Youtube daily Nov 1 2017

The Search Engine Google is showing this Doodle in India for Abdul Qavi Desnavi's 87th Birthday.

Abdul Qavi Desnavi was an Indian Urdu language writer, critic, bibliographer, and linguist.

He has written many books on Urdu literature.

His important work was about Maulana Abul Kalam Azad, Mirza Ghalib and Allama Muhammad

Iqbal.

On this day in the year 1930, Abdul Qavi Desnavi was born in the village of Desna in Bihar.

In the course of a literary career that spanned five decades, he authored a vast body of Urdu

works covering fiction, biographies, poetry, and anthologies.

As the head of the Urdu Department at Bhopal's Saifia College and a member of several regional

and national literary bodies, he exerted a powerful influence on the evolution of Urdu

literature and academic thought in India.

At a personal level, he mentored some of India's finest Urdu poets and writers such as Javed

Akhtar and Iqbal Masood.

For more infomation >> Abdul Qavi Desnavi - Duration: 1:19.

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Overcoming pain with pictures - Blue Springs photographer helping families heal - Duration: 1:29.

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Bear Fire: Investigators want to question Boulder Creek woman - Duration: 2:25.

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This Is Us - Share the Moment: Happy Tears (Episode Highlight - Presented by Chevrolet) - Duration: 2:09.

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This Is Us - Aftershow: Season 2 Episode 6 (Digital Exclusive - Presented by Chevrolet) - Duration: 6:02.

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Lighting Design - American Theatre Wing - Working in the Theatre - Duration: 23:29.

Alas, poor Yorick I knew him Horatio a fellow of Infinite Jest bloody designer

is using an assortment of lights to frame the stage for the audience to kind

of know what's going on in the show givin the audience a sense of where they

are is it daytime nighttime is it whether a wee in a foggy pond we tell

the audience where to look we give them a sense of mood atmosphere of time of

day we help establish an emotional undercurrent and we're also storytellers

it's really trying to dig deep into the heart of what the characters are doing

it's trying to dig deep into what the story that's being told is so Matt he's

just washed up on shore let's do the background we'll start with the idea

that it's the sky good one best boy like the psychic I must say the actor is the

most important thing on the stage let's warm up the diagnol a little bit very

often as lighting designers we want to kind of Rim the actor and kind of pop

them out from the set so that we have a foreground and a background because the

actor is the one that's telling the story and then we're helping to tell

that story what else do we have up here we could throw a little bit of textural

like a little kind of a cloudy thing

what's great about that how is that it feels like reflected life heating

sebastian i think that's beautiful actually it's so beautiful i wonder if

we could get more of that i see myself as a dual fold lighting designer half

sculptor half painter i might be in ancient days going to dude dude you and

i just cut away a little of the blue and then you see how the costume looks and

it looks a little flat so you take out one light and then put on another one

and all of a sudden the costume and the character becomes 3-dimensional and then

behind them there might be a background and that is when I take out my

paintbrush and put a little blue behind them you know what I'd love to see how

and Matt is it going from daytime to nighttime

20 cows sure so sore this is Q 104 I guess

and then once you go back to q1 I got a 20 count legs sculpting with light is

really a major part of our job especially the bodies you know the body

needs to be sculpted from the side you know from the back I want the audience

to feel like they could they could hear the story being told I pride myself in

being able to light the story will being able to really have the audience focus

on where the actions taking place and to be able to follow that thoroughly

are you ready sir so we're gonna go to dark here

stand-up once

this pearl she gave me I do feel it and see it going into designing the show is

I kind of use this work called formatting and it's a process of hours

and days and weeks with the director set designer costume designer kind of

formatting our way through the production we will have a rough set

model it will kind of start on page 1 of the script and kind of work our way

through it you know one scene at a time and where's this scene going to be and

what scenery is gonna be in it what part of the stage it's gonna be on and how we

transition from getting out of the scene into the fields of hay and things like

that

once I'm hired I read the script and I read the script without thinking about

the light the first time through so that I can just get a sense of what the

script means to me and then I read it again and I mark it up with thoughts

about the lighting but sometimes those thoughts are very simple thoughts like

what time of day is it where does it take place and the next step is very

often meeting with the director and talking about the directors feelings

about the piece because I do believe strongly that my job is really to help

the director with the director's vision the director is very specific about what

he's gonna want in this certain scene you know whether the scenes in a kitchen

or in a basement or how he feels about how it should be lit whether it's just a

little light coming through the window and you know it's a very dark and gloomy

scene with just one lamp over the table that's a chemistry to me that kind of

tells me as a designer I would layer in to his vision of the scene good thank

you good job one of the biggest challenges

is making sure that we're able to get lights where we want them because if we

don't we really can't make the show look good another challenge is that everybody

else was working on the project the set designer the costume designer

the choreographer they all have done their work beforehand so the

choreographer is done the work in the rehearsal hall the directors done the

work in the rehearsal hall when we walk into the theater we are the only ones

who sit down with a completely blank white piece of paper a completely empty

nothing is done yet all the lighting equipment the cabling the dimmers all

the headsets I mean it's really down to the ironing board sores you know I mean

everything has to go in for a production

we established a shop order which is sent out to vendors to get a bid back

and sometimes we have to change equipment that we kind of wanted or we

have to substitute this or that but then after that's all approved by the general

managers we start finalization of all the paperwork that's necessary for the

show to go into a lighting shop that's where the electricians take our

paperwork and they get all the equipment that's on the plot and they mount it the

entire package is rented

Joseph Peggy's world's largest miracle all right specifications in shop water

now we take from paper turn it into life will be forgiving will they gear lay it

out and we prepped it they mark it location dimmer and they put it in the

box and then they'll put it on the truck and load it into the vehicles and we

have no one else in the world which is how we prep our moving lights to take

out human error I'll show you how we do that how many things are stored in here

about millions it's finding it

between millions of choices credible that incredible huh Wow

faster first of all we go to the ERG look at

new equipment but if there are things that we want to do in a show that never

been done before a demo room is an amazing place to do that about the

driving ring

I had just been there two weeks before working on a ballet where we needed to

see if different kinds of material how they took light because we were going to

project some snow on three different surfaces we wanted to make sure that you

could see through one surface to the next surface to the next surface so if

you didn't go to the demo room and then you had all the scenery bill for

thousands and thousands of dollars and then found out that you actually

couldn't see through each level then you're screwed in since the producers a

lot of money and it saves us the anxiety because we know that it's going to work

cause some deeply affect the lighting design of the show because what I have

to make sure is that I make the costumes look the collar that the costume

designer wants them to look sometimes I'll even take the fabric back with me

and pick different colors based on the color of the fabric or how the fabric

takes light just so that I know that I can give the purity of what the costume

looks like in terms of color and feel you know we're always experimenting

we're exploring new layers new elements new types of lights new types of sound

so there is a great collaboration between all departments throughout the

course of putting a show together I don't think that lighting has to be more

spectacular on Broadway I think the most important thing really is the show and

the storytelling but I guess okay I'll admit it yes we push it a little bit and

make it we'll try to make it a little more spectacular

things right now you mean like this a second you mean

about what that droplets like well I was just learning that I don't know what's I

didn't know what that was for just the color that yellow was so pretty we can't

forget that Aladdin is a fairy tale and there's a lot of color in the scenery

and there is a lot of color in the lighting it was all about sort of

heightening reality into a kind of fantasy world so the hope was to really

make the audience feel like they were living in a fantasy

there is something about the adrenaline of working on Broadway because money is

so tight and you have to work quickly and fast and hard and it's kind of it's

almost like working out it's almost like playing a sport okay so you feel like

that's romantic because I absolutely really what I was hoping that you would

find that it would be romantic that way you're going from the energy

and the hot feeling of this wildly crazy energetic number to just this beautiful

romance yeah also I wanted to feel a little bit like her too because he does

great okay he's the orange and she's thick there

you go okay good yeah no it's great necessary off and we're responding so

much to what the other people are doing that I forget myself sometimes because

there's so many people that are in the room that you want to make sure that as

a lighting designer that they're all being taken care of that the set looks

good the costumes look good the the dance looks good but sometimes we just

have to let ourselves go and go with our heart and gut and emotion I'd love to

look at the buildings lit up and then do that that'd be great I think of myself

as a chameleon in many ways I do believe that my job is to respond to the rest of

the collaborative team so I think as the years have gone on there might be

something that I do that makes me Natasha cats I don't know what those

words would be and I don't even know how to look back and think about what my

style is because I believe my style is the style of a chameleon and working

with other people and go to cue next and go to cue next I was not born with the

dream of wanting to be a lighting designer

was born with the dream of wanting to work in the theater I was definitely

born with the dream of wanting to work on Broadway and I was definitely born

with the dream of wanting to work on musicals and plays so when I went to

Oberlin College I worked in all sorts of backstage in the theater and then I got

a full semesters credit to work with somebody in New York City so I worked

with a lighting designer because I just started to do a little bit of lighting

in college and it was started to appeal to me

and I worked on a show called I remember mama at the Majestic Theatre right

across the street from here and the minute I walked into the theater walked

through the stage door I I was hooked go and go to connects it was really

on-the-job training for me gotta cue next gotta do next I had met so many

people working on the show that I lot of people asked me to work with them so I

just continued to work and work and work was 25 years old

I grew up in North Carolina and at a young age I was began working at the

Roadhouse where all the road shows would come in and took a big interest in just

watching how all the lighting package just came off the trucks and were set up

in the theater and just as a young kid I was like 10 11 years old and this was

very fascinating to me how this lighting package could just come off a truck and

get set up and then the performers would come in that afternoon and a show that

night and then we took it all down packed it on the truck and they left and

we were back to bear theaters I've been told that people say that I that how old

weekly has a signature in his lighting

the more I thinking about it I think I do kind of like things that have a

weekly signature to it I kind of use a high side angle that that I apply myself

using a lot of shows and it's a sculpting technique which which works

very well for me

the simple set you know and here we have a whole entire show done on this one set

it's not like a lot of drops flying in and out you know it's just one area and

my job in this show is really to dissect this whole show to really frame it in a

way that there's many locations throughout the course of the 50 songs

that are in the show each song kind of has a new location a new time of day a

different feel whether it's this song as a memory song from the actor to convey

to the audience what's going on during the lyrics of the song in our transfer

from off Broadway up to Broadway for Hamilton the major change that that I

had to do was it off Broadway the ceiling from the stage floor to the grid

was only like 16 feet and moving to Broadway we had 28 feet and so that

meant that I had to change lighting fixtures we had to incorporate some

fixtures into the move that were really a theatrical lighting fixture there were

more kind of a rock-and-roll light that I knew that would kind of like the only

source and was going to work for the show

I think the success of the show is just from how different the show actually is

it's a historical show and it's really you know depicting our history and I

just think the technique of the show is quite different and was just generating

a new type of theater it's introducing that to to the audience's you keep God

keep going through some temples the technology has changed lighting over the

last 20 years incredibly a lot of the old conventional units were a fixed unit

it would just you hug it and focus it really had one job you know it would

take you know a hundred fixed lights to do but one automated lighting fixture

can do now a huge change was moving lights where you don't have to get up on

a ladder to focus light we call them moving light programmers and we say to

them I'd like a blue light on that piece of

scenery and it's done remotely through a computer in the old days when I started

you had to roll a ladder out you had to go to the light you had to move the

light you to put a gel in the light if you wanted a new color you to get the

ladder out roll it out go back up the ladder change the color of the light

which would take time in the middle of rehearsal in time in the morning and now

we don't have to do that anymore because we have these lights that are

remote-controlled that's an enormous change in our

business and then it would just bring it where we

were to the same house so let's just go back where we were on stage

the short version the history of lighting design is that the greatest

pleasure I guess its nature mother nature or whoever whatever whoever you

want to call it because it was all done in the outside by sunlight and then it

was all done by firelight and then as we started to move indoors after

shakespeare's times and we were able to start to control the light on Broadway

when it started there was no credit for a lighting designer the set designer did

it with the electrician as the years went on it became its own profession and

for many years actually was a profession that was really sort of dominated by

women there was somebody called Jean Rosenthal

who really changed lighting in the sense that she figured out a way to do

paperwork so that lighting could be repeated over and over again because how

do you record lighting so Jean Rosenthal is sort of the grandmother of us all

I don't want the audience's to feel like it's just a light show it's a juggling

act to balance between the knowledge of the mechanics and the creativity as well

art has to drive the technical we have to use all this technology as a tool for

what our vision stand inside of it and that line up and make a feel like the

rain is pouring against you yeah and I like what you did when you

did yeah so the rain is it is torrential inquiry against you know when it flashes

you're worried that you better get inside okay or you could die okay

okay hey go for it start running now

move forward in the stage right a little bit you're going against the wind it

pushes you back stage left

fantastic

you

you

For more infomation >> Lighting Design - American Theatre Wing - Working in the Theatre - Duration: 23:29.

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Abraham Hicks - The importance of love yourself first - Duration: 15:04.

GUEST: - And I have lived my life I feel like in such a way that I...

My strongest desires were for positive healthy relationships

You know, abundance and those kinds of things have come easier to me since I understood that but...

But, relationships....

So, I've had situations in my life...

And tragedy

Upset....

Things that I can't tell you, I feel like I helped to create

If I do have to take all that responsibility...

My question is: how do I stay in love with who I am?

ABRAHAM: - Because your inner being has stayed in love with who you are

And your quest is to seek harmony with your inner being

In fact, every time you judge yourself or condemn yourself or feel bad

That's your indication that you're off the mark if how source feels about you

And don't you think source ought to know?

GUEST: - I do get that. I think.

But it has to do more with...

Is there a line?

Because I've been in touch with a therapist...

ABRAHAM: - Nope! Nope!

[Some laughs at the audience]

[The laughter grows louder]

GUEST: - Can I give you an example?

mmm I don't where to begin, but...

ABRAHAM: - We do!

[Some laughs at the audience]

Relationships are significant because you're interacting with others all the time

And how you feel has a lot to do with how you perceive others

And there's an inordinate amount of care from you and almost everybody

About how others see you

So, there has been for all of your life a tremendous amount of futile attempt

At contouring your life to please others

Which has messed up your own sensitivity to your own guidance system

Almost everybody we would be same pretty much the same thing too

So, as you've been following us here

And we're going to get right to what you're talking about it

Just relax and trust it this is all going to smooth right out for you

As we've been talking here today about this path of least resistance

What most people do

Without even knowing they're doing it

Is that you try to make a path of lesser resistance for that one and that one and that one and that one

And in the process of it, two things happen

One is: you distract them from their own guidance

And two is: you distract yourself from your own guidance

And 3 out of 2 and 4 out of 2 and 5 out of 2 and 6 out of 2

Is it backfires one hundred percent of the time anyway

You just kind of got to let people figure stuff out

and not try so hard to be the factor that makes it better for all of them

And once you decide that that's how it's going to be

And you begin translating that into behavior

Things just get better and better

You can be so good to some that you disable them completely

You can be so good to some that they become almost demanding of more from you

It's like you start a trend where they get used to their sustenance coming from you

And then if you have the nerve to stop it in some way

Then they become sometimes outraged

Because it's like you've cut them off from the good that they deserve

And that they have demanded through you

Well, it's time for you to allow them to discover

That like you and like everyone

They have a stream of care and attention and resources that is going directly to them from source

And you're going to let them discover that for themselves

And you stop holding yourself responsible for things that you can't control

That were never any of your business to begin with

You'll feel way better

Once you start recognizing that

GUEST: - My husband committed suicide

ABRAHAM: - Good for him.

[Some laughs at the audience]

Because every death is suicide. Every death is.

Every death is. some are just more deliberate about the way they go about it.

But every death is a response to that vibration between who they really are

So let's talk about that!

If everything that we say is as it is, and it is.

It all is as we say it is. It is.

It all is as we say it is.

It is.

So, as he's living his life he's putting all of this into his vortex

And, without meaning to, like so many holding himself apart from his own vortex

When you've created a masterful vortex

And you hold yourself so definitively apart from it

It is very hard to take!

So one of two things happen

Either you find a way to find alignment while you're still in your physical body

Or you find a way to find alignment when you're not in your physical body

But in any case, you find a way to find alignment

And everything that we were saying to you

In that sort of hypothetical sense, is our message to you

That you could not have stood on your head in enough different ways

To have made any difference whatsoever

It is not about you. It is not about you.

It is not about you. It is not about you.

It is not about you. It is not about you.

[applause]

GUEST: - I didn't help created that!

ABRAHAM: - So, did every other person on the planet.

If the cat and stop peeing on the couch...

[The audience laughs]

GUEST: - What it created is my family fell completely apart

I have two daughters that are... In a religion

That if you're not in that religion, they have a hard time understanding you

ABRAHAM: - Almost every religions like that.

GUEST: - Yeah! ABRAHAM: - In other word...

Let's just start there: almost everyone has a hard time understanding almost everyone

And the reason for that is

You did not say: "I'll go into this time-space reality and I'll understand everyone"

That would make you crazy!

That's what Facebook is doing to you!

[The audience laughs]

You're so involved in everybody else's lives

You're completely unfocused about your own

GUEST: - Do I just let go though of my grandchildren?

I have eight grandchildren and two daughters

And I can't seem to get to a place where I can accept I don't get to see them

ABRAHAM: - Here's the thing:

Don't get to the place where you accept

That's like we don't want you or anyone

To ever get to the place where you accept that something that you want can't be

But something that will soothe you today, this minute

Immediately

Is if you can accept that you have a vibrational relationship with them

That you can focus upon and get a feeling for all day every day

And don't let the absence of the manifestation

Just because the manifestation isn't the way you want at this red hot minute

Doesn't mean that what you want does not exist

You got to focus unconditionally for a while

And it's our promise to you: when you focus unconditionally for a while

So that your tuned-in tapped in turned on, feeling better

The Universe will orchestrate a way for you to rendezvous with the things that you want

It must be! It is Law!

But that isn't what you've been doing

You've been focusing upon the reality

That's tearing you up keeping you from being in vibrational alignment with your vortex

With what you want

And so what you're getting is what you're a vibrational match to

Its ok!

But it doesn't have to feel so bad. You see?

GUEST: - I get that!

ABRAHAM: - How else are you going to sort it out?

You're going to say: "All right well you, guys, belong to religion..."

"That believes the way that I don't!"

"So, something's got to change either you got to join me or I got to join you!"

And all of you stand there and say to each other: "na na na na na na"

"We're not going! We're not coming."

And so, then you say: "Okay. Then that's got to be the end of it."

"Because if we can't make peace in this."

When we say: no, it's not the end of it! It's the beginning of it!

Because in all of that discord you're launching rockets of desire

You're remembering who you are.

Do you know that as you came into this physical experience as these clusters

that not only are you eternally tied to these children and grandchildren

But all who have come before are also tied

And they are all non physically focused and looking here too

In other words, to be in a place where you have cut yourself off

From the attitude of love

And you're using some bogus thing as your justification for it

You don't want to perpetuate that and then

You don't want to stand in resistance to them

You don't want to wave the red blanket in front of the Raging Bull

And cause them more discord from who they are

If you love your children. And we know you do.

And you love your grandchildren (we really know you do)

But if you love your children (and we know you do)

And you love your grandchildren (and we know you do)

And you love your children (and we know you do)

If you love anyone (and we know you do) then your dominant intention is to help them

As best you can find alignment with who they are

And opposing them and making them wrong and staking your claim

And join them where they're wrong is not the way to go about it

You just got to remember who you all are as Source

And you got to remember how you felt when they were little

And how you felt when they got married

And how you felt... And how you felt... And how you felt...

This is the best opportunity that we have ever seen

Not because it's big and not because it's tragic

And not because it's a big burden

This is the perfect opportunity to discover not just the relief of unconditional love

But the power of it.

When you blame yourself

You're walking around with this advertisement that says:

"I'm to blame! I'm to blame!"

And weaker people who haven't learned about focus

And they don't really care that much about how they feel

Pick up on your vibe and blame you

So you keep getting blamed for stuff that you have nothing to do with

Not because they're looking for a way to blame you

But because you have been carrying that around

Someone who feels guilty will attract someone who has a propensity to blame

This Law of Attraction thing

So, what we want to help you to do is to acknowledge that you've been doing just fine

And that the Source within you adores you

And that this person who made his transition into non-physical holds no blame whatsoever upon you

Or upon himself

Because now he's in a place where he understands what's really going on

So as you relax little by little and get feeling better

And letting yourself like yourself more in the natural way that you will

What happens is...

We may be channeling Taylor Swift

[The audience laughs]

♫Haters gotta hate, hate, hate, hat,e hate♫

♫Haters gotta hate, hate, hate, hat,e hate♫

♫And you just got to shake it off, shake it off♫

[The audience laughs and applauds]

Because you cannot please them

You can't understand

The only thing that you can do is to come in alignment with your Source

And when you do

The return to that steady consistent love

See the thing about relatives is that you got to catch them on a good day

[The audience laughs]

The thing about Source is it's always a good day

But you got to be in the vicinity of the good day that Source is always flowing to you

So as you find these thoughts that are easier for you to hook up with Source

So that you become addicted to that connection

What will happen is you'll find yourself unwilling

And eventually not even capable of focusing upon those thoughts

That have been putting the resistance on your trail

And this is going to be hard for you to hear but it's the reality that we want you to know

It's not the decision of your children that is keeping you from your grandchildren

Is the resistance that you've put on your own trail

In response to what you think they mean or what you think they're saying to you

Feels like it's a reality that they are creating

Because these are demands that they're making

These are edicts that they are putting out there

But that's never what is really happening

Your response to them is just causing you to pile more and more and more stuff on your trail

On your path of least resistance

That's preventing you from what you want

But as you get your attention off of that and on other things

That will begin to dissipate more and more

And then it will one day just feel logical to them

These children are not going to be that old before they begin a requesting time with you

And in their alignment, their connection to Source

Their power of influence will be much greater

And that rendezvous is a sure thing it's a done deal

It has happened many many times in the vortex

And it will bring itself all the way to fruition

You've just got to stop being sad in the meantime

We really want to make that statement to

Anyone who wants anything that hasn't yet manifested

You got to stop being bent out of shape over the fact that the manifestation hasn't happened

Because you're being uncomfortable about the fact that the manifestation hasn't happened

Is what's causing you to put all the stuff on the trail

And preventing it from happening sooner

It's not possible for you to not get what you want

We just don't think you should have to croak in order to get your resistance to go away

That is extreme, but it works!

But we don't think you should have to do that in order for your resistance to be away, you see?

For more infomation >> Abraham Hicks - The importance of love yourself first - Duration: 15:04.

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Russian Bot Army Pushes Christmas Race War - Duration: 8:31.

THE DAILY BEAST HAS UNCOVERED ANOTHER WEBSITE THAT WAS

INCREDIBLY ACTIVE ON SOCIAL MEDIA DURING AND AFTER THE

ELECTION THAT WAS ACTUALLY RUN BY RUSSIAN TROLLS.

THE WEBSITE WAS KNOWN AS BLACKMATTERSUS AND YOU MIGHT'VE

SEEN

POSTS BY THIS ORGANIZATION ON FACEBOOK BECAUSE IT WAS ALL

OVER THE PLACE.

A LOT OF THEIR POSTS WENT VIRAL.

RECENT INFORMATION ABOUT THIS GROUP OF TROLLS INDICATES

THAT THEY WERE TRYING TO SPREAD FAKE INFORMATION OR

PROPAGANDA INDICATING THAT BLACK ACTIVIST IN THE UNITED

STATES WERE LAUNCHING A WAR ON CHRISTMAS.

AND THAT THEY WERE SELLING MERCHANDISE THAT SUPPORTED

THIS SO-CALLED WAR ON CHRISTMAS SO LET ME GIVE YOU THE DETAILS.

ACCORDING TO BEN COLLINS AT THE DAILY BEAST:

SO ANOTHER EXAMPLE, THEY PRINTED A LOT OF SHIRTS.

BY THE WAY, THEY SOLD SOME OF THIS MERCHANDISE.

THEY PRINTED STIRRERS THAT MADE NO SENSE TO OBLIGATE

ANOTHER EXAMPLE.

ONE SAID DEER SOCKS, DON'T SHOOT.

SUCK.

A REMINDER THE SHIRTS I USED TO SEE IN TURKEY WHEN I WAS

GROWING UP LIKE IN THE 1970S AND THEY WERE TRYING TO COPY THE LOS

ANGELES LAKERS BUT THEY DIDN'T KNOW WHAT THEY WERE DOING SO

WOULD BE LIKE THE LOS ANGELES SUCKERS, THE LOS ANGELES LAKERS.

ADIDAS.

ADIDAS WAS DONE ON PURPOSE TO TRY TO TRICK PEOPLE BUT THE

REST WAS JUST CLOWN AROMA AND THEY ARE DOING A TROLL FARM

HERE BUT THEY DIDN'T BOTHER DOING ANY RESEARCH SO AND

APPARENTLY THEY ARE NOT HIRING ANYONE WHO SPEAKS FLUENT

ENGLISH BUT THEY ALSO SAY THE RACIST THINGS TO BUT WE

WE'LL GET TO THAT.

LET GIVE YOU ANOTHER EXAMPLE.

THESE ARE APPARENTLY STILL AVAILABLE FOR NEARLY $40.

NOW PEOPLE ARE GOING TO BUY IT FOR THE SCHICK.

JAYAR ALWAYS WERES THE PEOPLE WHO RUN WERE ON TEAMS FOR 15 SECONDS.

YOU COULDNíT REALLY GET THEM.

NOW IT IS GOING TO BE A COLLECTORS ITEM.

BLACK DON'T NEED WHITE XMAS.

THERE WAS ONE THAT SAID THUG LIFE AND THE IMAGERY INCLUDED

HANDGUNS AND CHRISTMAS TREES.

SO LET'S GET TO THE RUSSIAN GOVERNMENT AND WHOEVER IS

PAYING FOR THIS IN THE RACISM.

THEY HAVE A BLACK CHRISTMAS ONLY AND THERE IS A GOD AND A

STOCKING.

WHY WOULD BLACK AMERICANS WANT TO BUY THAT?

BY CHRISTMAS IS WHERE WE SHOOT PEOPLE.

AND THEN THERE'S THUG LIFE REFERENCE AND THEN THEY

SUGGESTED THAT AFRICAN-AMERICANS BOYCOTT THE HOLIDAY BECAUSE

QUOTES, YOU CAN'T AFFORD IT.

I'M NOT SURE THAT ANY OF THIS ACTUALLY APPEALS TO

AFRICAN-AMERICANS WHICH BY THE WAY, I AM SURE BECAUSE IT

DIDN'T.

NONE OF THE STUFF SOLD AND IT DIDN'T WORK BUT THE ATTEMPT TO

DIVIDE US BASED ON RACE IS REALLY DISTURBING.

WAS INTERESTING ABOUT THIS PARTICULAR CAMPAIGN THAT

THEY LAUNCHED WAS BOTH HOW UNSOPHISTICATED AND IN SOME

WAYS SOPHISTICATED IT WAS BECAUSE THESE RUSSIAN

TROLLS WERE OBVIOUSLY AWARE THAT EVERY HOLIDAY SEASON THERE

IS THIS NONSENSE TALKING POINT FROM THE RIGHT IN REGARD TO

A WAR ON CHRISTMAS.

THERE IS A WAR ON CHRISTMAS IN THE UNITED STATES.

THERE IS NOT THAT DIVE SOMEONE HAS SAYS HAPPY HOLIDAYS, IT IS

NOT THE END OF THE WORLD, REQUEST A BUT THEY APPARENTLY

KNEW THAT AND SO THEY UTILIZED THAT TALKING POINT AS A WAY TO

DRIVE A FURTHER WEDGE BETWEEN RACES IN THE COUNTRY AND SO YOU

ARE RIGHT, CENK UYGUR, THIS PARTICULAR CAMPAIGN DIDN'T SEEM

TO WORK AS MUCH AS OTHER CAMPAIGNS EVER LAUNCHED BY THESE

RUSSIAN TROLLS BUT I DO WANT TO GO TO A PRETTY GREAT ABC

VIDEO, ABC NEWS VIDEO ON THIS TOPIC BECAUSE THEY FOCUS

SPECIFICALLY ON BLACK MATTERS US AND SOME OF THE OTHER

STRATEGIES THAT THEY UTILIZED.

TAKE A LOOK.

BLACK MATTERS US.

A STUDYING CLAIM TODAY ABOUT JUST WHO IS BEHIND THE

GROUP PROMOTED IN THIS MUSIC VIDEO.

BLACK MATTERS US.

CONGRESSIONAL INVESTIGATORS USA BLACK MATTERS US WAS

ACTUALLY SET UP BY THE RUSSIANS DURING THE 2016

ELECTION TO STIR UP RACIAL TENSION.

IT IS NOT FAIR.

I DON'T THINK IT IS FAIR.

THE ST.

LOUIS RAPPER WHO WROTE THE MUSIC FOR THE VIDEO SAYS HE GOT

INSTAGRAM MESSAGES FROM PEOPLE HE DID NOT KNOW ASKING HIM

TO WRITE A SONG DEALING WITH POLICE BRUTALITY.

I HAD NO CLUE THAT IT WAS RUSSIAN ANYTHING.

IT MESSED ME UP.

ALL PART OF A SOPHISTICATE GATED CAMPAIGN THAT

INCLUDED FACEBOOK AS, TWITTER POSTS AND EFFORTS TO ORGANIZE

AT LEAST TWO BIG RALLIES, WHEN AGAINST POLICE PERSONALITY.

US INVESTIGATORS BELIEVE IT WAS DIRECTED FROM THE SO-CALLED

TROLL FACTORY IN ST.

PETERSBURG RUSSIA.

IS A WAY TO SUPPRESS VOTES AND STOKELY ARE.

THE LEVEL OF SOPHISTICATION, I DON'T THINK WE APPRECIATED

IT AS A TIME TO

IT WOULD ALSO UTILIZE BLACK AMERICANS FOR SOME OF THESE

CAMPAIGNS AND MAKE IT SEEM AS THOUGH WHAT THEY WERE DOING

WAS GOOD OR LEGITIMATE.

SO, ANYBODY STILL THINK THAT THE RUSSIANS GOVERNMENT IS

PERFECTLY INNOCENT AND THERE'S NO PROOF, THERE'S NO PROOF.

HOW MUCH PROOF DO YOU NEED?

IF YOU HEAR ANYBODY SAYING THAT, THEY ARE BEING PURPOSEFULLY

BLIND.

NOT THE RUSSIAN PEOPLE, BUT THE RUSSIAN GOVERNMENT WANTS TO

TEAR US APART.

THEY WANT TO TEARS APART POLITICALLY, RACIALLY.

I'M NOT A RIGHT-WINGER.

IN THE OLD DAYS WHEN THE RIGHT-WINGERS HAD THIS

WEIRD DISTASTE OF RUSSIA, BACK FROM THE OLD SOVIET UNION.

THE COMMIES.

I'M NOT IN THAT CAMP.

I'M NOT IN THE LEFT-WING CAMP THAT HAS THIS WEIRD LOVE

AFFAIR WITH RUSSIA.

I DON'T KNOW WHY YOU HAVE A LOVE AFFAIR WITH RUSSIA.

IT IS LED BY A DICTATOR THAT IS DESTROY DEMOCRACY IN RUSSIA.

THAT MURDERS JOURNALIST I DON'T KNOW WHY ANYONE IN IT WAS A

PROGRESSIVE IN THE RIGHT MIND WOULD WANT TO DEFEND THE

RUSSIAN GOVERNMENT ARE YOU A LUNATIC?

IT DOESN'T MEAN I WANT TO GO TO WAR WITH RUSSIA.

THAT IS NOT A NATURAL CONCLUSION TO A CAN'T STAND THE RUSSIAN

GOVERNMENT BUT FOR VLADIMIR PUTIN WHO OFFERED ALL AUTHORIZED

ALL OF THESE CAMPAIGNS, ANYONE WHO DEFENDS THEM IN AMERICA

IT'S NUTS.

I DO NOT UNDERSTAND OF A PROGRESSIVE POINT OF VIEW,

RIGHT-WING.

THE RIGHT-WINGERS ARE NOW SO SMITTEN WITH THEIR DINNER

LEADER, TROMP SINCE TRUMP LOVES PRUDENT BECAUSE BOUDIN PROBABLY

BAILED HIM OUT OF MORE BANKRUPTCIES AND NOW THAT

CORRUPTION IS WHAT YOU SUPPORT?

YOU ARE AN IDIOT.

LOOK IT WHAT THEY DID.

THEY ARE TRYING TO TEARS APART GET WHITE PEOPLE TO HATE

BLACK PEOPLE AND BLACK PEOPLE HE WHITE PEOPLE IN THIS COUNTRY.

SO FUCK PUTIN.

THAT DOESN'T MEAN THAT THE CONSEQUENCES OF THAT,

WHETHER IT IS WAR OR ANYTHING ELSE, LOOK, MUELLER IS

DOING HIS INVESTIGATION.

THAT IS A SEPARATE ISSUE.

LET HIM TO THE INVESTIGATION AND SEE WHAT HE FINDS.

DEFINES CONNECTIONS, LET HIM PROSECUTE THAT DIVE HE

DOESN'T, WE DON'T GET THE PROSECUTOR.

I UNDERSTAND THAT THE US ALSO DOES PROPAGANDA.

ANDERSON THE US HISTORICALLY SOME TERRIBLE THINGS IN

FOREIGN COUNTRIES.

I'M NON-FAVOR ABOUT THE

WE TALK ABOUT THOSE THINGS AND CRITICIZE THOSE THINGS AS

WELL, INCLUDING WHEN THE JFK DOCUMENTS WERE RELEASED, A

PORTION OF THEM, WHAT TYPE OF PROPAGANDA, NOT JUST WHAT

THE CIA WAS PLANNING ON DOING TO CUBAN REFUGEES IN SOUTH

FLORIDA JUST TO DRUM UP SUPPORT FOR INVADING CUBA.

WE CRITICIZE THOSE THINGS ALL THE TIME AS WELL.

BUT THAT DOESN'T VITIATE WHAT PUTIN IS DOING RIGHT NOW.

YOU CAN THINK WITH THE US GOVERNMENT IS DOING IS THAT

WHAT THE RUSSIAN GOVERNMENT IS DOING TODAY TO REP AS A

PART IS TERRIBLE.

SO FUCK PUTIN.