen in local communities all across for nationwide change, all across the nation for worldwide change, the globe, right? And I think that creating these organizations that can like, allow us to contact other communities and like, you know, spread messages, maybe use it as like this highway track to a highway tracks don't exist. Use it as this highway to like, show underrepresented things and show like, hey, this new play was just written by like a black playwright. Like send it to communities all around so that they know about it. They can like decide if they want to show it or not. Something like that I think would be good as well. Other thoughts. What do we need? What are we missing? Why can't we just flip the switch tomorrow and say, okay, this is how theater works now. What's stopping us? Kennedy, you go. No, you're good. Go for it. Oh, I was just going to say really quickly that I think a lot of it comes down to like the feeling of scarcity, you know, like a false belief that there isn't, isn't enough for all of us. There isn't enough recognition for us all to be able to do what we want to do. There isn't enough resources for us to create there. We want to make there aren't enough audiences if we make these different kinds of art. I don't know if I think that is, that that comes out in so many different forms, but I think that that is one of like the roots of why it is so hard to do different things is just like that myth of scarcity. Do you believe that there is a scarcity that there's not enough? I think, I mean, I am, I am just as socialized as everyone else, right? Like I, I, I consciously and consciously and you know, like I want to believe that there is, there is enough for all of us. Sometimes I have trouble believing that there is so much in the world that is trying to convince us that that is not true. But I definitely feel better and I feel, it feels the most right when I'm talking to, when I, when I'm reminded that there is, that there is enough that we are not, you know, all on our own trying to like succeed against everybody else. And I think that that is how like better art thrives to, right? Nothing about our lives are our individual and none of it is solo. And so I would like to believe that that is not true. What would, what would make you believe that? This might, maybe my last follow up question. I don't know. Maybe just like enough people telling me, I think that, I think that I don't know if we all want to believe this because I want to believe that it is true. I think it would just take like an example of it really happening or someone reminding me of a time that it has happened. I'm sure that it's happened. But sometimes like I feel very locked into scarcity myths. And I would, I would really like if someone, if something could show me that that's not true. Yeah. So I'm not, I'm not totally sure what it would take. I'm sorry. That's not a very good answer. That's a great answer that made me think of, and I'm going to throw it back to Kennedy in just a second. But that made me think about this sort of shift in language. Right. When we, we hear people talk a lot about underrepresented groups, but how does it change that narrative? If we say under invited, right? If we, if we own the responsibility as the organizations, as the people creating the space and say, okay, well, these people aren't here because we never fricking invited them back to you, Kennedy. Thank you. I think it also has to do with the fact that in order to change a culture, you have to change the people that are part of that culture. So sorry. Somebody's singing happy birthday out there. It's like a group of people. Happy birthday to them. Right. You know, happy birthday. But I think it also has to do with the fact that you have to change the thinking of the people that are part of that culture. Because to change theater, you have to change theaters all about the people. So you have to change the people that are part of theater. And there is such an ingrained mindset within the theater space that is going to be hard to break, but through, you know, new innovative plays and different people that are being, you know, brought in, I think that could really be, um, really be instituted. But I also think that there's something to be said on the topic of there not being enough for everybody, especially when it comes to theater. Um, I think that, that has kind of been my experience in that a lot of the productions that I've been in the same kind of person has been cast or the same person has been cast. So it's, they are there even enough roles for people, even you see it in kind of Hollywood. It's always who's the next biggest, biggest thing who can win the awards or win all of the awards. And so I think it, that also is something that's interesting within this sphere of I do sometimes feel as though there aren't a lot of opportunities. Um, or there isn't enough for, you know, me specifically, but just in the scope as. If I can add on to that really quickly. Um, I feel like we feel it maybe more as women in theater too, like guys who do theater have such an easier time. It is not that hard to be a man who does theater and like have a good nice time. There are lots of parts. Um, but like being a girl in art spaces and in theater is really hard.  Like, are we all the same? Like what? And like, I wish I hate that. I wish that I could just be like, we are, we are all good and we are all different. And like, there's enough for all of us, but it's really hard when you're like a girl and there's one part and there's like 15 different fun parts for the guys. Um, and that I just like, I, I, like that I feel like as an especially like significant dynamic in theater that, that I feel a lot about the scarcity. So I'm going to segue us into our last big question. Uh, and then leave it to y'all to jam for a little bit, which is what does theater at the heart of public life look like? So our vision at Seattle rep, as y'all know is theater at the heart of public life. Right. And I, I take that to mean we, we want to be a actively anti-racist organization. Number one, we want to be the theater that invites in and goes out to the entire community. We want to be a place for people. We want to be a place that people believe in, right? But what does that, what does that look like to you? So you know how everybody is like, all about squid game? Like, I feel like it would be like that, but like what's coming up in the next play? Like, oh my God, did you guys see what happened in jitney? Like, no, you have to watch it. You have to watch it.   And there's a lot of smaller theaters that are being recognized because of the, you know, because of the thingy, thingy. And there's like more excitement. I feel like if theater were the heart of public life, I feel like life would be a more exciting place. I think that everybody would be like just, or most people would be like happier and like more energetic. And like, if the public, like as a majority was more like invested in the theater, I feel like the music that, you know, people like now would be in there. I feel like characters that they would want to see would be represented because when the majority says something, the majority gets it because if the majority doesn't get it, then nobody shows up. Nobody buys the thing. And so there's really no use for it. So you got to appeal to the majority. And right now the majority is ignoring live theaters. So that's why life theater isn't right. I got to say you pumped me up with that. Like just the way that you put that and like the description. And like, yes, I want that for theater. I want it to be like walking down the street. Like, yo, like, did you hear about what? I don't know what to play. Uh, Oh God. Let's see. Well, you used jitney as an example. So like, yo, what becker said to booster like before they left. Like, I can't. And I just, I want that. I find I need that now. I don't know what to play. And you're right. That is absolutely what it looks like for theater to be. At the core heart of public life. When. Theater was like being done in Athens and Greece and whatnot. I'm fully sure that there were people that were leaving the theaters or just not even leaving the theaters. Cause obviously they'd be talking about it leaving the theaters, but just. Around. Just in the area that we're talking about what they witnessed, because theater not only does it tell stories, but it gives ideas, right? Discussing the ideas that are in this media, this wonderful, wonderful media. And yeah, I don't have a full idea. I just felt like I had to chime in because that just. Made me real happy. I love that so much. I do. I really do. I think. Jerry saying Greek theater reminded me of, I think I don't know how true this is when I hear about Greek theater people, like it was a citizenship, like a society forming thing, you know, like theater tells stories and it builds like a. Communal consciousness. Um, and I think that like theater, I don't think that theater does that on a really widespread scale right now. Um, the way I think about it. Um, and I think that theater at the theater at the heart of public life, right? Needs to be aware of its position and have the position in the first place, but be aware of its position as a culture making thing. Um, and as a. Not just a thing that is acted upon, but that has agency and affects the people that come. Um, like it, it's not just a product. It has to do some of the creating and some of the producing and that, and that it's culture forming. Like I think that in order to be at the heart of public life, it has to be created. Some of that. Um, also on another note, I think that it has to not be scary. I think that everyone needs to feel safe when they go see theater. Um, that means so many different things. Um, but I think that is like a fundamental thing. If we want theater via the heart of public life, it needs to be safe for every single person. Like a lot of like mythology was spread throughout the theater. Like there was someone reenacting it. And that's why like, we know all these stories till this day because there was, it wasn't written down. Uh, for a while. Um, Going off of a bit of what Daisy had said to like, make theater non-threatening, like make it a little bit less scary. I feel, and obviously theaters have to make money, right? Because they have to buy the company. Right. So the show, they have to get all the props, pay the actors, whatnot. I feel that a big part of something that would like. Relieve anxiety or like. Fear about just going to theater is if it were like cheaper, or if there were more like matinees. Right. More days where it was free to go. So it really did feel like you were going to. Experience. Something rather than because when, whenever you put a price on something, you're inherently saying that it's something of like higher value. Right. And that I feel like does contribute to the. Culture around theater that was being discussed way back in the beginning of this. Um, about like it's upper echelons. I feel like that is in part because of. Like what was it? Hammering. Tickets were like in the thousands, weren't they? Like it was. Oh, say, expensive. Like. I think another issue. Like, you know, fear at the public, the heart of public life is great. It's a great vision. Like. But how, like. The thing is, is that it's just so much more convenient. For me to turn on Netflix. And not have to pay, you know, what for $14 a month. You know, and. You know, watch whatever I want. I can pause it whenever I want. I can go get snacks whenever I want. Use the bathroom. I can just turn it off completely if I don't like it. And I won't have lost anything. I think that that's another big issue. And I think that that's why. It might have. It might be an issue to get that at the heart of public life. Because our society values convenience more than it values. Quality. And yeah. If I can, I don't. Sorry, I'm talking a lot right now. But if I can. I was listening to Malia and I was like, the solution that I thought of, right? Like the way that theater, because it is, it is so much easier to go on Netflix. Like it is a thousand times easier. There's, there's very little risk. It is sometimes very high reward. It's great. But. The nice thing about theater. And I think like the pandemic has really like shown that, at least back when I remember it was like to go see theater is that like theater is communal and like. Theater at the heart of public life. Like the thing that theater offers is you are there with other people. And so if there was a way to like up the community factor of it all and like. Let people talk during the shows. It's more fun. But like doing like. Like ways to make. The going to the theater and the watching of the show. Like an actual, like engage to like communal experience with people that you know and love already or people that you haven't seen.  I think that that is potentially right. Like the thing that theater can offer is that Netflix doesn't. But it is more of an investment. For sure. I'm prepared y'all for an entire sidebar conversation after this in the next week. About breaking down what a play is. And deconstructing audience. And I think that's a great idea. To be able to sort of think about.  That totally is a conversation that we can need to and should have. We got eight minutes left in our time together. And I'm going to. to you. So this is part one of a two part series. Okay, so part one, we're hearing from you as the youth who are participating in theater, some of you are in transitional phase into in your undergrad or in internships or in administrative roles and influencing. And then in part two, we'll have another panel that consists of various theater makers, educators, adults in the world of educational theater.  I guess, like, it would be very important to get our feedback as young adults, because most of these educators do work with like young people. So it's very like it's very important for our voices to be heard. And this is one of the like a great opportunity for our voices to be heard. And it should be done in a like a big, bigger spectrum. I think that people in education, or adults in the theater world should think about how they introduce theater to their families, because I'm aware that when people are older, they have kids. And I'm not telling anybody how to raise their kids. But if you like introduce it as something like, oh my God, are you guys excited to go see that play? You know, then it'll make them as people have that ingrained in their personality. And they'll just think that it's a normal thing, like, oh my God, like, everybody goes to see plays, you haven't seen play, go see play. And then that can be, you know, the little ripple in the pond that makes the whole thing change. Maybe, I don't know, maybe like to not be afraid to make things easier for the future than they have been in the past, right? I think there is this real, I don't know if this is total universal, I think it is fairly common, this instinct to like, take the hard things that have happened to you and the things that were difficult and the ways that people held you back, and like, recreate that for, for people who are doing the same thing in a sense that like, I survived this, you can too. This is how we get here, like it shouldn't, like if it's hard for me, it has to be hard for you. I definitely feel like that sometimes, it's not a good impulse, but I think that it happens. And I think that we, I think that also like, it's okay to make the world better than it, than it was. And it's okay for people who are younger than us to have better experiences with things than we did. Even if it is sort of hard for us to see. So I don't know, something along the lines of that.  I guess mine is kind of like too pronged. It would be don't be afraid, like, don't just stick to the script of like, what you learned to educate people with, but also like, how did you learn, right? And use that, like, what is it? Daisy talked about the, it was hard for me, it was hard for them, what made it easier for you to get along. And then the other part of that is like, just try to remember when you were not necessarily orange, because it could be younger, it could be older. But like, when you were getting into theater, like, how scared that can be, how scary that can be at first, and even later on, like, it can still be very scary. And just like, I just, I guess, just be mindful of who you're talking to, and use the learned skills that made it easier, I guess, is words. Yeah, to go off a previous point, I think it's also important, and I don't know how younger olds, the people on this panel will be, but if they are airing on the older side, to not be afraid to have used voices for opinions, because while we learn from older generations, older generations can learn from younger generations. And I think that there can be a lot of authenticity that can be brought when you address people who are younger than you, just like there can be more authenticity brought if you, you know, have conversations with people older than you have more knowledge. Because while you may have more knowledge on a certain topic, the younger generation might have more knowledge on something else that you don't even don't even know. So I think not being afraid to, you know, engage others that may not, you know, may not be on your same age level, or someone who you think that may not have as much, you know, knowledge or education in that specific topic that you're talking about to just kind of talk to them and see what their opinion is on that. I think that something that older people should think about is that like, how one of the biggest regrets that I hear from people is that they didn't do drama in high school. And one of the reasons why they say that they didn't is because they were, you know, too cool for it at the time or it just wasn't a thing that people of their high school stature did. And I think that maybe thinking about like, what would have convinced you to do it?  You know, would you had to have like a certain coincidence happen? Could you perhaps make an atmosphere or a situation where that could happen to some students that you know, in your class? Or like, even you're like, your family members, your friends that might be younger, whatever. I think that that's important. Thank you, all. Apologies for the delay and my furious note typing. Um, alright, y'all, this is all of the time that we have tonight. I would like to thank the five of you for being here and sharing yourselves and your thoughts and your hearts with us. This is only the beginning of this conversation. So we've invited you to be a part of this panel. And my hope is that we can continue this conversation into the future and that you will all continue to be a part of how we create programming and opportunities at Seattle Rep. Yes, thank you. And that's all I got to say about that. Thank you all for joining us. Please tune in for part two in November. We'll be back with Arts Educator Edition. Until then, thank you. Good night.