Thứ Năm, 31 tháng 8, 2017

Youtube daily report Aug 31 2017

I call "Off The Charts".

I'm not enjoying it so far, but, okay.

I got my results back today and my sperm is off the charts.

Oh! Yay, yay, yay!

Okay, see? Maybe we're not as old as we thought we were.

I'm still clinging on by my fingertips.

Well, the only thing I'm clinging onto

is the edge of the charts.

Really?

But don't take my word for it, here.

Oh, this very official medical document

that just weirdly happened to be on your nightstand?

Yep.

Mobility off the charts, consistency off the charts.

Oh! Cytoplasmic droplets. Cytoplasmic droplets.

Cytoplasmic droplets.

Two? Two doesn't seem off the charts.

Tail length, OTC.

"Tail length"? Like that's the sexy part of your sperm,

the tail length? Did I over-play the tail length? Did I over-play the tail length?

Did I over-play the tail length?

Look, is this going to be something that you just,

For more infomation >> I'm Sorry - Off The Charts | truTV - Duration: 1:01.

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President Trump Breaking New Today 8/31/17 , Kellyanne Conway on Harvey Relief , North Korea News - Duration: 10:54.

For more infomation >> President Trump Breaking New Today 8/31/17 , Kellyanne Conway on Harvey Relief , North Korea News - Duration: 10:54.

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$42 water gouging Harvey victims? - Duration: 0:48.

For more infomation >> $42 water gouging Harvey victims? - Duration: 0:48.

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50.000 ABONE ÖZEL VİDEO! - Duration: 4:11.

For more infomation >> 50.000 ABONE ÖZEL VİDEO! - Duration: 4:11.

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Craig Herrera's Weather Forecast (Aug. 31) - Duration: 2:13.

For more infomation >> Craig Herrera's Weather Forecast (Aug. 31) - Duration: 2:13.

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Free Thoughts, Ep. 199: Close America's Overseas Bases (with John Glaser) - Duration: 50:34.

Aaron Powell: Welcome to Free Thoughts.

I'm Aaron Powell.

Trevor Burrus: And I'm Trevor Burrus.

Aaron Powell: Joining us today is John Glaser.

He's the Associate Director of Foreign Policy Studies here at the Cato Institute.

Welcome to Free Thoughts, John.

John Glaser: Thanks.

Aaron Powell: What is America's "forward-deployed military posture?"

John Glaser: So that's a fancy Pentagon way of saying that we have a lot of overseas military

bases.

We have about 800 of them, of varying sizes, [00:00:30] in about 70 countries abroad.

It's a massive presence.

Some of these bases have people for years, and years, and years, permanently stationed

there with their families.

They build little cities inside these military bases to sustain life.

Others are really small, with only a few troops.

Just to get a sense of the size of it, it has roughly 250,000 [00:01:00] troops at all

times, all around the world.

In comparison, Russia, our geopolitical competitor, has only about nine overseas bases.

China has just one, in Djibouti.

It's a uniquely American preoccupation, this forward deployed presence.

Trevor Burrus: Has that number, 800, changed much in the last 20 years or so?

John Glaser: Yeah.

Trevor Burrus: Or maybe 50 years?

John Glaser: Sure.

[00:01:30] Since the Cold War, the number of troops deployed abroad has definitely gone

down.

The number of bases has gone down as well, but they went back up with regard to the Middle

East.

We took a lot of troops and bases out of Europe at the end of the Cold War, and reduced some

bases that we had in Asia.

Our presence and activity in the Middle East increased.

Since the end of the Cold War, we've [00:02:00] actually increased our presence there.

Aaron Powell: Where are these?

You said they're in 70 countries, and we have more in the Middle East than we used to; but

in general, where are these located?

Are they highly concentrated in specific parts of the world?

Or, are we pretty much covering everything?

John Glaser: They're highly concentrated, especially the major ones with lots of troops

in them, in Europe, the Middle East, and North-east Asia; so Japan and South Korea have very large

numbers of US troops.

Germany has a lot of US troops.

We have them scattered throughout the rest [00:02:30] of Europe as well.

Then, in the Middle East, we have roughly 50,000 troops.

We have major, 13 to 14,000 in Kuwait.

We have 7,000 roughly rotating in and out of Iraq right now.

We have, of course, the major presence still in Afghanistan.

We're still fighting a war there.

Major air bases in Qatar, and about 6 or 7,000 troops permanently stationed in the Navy's

Fifth Fleet in Bahrain, which is right in the [00:03:00] Persian Gulf.

Trevor Burrus: Now, you argue that we shouldn't have as many ... I mean, we could cut that

in half and we would still have substantially more.

We could have 400 bases and we still would have substantially more than any other country.

That would definitely be a significant change in US Foreign Policy if we were not so, as

we say, 'forward deployed' out there.

Is it asking too much, first of all, to not be able to put our force abroad at any sort

of ... five minutes from [00:03:30] being able to bomb Iran.

That's the way we think about American Foreign Policy.

Stepping back from that is really rethinking the entirety of American Foreign Policy.

John Glaser: Yeah.

I will reveal my own bias here.

I think yes, our foreign policy needs a fundamental re-think.

We shouldn't be playing the global policeman.

I think the purpose of American foreign policy ought to be what it used to be, which is essentially

protecting the physical security of the United States territory and it's citizens.

[00:04:00] Managing local disputes in remote regions of the world that don't have all that

much impact for our security or our economic interest, I don't think is in our interest.

I don't think that makes sense for us.

Part of the problem with having lots of bases in lots of different countries around the

world is that it tends to suck us into conflicts that we otherwise might not be engaged in.

For example, [00:04:30] after the Second World War in 1945, we established what was supposed

to be a temporary presence in South Korea.

We were supposed to work with the Russians to develop some kind of situation in which

the Korean Peninsula could operate on it's own, and have it's own government.

In 1947, 48, and 49, three successive years, the top military strategists in the Truman

Administration recommended full withdrawal.

[00:05:00] They did so because they said Korea is of little strategic importance to us.

The fact is that we had a presence there, and then when the North Koreans invaded in

1950, it obligated the United States to continue to be involved.

This is the case with our current commitments.

For example, we have bases in the Philippines that ... and Japan.

Japan and the Philippines both have maritime and territorial disputes with China.

If it's the case that they end up getting into some kind [00:05:30] of dispute, our

forces act as a trip wire.

They obligate the United States, make it politically costly for us not to get involved in optional

elective conflicts.

I think that's one of the major problems with it.

Aaron Powell: But doesn't this get to the ... The argument in part for these bases is

precisely that that's the sort of stuff we should be doing, that if we ... We don't want

the North Koreans taking over the Korean Peninsula.

We don't want China destroying Japan.

If we've got these bases there, [00:06:00] be they act as a deterrent in the first place,

and if they don't, they make us more capable and make those countries more capable of defending

themselves.

John Glaser: Indeed.

As we deter adversaries and reassure allies, this has the effect of, according to advocates

of forward deployment, pacifying the international systems.

Sometimes it's called the American pacifier.

We basically prevent spirals of conflict happening around the world, because this major hegemonic

power has troops everywhere.

[00:06:30] That's an argument; but I think you have to consider the other plausible,

causal explanations for the dramatic decline in international conflict and violence over

the past 70 years.

It is true that our forward presence was established after World War II.

It's also true that since then, there's a correlation between the establishment of those

bases and the decline of overall interstate violence.

But, there's other [00:07:00] factors as well.

For example, the fact that most great powers and some not-so-great powers have nuclear

weapons.

This creates a situation of mutually assured destruction, and it makes people really not

want to go to war because that means the destruction of your society.

Some people, that's called the 'Nuclear Peace Theory.'

Very honorable and respected theorists like Kenneth Waltz in the international relations

field have proffered that one.

Some people look at the Nuclear Peace Theory and say, "Well, sure, but that's probably

[00:07:30] redundant.

The conventional power that modern militaries have, as we saw in World War I and World War

II are so destructive.

They can destroy empires.

They can kill people almost as effectively as nuclear weapons, and so that acts as enough

of a deterrent: the modern capacity of industrialized militaries is too great."

Then, some people look at economic interdependence, which of course, has proliferated in the [00:08:00]

post-war era.

If you trade with someone and you have economic interdependence, you're much less likely to

go to war with them.

Some other people still look further.

John Mueller, for example; who you guys know, he's a political scientist out of Ohio State

University.

He has senior fellow here at Cato.

He's one of the foremost proponents that there have been dramatic normative shifts in the

way most civilized people see war in this era.

[00:08:30] It's something if you go back to the World War I era, you can hear people in

Germany and even our own leaders like Teddy Roosevelt at the time, talking about war as

something to aspire to.

It was a cleansing national experience that made people strong and glorious, and masculine.

That's different from today.

Even the war mongers among us tend to talk about war as something of a last resort.

Then of course, there's 'Democratic Peace Theory.'

There are more [00:09:00] democracies these days.

Democracies for some reason or another, tend not to go to war with each other.

You have all of these different trends, all of these different trend lines of ... that

have various support in the academic community.

They all point in the direction of less war and less violence.

Under those conditions, I think it's worth scrutinizing the American pacifier theory.

Aaron Powell: We turn to history, briefly.

We're talking a good [00:09:30] prompt for this conversation today is a paper you recently

published with Cato, which we'll put a link to in the show notes, about these overseas

bases.

You have a section on the how the motivations for having them have changed over time.

Can you tell us a bit about that [inaudible 00:09:47] ... long history of putting troops

in places that aren't your own territory?

John Glaser: Sure.

I don't know how much of the long history I can go into detail about, but the things

that I talk about in the-

Trevor Burrus: Actually, I'm going to interject with the first ... Before World War II, [00:10:00]

we did have the Philippines after the Spanish-American War.

When was the first sort of forward deployment?

We had Guam.

We had Philippines.

Starting in the early 20th century, we did have troops abroad, correct?

John Glaser: Yeah.

1898, after the Spanish-American War, we did adopt some pretty major overseas bases that

also ended up ... We sort of annexed territory.

We still own Guam, for example, and lots of other pieces of territory.

It's hard [00:10:30] to say when our first overseas military base.

Sometimes in the mid-1800s and actually early 1800s, we had some outposts in China to try

to facilitate trade between the United States and China.

I wouldn't really count that as a full military base in the sense that we're currently talking

about.

The 1898 style discussion, some people sometimes call that the 'saltwater fallacy,' because

we were still an expanding continent [00:11:00] here in the contiguous United States.

We had all sorts of military bases out West.

When it got past the salt water, people talk about that being more imperial inclinations.

With regard to the history, overseas military bases are not all that new.

You had Athens and Sparta building military bases throughout Greece.

You had Rome building military bases from Britannia all the way to [00:11:30] the other

end of the Mediterranean.

Empires of old used to build military bases to colonize distant lands with their own people.

They used to build them for mercantilist reasons, to gain economic advantage over their other

competitors.

It was only in the really the start of the Cold War, the end of World War [00:12:00]

II, that overseas bases started to develop this current justification.

Which is to, number one, deter adversaries.

Number two, reassure allies.

Number three, make it really easy for us to get places quickly if we decide we want to

go to war.

Aaron Powell: If we take the arguments, we accept the arguments of people who think that

there should be overseas bases, those arguments would seem to apply to other countries as

well.

[00:12:30] Then, why is that ... The United States has a bigger military than Russia,

and a bigger military than China; but the difference in the number of bases we have

versus the number of bases they have can't be explained just by the ratios there.

If these bases are valuable, why don't other countries have so many?

Why are they all sitting in the single digits?

John Glaser: The United States is unique in it's definition of it's national interests.

We have truly expansive definition of what our national interests are, what our [00:13:00]

global responsibilities are.

China doesn't have, within it's own national security strategy, what kind of military intervention

they would engage in if there's a humanitarian conflict in Latin America, or something.

No other country has such an expansive definition of it's national interests as the United States

does.

The other thing that's important in that context is that the United States is safer than most

other great [00:13:30] powers.

We have weak and pliant neighbors to our North and South.

We have vast oceans to our East and West, which act as a defensive barrier to most conventional

kinds of threats.

We spend ... roughly 38% of the global military spending is our own.

We could cut our military spending in half and still outspend China right now.

We have a nuclear deterrent, which prevents anyone from attacking our own territories.

This [00:14:00] situation puts us in a really secure place.

When you're really secure, unfortunately, and you're the unipolar power, the hegemony

in the world, you start to think about what you can do elsewhere as opposed to just protecting

your own borders.

Trevor Burrus: Don't you think that other ... You said we have our ... We conceptualize

our interests very broadly, but don't you think that other countries also do that to

us?

That they expect us to do the right thing, and that we're the benevolent hegemony, and

that that's actually the [00:14:30] entire point?

That it's not that big a deal that we're in Germany because we are generally a good country

that ... What's [inaudible 00:14:39], we will do the right thing after we've exhausted all

other options.

People know that about us, but I think that Germany probably wants us there.

Aaron Powell: They're not scared, at least, that we're going to up and decide to take

them over.

Trevor Burrus: Yeah.

No one's afraid of that.

No one's thinking that we're Rome and we're trying to take over the whole world.

Maybe in some of these places like Bahrain or a place where we [00:15:00] have ... We

might [engineer 00:15:02] conflict and put our people in danger, because there are people

there who want to get them.

That's a totally different analysis than say, Germany, which is probably creating good relations

between America and Germany, and allowing us to do what they're asking us to do; which

is to be the benevolent hegemony.

Which, I think we've done a pretty good job of that.

John Glaser: Yeah.

So first of all, it's totally true that Germany is not worried about the United States taking

over Germany.

That's not our M-O.

But if you're talking about the perception of [00:15:30] our military posture abroad,

you also have to take into account people that aren't benefiting off American largess,

that aren't having their defense subsidized by the United States and our presence there.

For example, one of the most dangerous points in the entirety of the Cold War, was of course,

the Cuban Missile Crisis.

Only a matter of months prior to that crisis, the Kennedy Administration put missiles, Jupiter

missiles, [00:16:00] in Turkey, which bordered the Soviet Union.

Of course, Moscow perceived this as deeply threatening.

The leadership at the time in Russia, in the Soviet Union discussed in papers that have

since been declassified that, 'We feel we're being surrounded by military bases from the

United States, and so we're going to give them a taste of their own medicine and put

one in Cuba.'

That precipitated literally the closest we've come to nuclear war, [00:16:30] so that was

obviously not a good thing.

That translates to today.

For example, the expansion of NATO, and the establishment of US military bases further

and further East towards Russia, and even up to the Russian border in some cases, is

the source of profound and lingering anxiety and resentment in Russia.

They don't like the perception that they're being sort of encircled.

You can also compare this in [00:17:00] Asia.

The United States has almost roughly 50,000 troops in Japan, right at the end of the Japanese

archipelago, which is sort of pointed like a dagger at the center of China.

We have about 30,000 troops in Korea, which of course, is very close to China.

We guarantee the security of the Philippines.

We have 60% of our naval presence in the Asia Pacific region.

[00:17:30] This is perceived in China as deeply threatening.

Every country and it's allies tends to view themselves as benevolent and wonderful, and

non-threatening.

The problem is when you get into other people's heads, they see it much differently.

Just to conclude this part, one of the foremost grievances cited for the 9/11 attacks was

the US military presence in Saudi Arabia.

It was something that Al Qaeda cited [00:18:00] in order to rally Muslim support against the

United States.

It was one of the foremost reasons and justifications that they used to attack us.

Our presence abroad can create all kinds of resentment.

That's not just in countries in the Middle East.

Just a year or so ago, there was a protest of 65,000 Okinawans in Japan in opposition

to the US military base presence there.

This can happen [00:18:30] all over the world, even among allies.

Trevor Burrus: I want to, on the 9/11 point, do you believe it is the case that, but for

American military bases, the ones cited in the Al Qaeda letter, in Saudi Arabia in particular,

I believe, but for those, 9/11 wouldn't have happened.

John Glaser: Well, there was a number of grievances that Al Qaeda-

Trevor Burrus: Well, we still would have been attacked.

I guess to clarify my question, too, if we just flew [inaudible 00:18:58] from Germany

[00:19:00] and attacked them, how much is the bases, and how much is it the military

actions?

If we were bombing places, but flying from Germany, or we were still treating the ... muslim

[inaudible 00:19:12].

That seems like a bigger thing than just the presence of a base that we're discussing right

now.

John Glaser: That's true.

In general, of course, lots of Muslims, particularly the extremist ones, oppose aggressive military

action in the Middle East.

The presence of US military forces [00:19:30] inside Saudi Arabia, which is the site of

the two holiest places in Islam, was the source of particular concern to very religious Muslims

because they felt that the Saudi government was inviting infidels and crusaders to the

holiest place in Islam.

That was the source of a particular and unique religious concern.

It's also the case that Robert Pape, one of the foremost [00:20:00] scholars on terrorism,

has said his studies that foreign occupation is the foremost determinative of terrorism,

a motivator for terrorism.

If you can go back in history, for example, when we had our massive military presence

in Lebanon in the 1980s.

In 1983, that's when Hezbollah committed an attack that killed something like 241 ... I

might get that number wrong ... US service personnel.

[00:20:30] In 2000, the USS Cole was attacked out of Yemen.

These foreign military bases are symbols of American power in the region.

All the other stuff, whether it's Israel/Palestine, the sanctions regime on Iraq, which ended

up killing lots of people, all kinds of other more tangible elements of US influence in

the region, the bases [00:21:00] themselves ... as I say, operate as a kind of symbol

of American power that can generate a lot of resentment.

Aaron Powell: Okay, but I can ... putting on my rah-rah war hat for a moment.

Trevor Burrus: It doesn't fit you very well.

Aaron Powell: No.

Trevor Burrus: It's been in the closet for a long time.

Aaron Powell: Yeah.

I guess, so what?

Russia, they're the bad guys; a powerful military run by a mad man.

China is the bad [00:21:30] guys.

The Islamic extremists are the bad guys.

Yeah, having super powerful good guys next to them makes them uncomfortable, and they

don't like it, and it makes them resent that we're more powerful than they are.

So what?

Why should that factor in?

Why should we just give in to the psychological pain of the bad guys and not protect our interests?

Trevor Burrus: Yeah, if we hadn't done Hitler with a bunch of military bases and it made

Hitler uncomfortable, you'd be like, "That's the point."

John Glaser: [00:22:00] It depends on what kind of results you want.

If you believe in the power of American deterrents, and that everywhere we put bases, it's going

to keep bad guys in check, then that's one reason to further the argument that you just

made.

The problem is that there are reactions to our overseas military presence.

It's what's called counter-balancing in the IR literature.

[00:22:30] For example, it's hard to find someone in Moscow or in the Kremlin that describes

the motivations for their military actions in Georgia and Ukraine in ways that doesn't

cite NATO expansion.

Lots of analysts point to Chinese aggressive and assertive actions in the South China Sea

as being motivated by a fear that the United States in the largest [00:23:00] naval presence

there.

Therefore, that's where they get all their oil, through the straights of Malacca coming

through the Persian Gulf, in the Strait of Malacca ... and we could possibly interdict

Chinese shipments.

When you make foreign powers nervous unnecessarily, you tend to get unintended consequences that

result from that.

Usually those aren't too pretty.

Now, the problem is that people see these things very differently.

People that advocate [00:23:30] for a foreign deployed presence, they don't like to admit

that Russia has taken aggressive actions in Eastern Europe as a result of the expansion

of our military presence.

Instead, they say, "Well, that's proof that we don't have enough of a military presence

there," which is an argument for always having military bases everywhere, forever.

I think that gets so far from what the purpose of American foreign policy should be that

it creates all kinds of problems.

There's costs problems, which I [00:24:00] think we can talk about a little bit.

More to the point, if you are like me, and I again, be clear about my biases here, I

think the United States government should be limited in it's powers and it's role in

domestic societies should be somewhat limited, especially compared with the role that it's

currently conceived as.

I think that translates as well to the foreign realm.

I think it ought to be the role of the American foreign policy, the purpose in American foreign

[00:24:30] policy, to protect the United States and managing global affairs, and trying to

prevent conflict in various regions, et cetera, getting ourselves drawn into conflicts, incentivizing

counter balancing, all these other negative unintended consequences, that doesn't meld

with my conception of what US foreign policy ought to be about.

Aaron Powell: The world is a relatively safe place, compared to [00:25:00] where it's been.

We don't have a lot of wars between nations.

Living in a dangerous world, even if we're ... across oceans from it, is still worse

than living in a safe world.

Wouldn't us focusing only on our own interests narrowly defined and pulling back, make the

world in general a more dangerous place?

Because then you wouldn't have [00:25:30] the US protecting countries or deterring countries,

even if there are these occasional push-backs and aggression that's provoked by it.

Which would then, just aside from being bad for the world, would ultimately be bad for

America.

John Glaser: Well, this gets back to the American pacifier thesis.

If you believe that the world is a safer place these days because America has scores of military

bases in scores of countries, then that's a really powerful argument.

[00:26:00] I think there are solid reasons to think that the world is a safer place these

days for reasons other than American pacifier.

Aaron Powell: But I guess the question is how does the cost benefit, kind of.

You could say you've got ... There's the American pacifier theory, and then there's the other

theories that you're more inclined to endorse; but given the state of the world right now

and how relatively good it is compared to where it could be and where it's been, it's

a profound risk to test those theories.

We can't test them on [00:26:30] the small scale and say, "Oh, it turns out to be ... maybe

the American pacifier theory is a little bit better than I thought," Or, "Maybe these other

ones aren't quite as right," and then roll it back.

Are the current costs that we are incurring at the moment, both in terms of just how expensive

it is and the danger that it puts American people, American troops in, high enough to

warrant that risk of testing John's theory about global stability?

John Glaser: Yes, because I don't think it's actually [00:27:00] that much of a risk.

It might help to narrow this down to a specific context, as opposed to thinking about the

entire world.

If you can remember it in the 2016 campaign, one of the main things Donald Trump kept saying

was that China, it's China's responsibility to pressure North Korea to behave better and

stop it's nuclear development, and missile development, et cetera.

One of the main reasons that China continues to [00:27:30] be a patron of North Korea is

that one of the main things that China fears is a unified Korean Peninsula under the American

military umbrella with US troops there.

If you go back in the study of international relations, especially ... This is very popular

in the great game era, and the European politics in the 1800s, buffer states are really important.

Buffer states make [00:28:00] states feel secure from their enemies.

If there's a piece of territory there, it's a measure of protection.

If China's mostly concerned about a unified Korean Peninsula with the American military

forces there, because it doesn't want US military forces on it's border, one thing that we could

do in terms of negotiating settlement to the North Korean issue, or leveraging China to

get more involved [00:28:30] in a constructive way on Pyongyang, we could offer a change

to the US and South Korean alliance, and perhaps pulling away from our military presence there.

That's a situation in which we could reach a more peaceful situation, some kind of peace

agreement, some kind of grand bargain between the United States, North Korea, South Korea,

and China; but it's being held back because China's main hangup is that US forces are

in [00:29:00] the region.

That's just one example.

There are others, though.

We don't need forward deployed military bases to keep us safe, and we don't need them to

make the world more peaceful.

Trevor Burrus: Kind of dovetailing on Aaron's question a little bit.

I was reading your paper, trying to be a neocon-ish person as I read it.

I could see the lines that they thought were laughable.

[00:29:30] One of your lines is, 'The rise in expansionist European power bent on a continental

domination is nowhere on the horizon.'

Isn't that what they would have said in say, 1930?

Isn't that one of these famous last words things that when we're talking about Europe

pulling out Germany, for example, as I said.

I know we can get later you think some bases are worse than others, and maybe Germany's

not top of your list; but if you're totally against the forward deployment, then we're

talking about getting out of [00:30:00] Germany, too.

I think history has shown that it's generally a bad idea to let European powers grow their

militaries and figure out and fight a war that is total destruction.

We shouldn't just be blindly saying, "This is not a concern.

We'll get out of there."

John Glaser: Yeah, I don't think today is comparable to the era in the lead-up to World

War I or in the era in the lead-up to World War II.

Europe is one of the most stable and peaceful [00:30:30] continents in the world.

It's a really safe and rich bit of territory.

Since World War II, European countries have developed all kinds of institutional elements

of cooperation, economic integration.

They have close political and diplomatic overlaps, in terms of how they perceive their interests.

It really is a demonstration of how things can become pacified [00:31:00] in a political

and cultural way after the devastation of the cataclysms of the first and second World

War.

I don't think there's really anyone that I'm aware of in the literature who points out

that Germany is a risk of a growing power that's going to gobble up it's neighbors and

start to gain a hegemonic influence on the European continent.

I think today, people would more likely to be pointing to Russia as a concern, as a power

[00:31:30] that wants to expand and gobble up other countries.

The problem with that is that their GDP is about 1.3 trillion, which is roughly like

Spain's.

The main thing that you need to build up military power is economic power.

Russia just doesn't have it.

They're a declining power in a lot of ways.

They have an aging population.

They have all kinds of internal problems that prevent them from being able to project power

in distant regions.

Their actions in Georgia, [00:32:00] Ukraine, and Syria lately, have actually bogged them

down in problematic conflicts that they don't quite see a way out of.

They have nuclear weapons, and that protects them, but they don't really have the power

right now to start gobbling up and become a European hegemony.

The main thing you have to look at, if you're concerned about a rising hegemony is the nature

of the regime, the balance of power, ... because the Western Europe [00:32:30] checks Russia's

power because they're more powerful and richer ... and the economic power and military power

of the states in question.

I think if you look at that, it's pretty clear that we don't need to have a permanent presence

there to prevent that kind of contingency.

It's like we had, in the past, basically we served as a balancer of last resort.

When other powers, European powers in particular, found that they couldn't manage a [00:33:00]

rogue nation on their own, then we would come in and balance.

That was a very wise and strategic and cost-efficient way to manage the balance of power.

Instead, now the dominant theory is we have to always be there to prevent this from ever

happening again.

If it happens, we'll have plenty of lead time.

I think we can easily deploy quickly, if we think we need to.

Trevor Burrus: If you were making the case [00:33:30] for, to a person who did not accept

... I think a pretty mainstream foreign policy view right now, even amongst ... well, some

conservatives.

They don't accept the fullness of your critique of American involvement abroad, but they think

we've done too.

They weren't a fan of Iraq, maybe they think we should get out of Afghanistan.

So when Trump said we've been doing too much abroad, that resonated with them.

But then to say, "Okay, therefore we should take every military base away," is like, 'Okay,

that's too strong.'

[00:34:00] We're going for a compromise position, and when you do this in your paper, you talk

about other technologies.

Maybe we do need to get there in three days, but we have aircraft carriers, we have planes

that can fly from Missouri to the Middle East and back.

If you were making the case for dramatically lessening how many bases we have and still

being able to accomplish the military objectives that a lot of people think that we should

have [00:34:30] the capabilities, even if we shouldn't use it as much, how would you

make that case for say, 400 bases rather than 800?

Which ones would you first say we got to get out of because they're not worth it?

What technologies can still let us be somewhat of a military hegemony, but without making

other people mad, without putting our troops in danger?

How would you rank the bases?

How would you adjust our military capability to still behave in the world?

John Glaser: We just talked about Europe.

I think Europe is one of the most stable, peaceful, and [00:35:00] rich places in the

world.

That makes it a very good candidate to pull US military bases out of.

We see eye-to-eye with most Europeans on how things ought to be on domestic liberal reforms,

and foreign policy, and stuff like that.

They're really rich, and powerful, and can defend themselves.

They can uphold the role that the United States now upholds in the region, if we were to leave.

That's a good test case.

[00:35:30] There are less stable areas.

I talked about the Korean Peninsula, for example, and of course, the Middle East.

I think reducing overall our military bases and maintaining a few, like the major ones

that we have in say, Japan, would allow us rapid contingency response to deal with any

operational contingency that might come our way.

The other important thing is what you were saying [00:36:00] is that our travel ... The

technology that we have these days, to travel really quickly, and bomb from great distances,

really allow us to engage in any type of mission that we think is necessary.

The only thing that really prevents rapid deployment of massive mobilization of military

forces, withdrawing from all bases would make that quite difficult.

The [00:36:30] argument there I would make is that it's not necessarily a bad thing to

rob the executive branch of the ability to quickly intervene in any conflict in which

they think they ought to intervene; and counter to constitutional ideas about checks and balances,

and giving the executive branch more options to deploy more quickly is kind of ... does

violence, so to speak, to constitutional principles.

Aaron Powell: [00:37:00] You've argued a few times that we are ... one of the effects that

our bases have is subsidizing the defense of other nations, because they don't have

to then pour their own money into defending themselves.

Do we know how much nations would react to us taking away those subsidies?

Can we just assume that if we pulled our bases out of Europe, the Europeans would build up

their militaries an equal amount, or the South Koreans [00:37:30] would?

John Glaser: It's hard to say.

I think you have to look at discrete examples.

Certainly it's the case, I think, that Eastern European countries, ones that are really close

to the Russian border, would start to boost military spending.

The Baltics already spend more as a percentage of their economy than a lot of Western European

countries do.

It's hard to say whether or not places like Germany, France, Britain, would boost military

spending if they didn't [00:38:00] have American protection.

One of the main reasons is because they don't face any threats.

In the United States, it's become a bit of a pathology to overspend on military assets.

We need more weapons, more equipment, more troops, more bases, et cetera, because we

have this expansive definition of our national interests.

If the Europeans don't spend a lot on their military, it might be because [00:38:30] we

subsidize their defense, or it might be because they don't really face any threats.

Who's going to invade Germany right now?

Who is the candidate that's going to bomb Berlin?

It's not really in the cards in the policy-relevant future.

They might inch up slightly, but it's not a guarantee that they would boost spending.

Aaron Powell: How does terrorism factor into this, because ... so ISIS has threatened to

invade Italy; but were there prophecies, right?

Berlin, [00:39:00] Germany has been attacked.

I don't know Berlin specifically has been attacked, but does that change the equation?

Do we need, because there's these ... there are threats in a way that there weren't from

just troops marching across a border?

John Glaser: Permanent peacetime overseas military bases are just about the worst tool

imaginable to prevent some guy driving into a crowd of people in East France.

The operations [00:39:30] and attacks that ISIS and other similar groups have taken in

Europe in recent years are mostly lone wolf attacks.

Sometimes there's some tenuous connection to some base in the Middle East that was directed

from the official group; but mostly, these are really low level violence attacks.

They kill a few people and it's very tragic, but there's literally no way to conceive of

our permanent overseas military presence as preventing that [00:40:00] or doing anything

to mitigate it, or responding to it.

These are just low level attacks.

Of course, the question of terrorism at a bird's eye view, it should be noted as has

been noted on this podcast in previous episodes, it's a small threat that we face from terrorism.

Every year since 9/11, I think the number of deaths in the United States from terrorism

is about 6.

Every year since 9/11, the average number of deaths from being struck by lightening

is roughly [00:40:30] 50.

This is a manageable threat.

It's not a war to be won, it's a problem to be managed.

Trevor Burrus: But if, on the flip side as opposed to trying to stop people driving trucks

through crowds, which I agree is probably impossible unless you want to live in a police

state; but if we want to hit terrorists in a strategic fashion, which whether it's through

drones, or bringing in special forces, and landing them, and seeing a threat.

Maybe we see that they have nuclear material or something like this, [00:41:00] it seems

that we would want to be flying out of bases in Italy, bases in Germany, bases in Qatar.

That would be better.

John Glaser: The Rand Corporation did a study on this.

What they concluded is that the time benefit of doing a bombing mission from say, Germany

into the Middle East, is so neg liable as to not very much be worth it.

It shouldn't be the justification that our bases in Europe need to be there so that we

can quickly [00:41:30] bomb the Middle East, because the time benefit is just so negligible.

For example, during the first Gulf War in 1991, we flew bombing missions from Louisiana,

in round trip missions, that were refueled in the air in under 30 hours.

We can so quickly bomb targets in the Middle East, really at a whim, that the foreign military

bases that [00:42:00] enable those logistically, enable those missions often times right now,

are just not necessary to complete the mission.

Trevor Burrus: I can picture someone with military experience listening to this and

thinking that this ... In your paper, you compare five days of response versus seven

days, if we were coming from mainland United States, or you said that Guam and Diego Garcia.

Guam is a territory, so we don't have destabilization concerns; so you're okay with Guam, and you're

okay with Diego Garcia ... which is a British territory.

[00:42:30] If you have a two day difference between flying from Louisiana to the Middle

East, and what's the big deal?

I could see in the military strategy being like, "Who does this guy think he is?

Two days is an eternity in military speed.

Two days is where ... Gettysburg day one to Gettysburg day three."

John Glaser: Yeah, so it's important to make the distinction here.

The couple of days difference is referring to a brigade combat team deploying to a foreign

region.

That [00:43:00] amounts to roughly 5,000 troops, lost of heavy equipment and vehicles, et cetera.

That takes a little bit longer, but not long enough to prevent us from being able to head

off some kind of major military conflict between militaries.

The bombing missions don't take a couple of extra days.

Bombing missions take an extra hour, roughly; maybe a couple hours.

We can easily field ... the time difference is negligible for bombing missions.

If [00:43:30] you want to get really technical, we have 11 or 12 aircraft carriers, which

can be all over the world and all over the oceans, and we can fly bombing missions from

them as well.

Trevor Burrus: Would you make a trade-off if you were trying to negotiate a bill, and

you were saying, "Okay, let's take 400 bases away.

We still have 400, and let's build three more aircraft carriers."

Would that be a trade-off you'd be willing to make, in the sense of saying that, "Okay,

I'll agree we need strike capability, but here are the 400 [00:44:00] bases that are

costing the most in terms of our safety, anger towards the United States."

John Glaser: Yeah.

Trevor Burrus: "I'll give you three aircraft carriers."

John Glaser: I'm a man of compromise.

I'm happy with that trade.

I don't think we need the extra aircraft carriers.

Trevor Burrus: "And a destroyer to be named later in draft- [crosstalk 00:44:13]."

John Glaser: Yeah, name the destroy after me.

I'll be really happy to make that trade.

I don't think ... We have more aircraft carriers than anyone else in the world.

A lot more.

We can put them in places all over the earth's [00:44:30] oceans to easily deploy.

We don't need the extra, but if that's the compromise I'm faced with, I'm kind of happy

to do that.

One thing about telling this military people, I got the idea for keeping bases in just Guam

and Diego Garcia from a friend of mine in the military.

I think the hawks that really insist that we must maintain a global military presence

at all [00:45:00] times are frequently not from the military.

For bureaucratic interests, military officials tend to insist that we don't shutdown bases.

Military people in general, people that serve in the military, I don't think are necessarily

by definition, insistent on the American pacifier thesis.

Aaron Powell: Are there any, or how many bases are there I guess that even if all of these

arguments for why we should have [00:45:30] the US military spread all over the place

are true, or just egregious examples of this base doesn't accomplish anything.

Trevor Burrus: We give you a big red pin and a list of all the bases and American assets,

and you say, "Okay John, cross 'em off."

John Glaser: What I'll say is that there's a lot of tiny bases in strategically insignificant

places that we could just easily do away with.

These would be the first to go.

There's a lot of bases that we have in a couple dozen, [00:46:00] or just over a dozen African

countries.

They're really small.

They don't have that many personnel there.

They're often hubs to train militaries in those countries.

We don't need those.

They don't make us safer.

They don't make Africa safer.

We have bases in Central and South America.

Those aren't needed.

If you talk about getting places quickly, certainly we can deploy from bases in the

United States to anywhere within our own hemisphere much quicker than [00:46:30] we can from distances

far, far, far and away.

In the Americas and in Africa, I think those would be the first to go.

Least significant.

Trevor Burrus: Going forward, a lot of people criticize libertarian foreign policy a lot.

We get it from both the left and the right.

We come in here, we say, "No more foreign ... forward deployment of the massive scale,

at least."

You made some very good points, but how do we start trying to convince people that this

is generally a good idea [00:47:00] and we can draw it down.

We don't have to go all the way to our principled level, but draw it down.

What sort of impediments do you see coming in that makes that difficult?

Other than the obvious disagreement with you.

John Glaser: I worry about how lengthy this answer will be.

The first point I'd make is that there's something strange about the way foreign policy is handled

in Washington DC.

The debate in foreign policy in Washington DC represents the merest sliver [00:47:30]

of the debate that occurs on foreign policy in the academic community more generally.

For example, the foremost proponents of our current strategy in academia are two guys

named Stephen Brooks and William Wohlforth.

I had them here at the Cato Institute for a book forum in March.

According to them, they feel that they're in the minority in the academic community.

Let's just say at least 50% of academics in the international relations field [00:48:00]

are somewhat sympathetic to the Cato view of foreign policy.

Now, the Cato view on foreign policy is like an alien spaceship in Washington DC.

We are lone wolves.

Nobody cares to hear about this, both left and right.

There's a rough consensus on what US foreign policy ought to be, but it doesn't represent

most of the other really solid academically inclined viewpoints on what the role of the

United States should be.

In terms of persuading people, I think [00:48:30] that's a key point to make, that there's something

weird about how foreign policy is done.

That partly gets to this issue of what are the interests that are influencing people

to disregard other valid points of view.

There are all kinds.

I found this really interesting.

If you go back to 1970, there was a congressional investigation called 'Security Agreements

and [00:49:00] Commitments Abroad.'

It explained why the strategic use of US military bases abroad is never seriously scrutinized,

and I'm going to quote from it, if the listeners will forgive me.

Quote, "Once an American overseas base is established, it takes on a life of it's own.

Original missions may become outdated, but new missions are developed, not only with

the intent of keeping the facility going, but often actually to enlarge it.

Within the government departments most directly concerned, state department and defense department,

[00:49:30] we found little initiative to reduce or eliminate any of these overseas facilities;

which is only to be expected since they would be recommending a reduction in their own position."

The same logic holds today.

Entrenched interests both within government and outside it insist upon the current forward

deployed military strategy.

That creates basically no political incentive to propose changes to it.

But I think it's something we need to [00:50:00] consider.

I know that this is a radical proposal.

I did that partly to provoke people, but America's inherent safety, at the very least, should

incentivize people to scrutinize our overseas military base presence.

Aaron Powell: Thanks for listening.

This episode of Free Thoughts was produced by Tess Terrible and Evan Banks.

To learn more, visit us at www.libertarianism.org.

For more infomation >> Free Thoughts, Ep. 199: Close America's Overseas Bases (with John Glaser) - Duration: 50:34.

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HEAR O Moment: Amy, age 18 - Duration: 1:26.

My name is Amy. I'm 18 years old, and I have hearing aids on both ears.

When I got my hearing aids, I couldn't hear properly. Whenever kids would speak to me

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couldn't hear.

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everything in my life just went smooth. Everything was consistent. I like everything was just great, and before

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like who I was. Coming here, like, it was more like God sent me here. Like this is

what I needed. Thank you for helping kids like me hear better.

For more infomation >> HEAR O Moment: Amy, age 18 - Duration: 1:26.

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Bad Baby Spiderman Play Toys Tools for Kids Drive Car Color Song Nursery Rhymes | Compilation Video - Duration: 10:35.

Thanks For Watching!

For more infomation >> Bad Baby Spiderman Play Toys Tools for Kids Drive Car Color Song Nursery Rhymes | Compilation Video - Duration: 10:35.

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What is a Lead Storage Battery - Duration: 3:32.

What is a Lead Storage Battery

Like all batteries, a Lead storage battery employs a chemical reaction to shop and produce

electrical energy.

Lead batteries use guide and direct oxide for your cathode and anode components of your

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This type of battery is broadly used to power the electrical starters of motor motor vehicles

in other apps in which Price is a lot more of an element than bodyweight.

All batteries use a cathode and an anode, product of a substances that could exchange

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When recent is drawn from a battery, electrons are allowed to stream amongst the two poles,

within the anode to your cathode, as well as the inhibited chemical reaction usually

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as the electrolyte tub gets to be a lot less and less acidic, right until only drinking

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demand, the electrolyte Remedy of the direct-acid battery is usually a very acidic bathtub of

one-3rd sulfuric acid.

This sort of battery is relatively very easy to manufacture, as all of the necessary resources

are abundant.

Due to fairly very low energy to pounds ratio within a guide storage battery, nonetheless,

some compromises needs to be created of their design and style.

Batteries meant to provide an excessive amount of existing, which include these applied to

begin motor cars, should be created by combining many more compact battery cells with large,

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This kind of direct storage battery might be a bad option for setting up automobiles

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For more infomation >> What is a Lead Storage Battery - Duration: 3:32.

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Spiderman with super cars and muscle vehicles || Entertainment show of 2017 - Duration: 10:03.

Spiderman with super cars and muscle vehicles || Entertainment show of 2017

Spiderman with super cars and muscle vehicles || Entertainment show of 2017

Spiderman with super cars and muscle vehicles || Entertainment show of 2017

Spiderman with super cars and muscle vehicles || Entertainment show of 2017

For more infomation >> Spiderman with super cars and muscle vehicles || Entertainment show of 2017 - Duration: 10:03.

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Ooremn - New monologue by Vahe Berberian! - The Will - Duration: 1:09.

To my little sister Anoush,

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(phone vibrating)

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For more infomation >> Ooremn - New monologue by Vahe Berberian! - The Will - Duration: 1:09.

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NWS Tulsa Briefing - Duration: 1:43.

Here's the labor day weekend weather briefing for Eastern Oklahoma and western Arkansas from the National weather service office in Tulsa

It's Thursday afternoon august 31st

2017

The main weather story this week has been focused on Hurricane Harvey

Now harvey is just a tropical depression and the remnants will move across, Tennessee in Kentucky this weekend

Us closer to home. We'll see a warming trend through the weekend with high temperatures climbing back into the low 90s by Sunday and Monday

Cold front is set to arrive on Tuesday with a chance of showers and storms and cooler temperatures for the rest of next week

Here's some recent satellite imagery of tropical Depression Harvey as Harvey moves into Tennessee in Kentucky by Friday

We will see the clouds and precipitation now across Arkansas move east as well

And we should continue to see great weather here in Oklahoma and Western, Arkansas

The next cold front is due to arrive by Tuesday with a chance of showers and storms

It's too early to determine exactly which areas will see rain, but we can't say it will likely be dry through Monday

Temperatures on Tuesday and Wednesday will be running a few degrees lower than normal behind the cold front

for a great start to fall in early september

Here's a quick peek at the forecast for labor day weekend

There's a chance for rain showers across portions of Northern Oklahoma late Friday night into Saturday morning

Otherwise the forecast is dry and mild with the first chance of rain arriving with the front on Tuesday

Looks like great weather for those with outdoor plans

Thanks for listening and to check the latest forecasts

Please follow us on social Media or check our website for the latest information. Have a great weekend

For more infomation >> NWS Tulsa Briefing - Duration: 1:43.

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HEAR O Moment: Graycie, age 9 - Duration: 1:28.

My name is Graycie, and I'm 9, and I have two hearing aids.

I don't call them hearing aids. I call them super ears.

I like to play with my brother,

jump on the trampoline.

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I love the sound of my mother's voice, as long as she's not yelling.

Before, I couldn't talk, and now I'm just talking, and I get, even get in trouble for

talking too much now.

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I really like the audiologists.

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I'm a super kid with super ears. Please be HEAR O to a kid like me.

For more infomation >> HEAR O Moment: Graycie, age 9 - Duration: 1:28.

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HEAR O Moment: Jack, age 15 - Duration: 1:32.

My name is Jack. I'm 15 years old, and I have a cochlear implant in each ear.

If I didn't have cochlear implants, I wouldn't be able to talk to my friends.

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and we used to do speech class - like practicing on my sound and like on each ear

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is astonishing! Without them, I wouldn't be able to speak the way I do today, and

I'm very grateful for that.

For more infomation >> HEAR O Moment: Jack, age 15 - Duration: 1:32.

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7 Easy Steps To Use Text Effects In WhatsApp [100% Easy] Android Tricks - Duration: 2:31.

Welcome to TricksTutoring

SImply Open WhatsApp in your Android Phone

Then Tap on Chat tab

After Opening Messenger Tap Type a Message

Here Comes Text Effects

For more infomation >> 7 Easy Steps To Use Text Effects In WhatsApp [100% Easy] Android Tricks - Duration: 2:31.

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Ethan Westwood Offical Trailer (2017) GTA 5 Roleplay - Duration: 3:37.

For more infomation >> Ethan Westwood Offical Trailer (2017) GTA 5 Roleplay - Duration: 3:37.

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Hajj 2017 Changing The Cloth Of Kaaba Hajj 2017 Changing Of Kaba Ghilaf 2017 - Duration: 1:25:31.

Hajj 2017 Changing The Cloth Of Kaaba Hajj 2017 Changing Of Kaba Ghilaf 2017

Hajj 2017 Changing The Cloth Of Kaaba Hajj 2017 Changing Of Kaba Ghilaf 2017

Hajj 2017 Changing The Cloth Of Kaaba Hajj 2017 Changing Of Kaba Ghilaf 2017

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For more infomation >> Hajj 2017 Changing The Cloth Of Kaaba Hajj 2017 Changing Of Kaba Ghilaf 2017 - Duration: 1:25:31.

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Schweden-Baby ist da: Prinzessin Sofia ist zum 2. Mal Mama! - Duration: 1:14.

For more infomation >> Schweden-Baby ist da: Prinzessin Sofia ist zum 2. Mal Mama! - Duration: 1:14.

-------------------------------------------

HEAR O Moment: Miranda, age 16 - Duration: 1:10.

My name is Miranda, and I'm sixteen years old, and I have two cochlear implants.

I got my implants when I was five years old. What I like to do is play basketball,

listen to music, hanging out with my family. I love hearing my friends talk to me.

Callier has been enormously helped me with

speech. They got me into, more into the hearing world.

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absolutely no different.

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not to go through what I'd gone through when I was little.

Everybody deserves to hear

and to hear well.

Thank you, Callier, for all you do.

For more infomation >> HEAR O Moment: Miranda, age 16 - Duration: 1:10.

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Ivanka ditches equal pay initiative despite campaigning for it MSNBC - Duration: 2:22.

For more infomation >> Ivanka ditches equal pay initiative despite campaigning for it MSNBC - Duration: 2:22.

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$4.25 Survey Available Now

For more infomation >> $4.25 Survey Available Now

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[ENG SUB] Luke Christopher - TMRWFRVR | Album Review (uncut) - Duration: 4:05.

Hi, my name is Jake and welcome to my review of Luke Christopher's debut album "TMRWFRVR".

Before this video starts I just wanted to address something.

This is my very first video on this channel.

Please excuse me if i'm doing something wrong, it'll get only better in the future.

Luke Christopher is 24 years old.

He is a singer, rapper, songwriter and produces his own stuff.

I'd say he's pretty much in the R'n'B and Pop Rap genre with artists like Drake, Big Sean or John Legend.

I'd refer to him as a SoundCloud rapper.

I personally first got into his music in 2015.

Back then he released 2 EP's called "TMRW" and "YSTRDY".

He also has so much good stuff on his SoundCloud page.

He even managed to get into the German Charts with his single "Lot to Learn".

He is definitely underrated.

Luke has got so much potential.

Like I said, "TMRWFRVR" is his debut album.

It has 15 tracks on it with a length of 45 minutes.

At first I was sure he's gonna drop an amazing project.

But I have to say that I'm kinda disappointed in this project.

The album sounds mostly like a ripoff from other popular artists.

It just sounds way too commercial in my opinion.

There is no doubt that he did that on purpose.

I'll give you guys a few examples:

On the track "Higher" it straight up sounds like a track off Drake's "Views" or "More Life".

"Give Me Your Pain" could've easily been on G-Eazy's or Macklemore's project with an feature of Sam Smith or Justin Bieber.

That's really sad because in my opinion Luke Christopher has been one of the most polarizing artists in Rap in a very long time

Don't get me wrong - the tracks don't sound that bad, it's for the most part well produced and also has an outstanding vocal performance sometimes.

The problem is that I really don't wanna hear these kinds of sounds from him.

It has way too many pop elements, it should've had way more rap elements.

They exist very rarely on this album, which is sad, because Luke's flow is simply incredible.

Let's talk about my most and least favorite tracks:

My favorite tracks are "Waterfalls", "Can't Sleep", "Selfless", "Jameson" and "Lot to Learn".

These tracks remind me of the style fans were used to before the release of this album.

The worst track on this album has to be "Complicated".

The beat sounds like it was meant to be put on T-Pain's 2011 project "rEVOLVEr" or Chris Brown's "Graffiti".

It's just weird.

I'm kinda upset because Luke Christopher has so much to offer.

I kinda wished that he had more rap tracks on it.

I also wish that he would stop sounding like other artists because he really doesn't need to be like that to get recognized by the Billboard Hot 100.

I'm feeling a 6/10 on this record.

It is really nothing special, but it could've been that.

That's my review of his new album.

I hope my first video wasn't that bad.

I am sorry if it was, though.

See you later in my next video! Bye!

For more infomation >> [ENG SUB] Luke Christopher - TMRWFRVR | Album Review (uncut) - Duration: 4:05.

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MY HIGHSCHOOL LOVER!{Alone time with Spider 4} - Duration: 19:25.

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[ENG SUB] Luke Christopher - TMRWFRVR | Album Review (uncut) - Duration: 4:05.

Hi, my name is Jake and welcome to my review of Luke Christopher's debut album "TMRWFRVR".

Before this video starts I just wanted to address something.

This is my very first video on this channel.

Please excuse me if i'm doing something wrong, it'll get only better in the future.

Luke Christopher is 24 years old.

He is a singer, rapper, songwriter and produces his own stuff.

I'd say he's pretty much in the R'n'B and Pop Rap genre with artists like Drake, Big Sean or John Legend.

I'd refer to him as a SoundCloud rapper.

I personally first got into his music in 2015.

Back then he released 2 EP's called "TMRW" and "YSTRDY".

He also has so much good stuff on his SoundCloud page.

He even managed to get into the German Charts with his single "Lot to Learn".

He is definitely underrated.

Luke has got so much potential.

Like I said, "TMRWFRVR" is his debut album.

It has 15 tracks on it with a length of 45 minutes.

At first I was sure he's gonna drop an amazing project.

But I have to say that I'm kinda disappointed in this project.

The album sounds mostly like a ripoff from other popular artists.

It just sounds way too commercial in my opinion.

There is no doubt that he did that on purpose.

I'll give you guys a few examples:

On the track "Higher" it straight up sounds like a track off Drake's "Views" or "More Life".

"Give Me Your Pain" could've easily been on G-Eazy's or Macklemore's project with an feature of Sam Smith or Justin Bieber.

That's really sad because in my opinion Luke Christopher has been one of the most polarizing artists in Rap in a very long time

Don't get me wrong - the tracks don't sound that bad, it's for the most part well produced and also has an outstanding vocal performance sometimes.

The problem is that I really don't wanna hear these kinds of sounds from him.

It has way too many pop elements, it should've had way more rap elements.

They exist very rarely on this album, which is sad, because Luke's flow is simply incredible.

Let's talk about my most and least favorite tracks:

My favorite tracks are "Waterfalls", "Can't Sleep", "Selfless", "Jameson" and "Lot to Learn".

These tracks remind me of the style fans were used to before the release of this album.

The worst track on this album has to be "Complicated".

The beat sounds like it was meant to be put on T-Pain's 2011 project "rEVOLVEr" or Chris Brown's "Graffiti".

It's just weird.

I'm kinda upset because Luke Christopher has so much to offer.

I kinda wished that he had more rap tracks on it.

I also wish that he would stop sounding like other artists because he really doesn't need to be like that to get recognized by the Billboard Hot 100.

I'm feeling a 6/10 on this record.

It is really nothing special, but it could've been that.

That's my review of his new album.

I hope my first video wasn't that bad.

I am sorry if it was, though.

See you later in my next video! Bye!

For more infomation >> [ENG SUB] Luke Christopher - TMRWFRVR | Album Review (uncut) - Duration: 4:05.

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I'm Sorry - Off The Charts | truTV - Duration: 1:01.

I call "Off The Charts".

I'm not enjoying it so far, but, okay.

I got my results back today and my sperm is off the charts.

Oh! Yay, yay, yay!

Okay, see? Maybe we're not as old as we thought we were.

I'm still clinging on by my fingertips.

Well, the only thing I'm clinging onto

is the edge of the charts.

Really?

But don't take my word for it, here.

Oh, this very official medical document

that just weirdly happened to be on your nightstand?

Yep.

Mobility off the charts, consistency off the charts.

Oh! Cytoplasmic droplets. Cytoplasmic droplets.

Cytoplasmic droplets.

Two? Two doesn't seem off the charts.

Tail length, OTC.

"Tail length"? Like that's the sexy part of your sperm,

the tail length? Did I over-play the tail length? Did I over-play the tail length?

Did I over-play the tail length?

Look, is this going to be something that you just,

For more infomation >> I'm Sorry - Off The Charts | truTV - Duration: 1:01.

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Screenwriting | How Kubrick Adapted 'The Shining' into a Cinematic Masterpiece - Duration: 20:31.

Hello cinephiles!

Whenever I think of The Shining, I'm always amazed by the sheer number of iconic moments

in a single movie.

So, I wanted to take a look at the writing process and see how we ended up with such

a masterpiece of cinema.

Now, there have been plenty of great videos on The Shining as well as videos specifically

about the script, but I want to go deeper.

How was it written and what exactly is happening from a storytelling perspective?

What was it like to collaborate with Kubrick on this screenplay?

How did the movie wind up so different than Stephen King's original novel?

How close did they stick to the screenplay during production?

What were Kubrick's thoughts on horror?

All that and more on this episode of Making Film...

In 1975, Barry Lyndon had hit the theaters and Stanley Kubrick was eager to find a subject

for his next film.

After he finishes a film, he just begins to read anything he can get his hands on, hoping

to find a subject that has certain cinematic possibilities.

Kubrick: "I don't find any systematic way of reading.

It's a terrifying prospect when you realize all the books there are in the world that

you're never going to read or that you should read, so I find by just reading at random,

that seems like the best approach" (A Voix Nue).

There was an interesting bit in American Film magazine, which noted that Kubrick acquired

many books on the supernatural.

He would sit in his office and read.

If after a few pages, he didn't think the book was interesting, he'd [quote] "fling

it across the room against the wall."

Apparently Kubrick's secretary outside noticed that the sounds of books hitting the wall

had stopped.

She went in and found him reading The Shining (Kubrick Companion).

It's hard to tell if there is much truth to this story, but John Calley, an executive

at Warner Brothers, sent Kubrick the manuscript of The Shining and when asked about the book,

Kubrick said, "The Shining I found very compulsive reading, and I thought the plot, ideas, and

structure were much more imaginative

than anything I've ever read in the genre" (The Soho News Interview).

Warner Brothers had bought the rights to Stephen King's book shortly after it was published

in 1977 and they also bought a screenplay based on the book written by King himself (Kubrick Companion).

However, Kubrick wanted to use the novel as simply a jumping-off point and therefore he

didn't read King's screenplay nor did he wish to collaborate

with him on a new screenplay (Kubrick Companion).

It's interesting to note that nearly all of Kubrick's films are adapted from previous

books and there are a couple of reasons for this:

First, Kubrick felt that there aren't many original screenwriters who are at a high enough

caliber as some of the greatest novelists— unless they plan on directing the film themselves.

And second, and perhaps most important, is that it allowed him to see the story more

objectively and, as Kubrick puts it [quote] "If you read a story which someone else has

written, you have the irreplaceable experience of reading it for the first time.

This is something which you obviously cannot have if you write an original story" (Archives).

This way, Kubrick could experience the story as a whole and an entirely unique experience

and then evaluate what it was about the book that affected him.

He could get at the core of what was good about the story, strip away the clutter, and

enhance the most brilliant aspects with a profound sense of hindsight.

(Something we probably all wish we could do with certain movies).

For the task of adapting the book for the screen,

Kubrick enlisted the help of novelist Diane Johnson.

He had met her in 1976, when he considered making a film adaptation of her book The Shadow Knows--

a psychological thriller about a woman harassed by an unknown menace (Kubrick Companion).

They had discussed the book extensively and, at the time, she was teaching a class at

UC Berkeley on the Gothic novel (New Perspectives 285).

So, when he ultimately decided on pursuing a film adaptation of The Shining he thought

that it would be interesting to work with her.

Kubrick said, "[S]he seemed to be the ideal collaborator,

which, indeed, she proved to be" (Archives).

In early 1977, Johnson spoke at length with Kubrick over ten days and then she received

an outline later that year (New Perspectives 285).

It wasn't until March 17th, 1978 that Johnson

began working with Kubrick on the story full-time (New Perspectives 288).

She said, "The driver would come and pick me up every morning and drive me out there

[to Kubrick's house].

I would stay all day, through dinner.

We would work in the morning and then Stanley would have a lot of things to do because he

was doing the sets and the second unit were already in America" (New Perspectives 288).

Johnson and Kubrick had long discussions around literature, particularly Gothic horror—

Jane Eyre, Wuthering Heights, and stories by Edgar Allan Poe.

They also watched movies every night—many of them starred Jack Nicholson specifically

to see whether they liked him more as a "depressive"

or a "hyped-up animated" character (New Perspectives 288).

They discussed The Shining for over a month before writing a single word (Kubrick Companion).

Many of their discussions started from simple questions posed by Kubrick.

Johnson said, "Stanley uses the Socratic method: is the husband a nice man?

Does his wife love him?

What kind of clothes would she wear?

In this way, Kubrick got to know and understand his characters before setting them in motion

for themselves" (Kubrick Companion).

Johnson also said, Kubrick's "approach was very literary and intellectual, he was big

on outlines, big on lists and he focused on clearly expressing the implications of a scene

or the problems that it posed" (New Perspectives 288).

They also drew a fair amount of inspiration from Bruno Bettelheim's study of fairy tales

titled, The Uses of Enchantment and the writings of Sigmund Freud,

but more on that later (Kubrick Companion).

Johnson and Kubrick each came up with their own short plot outline for The Shining based

on their talks and then came together to compare, rearrange scenes, and ultimately write a [quote]

"more fleshed-out outline" (Archives).

They worked on the screenplay for 11 weeks in England

and then Johnson left for the United States (New Perspectives 288).

She returned to England in 1978 for a few weeks to work on the script during shooting.

Johnson said, there were "a lot of phone conversations about details and things.

When I left the second time there was a pretty good script.

Stanley went on to make some changes

but most of them he checked with me" (New Perspectives 288).

Without Johnson's contributions to the screenplay, the film might be very different and it is

important to recognize the work that she put into

crafting such a great adaptation with Kubrick.

On October 17th, 1979, Kubrick had her contact the Writers Guild to notify them that he wanted

there to be a shared screenwriting credit on all of the

publicity and advertising (New Perspectives 289).

Kubrick's first treatment, completed on June 20, 1977,

was 36 pages and contained 61 scenes.

The treatment ends when Grady removes the bolt to the pantry door freeing Jack.

This is one of the most important moments in the film as it is the first time there

is any evidence of a ghost having any affect on the physical world.

All supernatural aspects of the film up to that point could very well be happening only

in the minds of the characters or have some other explanation (SK Reads SK).

Wendy: "You did this to him!

Didn't you!?"

Kubrick: "I've always enjoyed the genre and I felt that I hadn't really seen a picture

that presented that genre.

There have been pictures which have had shocks in them and which have had some wonderfully

gory or horrific moments.

But to properly present that type of a story in a way where you could [disbelieve] and

get involved in the story and the supernatural events were presented in a way which seemed

dramatically realistic.

What I found so ingenious about the way the novel was written, as the very supernatural

events occurred, which you always wonder to yourself, 'how is the writer ever going

to explain this?'.

The way the story is written, you assume as you read it that the things that are happening

are probably going to be a product of his imagination.

And I think this allows you to start accepting them, and not worry.

It isn't really until the bolt is open that you're absolutely certain that it isn't

a product of his imagination" (A Voix Nue).

The guiding principle for Kubrick's journey into horror came from an H.P.

Lovecraft essay that states, "In all things that are mysterious—never explain" (Soho News Article).

Kubrick expands upon this in an interview saying, "as long as what happens stimulates

people's imagination, their sense of the uncanny, their sense of anxiety and fear.

And as long as it doesn't, within itself, have any obvious inner contradictions, it

is just a matter of, as it were, building on the imagination (imaginary ideas, surprises, etc.),

working in this area of feeling" (The Soho News Interview).

Kubrick was keen on using the audience's own imagination against them and, by introducing

mystery and the suggestion of horror, the audience can fill in the blanks

with their own fears.

The story beats are very simple, there isn't a big convoluted story to follow like in many

horror films.

Instead, we are watching with a mindset based more on emotion over logic, but we get both.

We get lost in the mystery, but we are also concerned with survival.

We experience the fear of the mystery and the logical thinking of

how to escape the situation.

Kubrick uses the first expositional scenes to tell us, more or less, that this guy is

going to go crazy and try to murder his family and this boy is a clairvoyant.

In this way, we are placed in a similar situation as Danny.

We know Jack will go crazy, but there isn't anything we can do about it.

Then we are left to watch it all unfold.

Jack: "Well, you can rest assured, Mr. Ullman, that's not going to happen with me."

In early versions of the script, quite a great deal was explained, in fact, there was a storyline

that was discarded that involved Danny finding a scrapbook full of newspaper clippings of

all of strange things that have happened at the Overlook Hotel.

There was another version where Jack finds it in the cellar as well as a version where

the scrapbook just appears on his desk (SK Reads SK 192).

We can see the scrapbook on his desk in the final film, however, there is no mention of it.

Another guiding principle was raised by Kubrick in a separate interview.

He says, "... in fantasy you want things to have the appearance of being as realistic

as possible.

People should behave in the mundane way they normally do.

You have to be especially careful about this in the scenes which deal with the bizarre

or fantastic details of the story" (Archives).

This contrast makes the extraordinary more powerful and we can see this in the actors

as well (Archives).

Mundane

Fantastic

The opening scenes are presented almost exceedingly ordinary...

Hallorann: "How do you folks like our hotel so far?"

Wendy: "Oh, it's just wonderful!

Hi Danny!"

Since the beginning, Kubrick knew that he didn't want the ghosts to be bright or transparent

as you see in most film and television depictions of spirits.

He said that, in the stories of people who have claimed to see ghosts, they are always

described as solid and seeming very much like a real person (A Voix Nue).

Films and television often use transparency to help communicate to the audience that what

we are seeing is a spirit.

Kubrick subverts this and uses context, but there is actually a deeper reason why Kubrick

would choose to depict the ghosts as solid and somewhat normal looking human beings.

You see, Johnson and Kubrick drew a great deal of inspiration from Freud's essay on

The Uncanny.

If I'm understanding it correctly, Freud defines the uncanny by using the German word

heimlisch which means 'homely' or 'cozy/comfortable' but uses unheimlisch to refer to a feeling

of uncomfortableness inside the home.

It is something unfamiliar and possibly threatening within something that is familiar.

This can refer to the Overlook seeming like a perfectly normal hotel with some unknown

interior threat, but it can also relate to people.

Freud notes the fear of inanimate objects somehow becoming sentient, like in Poltergeist

(although he says that, this is not usually terrifying for small children who often treat

inanimate objects like living things for fun).

And in Poltergeist, the youngest character has the least amount of fear.

Carol: "They're heeeere…"

However, as Freud points out, the reverse is also terrifying—something that looks

like a person, but is not.

We can see this in the most terrifying moments such as the Grady Twins

and the woman in the bathtub.

We don't know what these people are or what they are capable of and we don't know if

they exist at all or if there is some sort of disturbance in the characters' minds.

Perhaps the most terrifying of all is a combination of these two concepts— at the beginning,

Jack Torrance seems normal and he is a familiar member of the Torrance family, but over the

course of the film, he becomes something unfamiliar, looking like himself, but his actions and

psychosis make him a threat.

We can see a similar concept at play a few years earlier in William Friedkin's

The Exorcist where a woman's young daughter is possessed by a demon.

Incidentally, Kubrick was offered the job of directing The Exorcist but turned it down.

Despite really enjoying Stephen King's book, Kubrick knew that the story had to be substantially

changed in order to bring it into the medium of film.

Kubrick said, "The main problem with The Shining was to work out the structure of the story

and to reinvent those paragraphs where the action was insufficient.

(...) Diane and I talked endlessly about the book, and then we designed the frame for the

scenes, which we thought the movie should contain.

The scenes on this list were changed over and over again

until we were satisfied" (S.K. reads S.K. 190).

I imagine he means cutting the inner monologues and much of the dialogue of the book and trying

to translate the story into something more visual.

Now, I'm not very familiar with the book, but there are some notable changes from the

book as well as many iterations of the script.

The bigger changes, in terms of character, were making Wendy into a weaker mousy character

because Kubrick thought she was more realistic for the purpose of the story and a stronger

woman would be less likely to put up with Jack.

This change actually happened fairly late in the writing process (S.K. reads S.K. 190).

They also used the H.P. Lovecraft principle

and removed most of the backstory save for a couple of remarks throughout—

most of which are in the scenes with Lloyd the bartender.

Kubrick said, "From Jack's character, for instance, all the rather cumbersome references

to his family life have disappeared in the film, and that's for the better.

I don't think the audience is likely to miss the many and self-consciously 'heavy'

pages King devotes to things like Jack's father's drinking problem or Wendy's mother.

To me, all that is quite irrelevant.

There's the case of putting in too many psychological clues of trying to explain why

Jack is the way he is, which is not really important" (The Soho News Interview).

I think that is a major key in what makes Jack so scary— we don't have a real sense

of his humanity.

The earlier treatments stuck much closer to the book.

One early treatment explained the woman in the bathtub as a victim of suicide, which

Kubrick made a comment that [quote] "We don't need to know."

These early treatments also had Tony, you know, Tony

as a character who Danny would actually see.

Hallorann trekking out to the hotel after a telepathic communication from Danny and

the ballroom scene with Grady are some of the earliest plot points that that made it

through each version and into the final film (S.K. reads S.K. 191).

The second draft of the screenplay, from July 12, 1977, actually contained a scene with

Danny and the woman in room 237—which happens off-screen in the final film.

What's interesting is that this version of the script describes the ball rolling up

to Danny with the sound of the Grady twins giggling and possibly glimpses of them, letting

us know not only who rolled the ball, but that the twins

and the woman are somehow connected (S.K. reads S.K. 191).

And, as some have pointed out, it is possible that Kubrick isn't cutting between the old

woman with Jack and the same woman in the tub.

They might be two different people.

You can see that one has much shorter hair.

Perhaps they are the Grady twins.

As for the third draft, from August 1, 1977, we could have actually seen Jack's nightmare

of him killing Wendy and Danny as well as a flashback where Jack beats up a student,

which caused him to be fired from his teaching job (S.K. reads S.K. 191).

According to an essay by Ursula Von Keitz, these scenes were removed to ensure that we

are kept in the present as the characters are experiencing it (S.K. reads S.K. 191).

The fourth draft, dated August 15, 1977, is the first time there is some kind of ending written

and, boy, is it a doozy.

Jack surprises Wendy and Danny after he is freed from the pantry and he injures her.

She hits Jack with a rifle butt and then Hallorann arrives at the hotel

and is hit in the head by Jack.

Wendy kills Jack and rushes to help Hallorann and then a grinning Grady walks up to them

and greets Hallorann by saying:

"Good evening, chief."

The script ends with forest rangers entering the hotel filled with snow from broken windows

and finds the bodies of Danny, Wendy, and Jack as well as Halloran who has [quote]

"blown his brains out" (S.K. reads S.K. 191).

There were really an incredible amount of iterations of the script.

Here are just some of the ideas that were included in drafts that were ultimately scrapped:

Tony speaks with a voiceover, Hallorann arrives at the hotel and turns evil with Grady and

fights with Wendy, Halloran becomes demonic with destructive powers, Danny finds bloody

girls' shoes in a sand pit, Danny sees a wall covered in blood and brain matter, a

flashback of the incident when Jack injured Danny, and a version with more Native American

imagery including a mask that appears in Danny's visions (S.K. reads S.K. 194, 195).

I believe that some of these were taken from the book, but speaking of the novel...

One of the more brilliant changes from the book was in Hallorann's demise.

In the book Hallorann journeys to the hotel and saves Wendy and Danny and the film sets

this thread in motion only to have Hallorann axed the moment he shows up at the hotel.

I love the idea of this moment surprising the people who had previously read the book

because this moment marks a point where they too don't know what will happen next.

One thing that's really cool is all of the notes by Kubrick in the margins of the script

as well as the book.

We can really get a sense that new ideas were constantly being tested and the script was

being distilled and simplified and refined.

I've made a page with the notes I was able to find.

Click the card to check it out.

Jack: "Go check it out!"

Now, as Lessons From the Screenplay mentioned, the actual scripts for The Shining are only

available to see at the Kubrick Archives in London.

However, I imagine that if you had the chance to read them, you might find them fairly unremarkable.

The purpose of these drafts was to get a sense of what the film would be,

but it was all very fluid.

Diane Johnson was quoted saying, "The writing was secondary to knowing who the characters

were, what the events were, and the exact function of every scene.

Stanley kept saying, 'When you know what's happening in a scene, the words will follow'" (Archives).

It wasn't until the production itself that the script entered a

completely new phase of rewriting.

Kubrick:"But I find that the structure, you know, the events, if they're right, you

know, if the moments are right, it usually is fairly simple to write the scene.

There are times in various films where there hasn't even been time to write the scene.

It's never been solved until, say, two days before you do it, you just couldn't think.

Once you know what's supposed to happen, really, you sort of write the scene on the

actors— as it were—in the rehearsal.

I mean, that part of the scene, the dialogue, is not the most difficult.

It isn't in this type of story.

It is, obviously, in a film where someone is going to sit and talk for thirty minutes

in one place, you know, like a play.

When the attitude of the people is correct and the purpose of the scene is correct and

the action of the scene is interesting, then the rest of it is pretty simple" (A Voix Nue).

Kubrick's approach during the production phase was to get the actors to collaborate

on their character, make suggestions, and this way, the story is constantly getting

better even as it is being filmed.

Kubrick said, "The key part in shooting a film is not to necessarily execute what you

had in mind but [to] stay loose in case you have a better idea" (Kubrick: New Perspectives 294).

When asked if he lets the actors improvise, Kubrick said,

"Yes. I find that no matter how carefully you write a scene, when you rehearse it for the first

time there always seems to be something completely different, and you realize that there are

interesting ideas in the scene which you never thought of, or that ideas that you thought

were interesting aren't.

Or that the weight of the idea is unbalanced; something is too obvious or not clear enough,

so I very often rewrite the scene with the rehearsal.

I feel it's the way you can take the best advantage of both the abilities of the actors

and even perhaps the weaknesses of the actors.

If there's something they aren't doing, or it's pretty clear they can't do (I

must say that's not true in The Shining because they were so great), you suddenly

become aware of ideas and possibilities which just didn't occur to you" (The Soho News Interview).

Diane Johnson: "When it came to the shooting, he cut out a lot of Wendy's lines…

They didn't get along (he and Shelly Duvall) and he didn't like

the way she would say the lines.

And so he'd say, 'oh, well then nevermind. Cut that.'

And so, finally it came down to her just screaming a lot, basically, as you probably remember."

If something isn't working, it is usually the script that is the issue.

There really isn't a point in trying to stick so rigidly to the script if it doesn't

work with the actors or some other reason.

Kubrick continues saying, "I've always been impressed reading that some directors sketch

out the scenes and can actually find that it works.

It may be some shortcoming of my screenplay, but I find that no matter how good it ever

looks on paper, the minute you start in the actual set, with the actors, you're terribly

aware of not taking the fullest advantage of what's possible if you actually stick

to what you wrote.

I also found that thinking of shots, or thinking of the way to shoot a scene before you've

actually rehearsed it and got it to the point where something is actually happening that

is worth putting on film, will frequently prevent you from really getting into the deepest

possible result of the scene" (The Soho News Interview).

Thanks for watching!

The Shining was suggested by my patrons over on Patreon.

I want to thank my patrons for supporting this channel— it is because of you that

I'm able to make these videos.

If you'd like to support this channel, head on over to Patreon now, pledge a dollar or more

and you will be able to submit movie suggestions for the next vote.

And if you're new here, please hit that subscribe button now, because there are plenty

more videos on the way for cinephiles like you!

Thanks again for watching!

For more infomation >> Screenwriting | How Kubrick Adapted 'The Shining' into a Cinematic Masterpiece - Duration: 20:31.

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BIG NEWS!! t.A.T.u. PROJECT! + BLACKPINK AND t.A.T.u. sims 4 version DOWNLOAD! AND MORE!! - Duration: 4:48.

Hello everyboddyyy!!

so

that's the first time i'm putting my voice over a video

and yeah, and i'm really not used to it

so, the first thing that i want to talk about it with you today it's this

me and a friend of mine decided to make a k-pop duo

from the sims charachters, i saw this already in italy, people createee *thinking* groups with sims, yeah, here they are

le Mean Girls

actually this "le", it's because, you know

i was raised in Italy, and you can hear it from the accent

"Le", it's like "the", the mean girls, you know, and this is "le mean girls"

i had to keep the aesthetics, you know, a fierce, glamorous look

and yeah, i tried to sing in Korean! you know? it's probably a mess, but *tsk* we're okay with that *lying*

I actually don't know if you heard about Blackpink, they are an amazing k-pop group

I actually love them, so! i tried to recreate them on the sims 4

And i have let you a download link for them the description

I want to say that i've made t.A.T.u as well on the sims 4 and you can find the download link on the description box

just go and check and you will find them there

i'm making an announce, it's a really important announce, i'm looking for artists, who needs for instrumentals, beats, producing, you know?

or graphic designing, covers, artworks or writing lyrics, background vocals. The prices are really low and they are up for debate

All depends on your budget, if you can't afford the prices, in special cases, i can give some works, give away some works for free

'cause i really care about music, music is my passion, i really want to help people, for example, who are trying to break through the industry

And make a name for themselves, really i'm here to help

For more infomation >> BIG NEWS!! t.A.T.u. PROJECT! + BLACKPINK AND t.A.T.u. sims 4 version DOWNLOAD! AND MORE!! - Duration: 4:48.

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Road Trip #186 - I-49 South - Exit 73: Woodworth to Exit 46: St Landry, Louisiana - Duration: 10:59.

Welcome back to 504 Road Trips!

Today, we continue south on I-49 beginning at mile 73, near the town of Woodworth, in

Rapides Parish, Louisiana.

Along the right hand side of I-49 is a narrow strip of protected land and water called the

Acadiana Conservation Corridor Wildlife Management Area.

This 26 mile corridor spans 4 parishes, and is only accessible by boat.

We temporarily cross into a small corner of Evangeline Parish, for less than a mile.

We'll see Evangeline again in the next video.

Then we enter Avoyelles Parish.

Avoyelles Parish has a population of 41,117.

We conclude today's video at exit 46, St. Landry.

Thanks for watching.

Please subscribe, give us a thumbs up, share, comment below, follow us on social media,

and join us for our next 504 Road Trip!

For more infomation >> Road Trip #186 - I-49 South - Exit 73: Woodworth to Exit 46: St Landry, Louisiana - Duration: 10:59.

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HEAR O Moment: Jack, age 15 - Duration: 1:32.

My name is Jack. I'm 15 years old, and I have a cochlear implant in each ear.

If I didn't have cochlear implants, I wouldn't be able to talk to my friends.

Everything would be much tougher. You come from completely deaf, and then be able to

hear almost 100%, that's pretty amazing.

I used to go to Callier two times a week,

and we used to do speech class - like practicing on my sound and like on each ear

take one ear off practice on the right ear or take the right ear off and practice on

the left ear. Two years ago, they said I'm done, because I have perfect speech.

I love to hear music. Laughing is another one that I like to hear too. I think I would definitely

miss that if I didn't have my hearing. Coming to Callier, one of the benefits is meeting other people

that have the same disability as you. That's huge.

It's really amazing. I've had cochlear implants for 13 years, and the technology

is astonishing! Without them, I wouldn't be able to speak the way I do today, and

I'm very grateful for that.

For more infomation >> HEAR O Moment: Jack, age 15 - Duration: 1:32.

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Roberto by RFM "Ondate" SpiralStyle Bypass Ring - Duration: 3:50.

For more infomation >> Roberto by RFM "Ondate" SpiralStyle Bypass Ring - Duration: 3:50.

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10 TIPS TO DECLUTTER YOUR HOME // change your life! - Duration: 5:27.

hello welcome to my channel so for today's video I'm going to do something

a little bit different typically I talk about health and nutrition because I am

a nutritionist but for today we're going to talk about something lifestyle

related because I think to have a healthy life you need a happy life and a happy

life comes from happy lifestyle. So in this video I'm just going to discuss things

that I've learned over the last few years about decluttering. Let's get

started. Number one start decluttering in the room that you use most often it can

be tempting to declutter a room that you don't really use a smaller room but when

you declutter that room you're not going to feel the sense of accomplishment

you're not going to want to go and declutter the rest of your home so I

always recommend start off by decluttering the room that you use the

most often which for me is my kitchen and I live in my kitchen and once that's

done I feel really good I feel a sense of accomplishment like yes I did

something let's tackle the rest of the house now number two ask yourself three

questions while you declutter does this item give you joy so this is a concept

that I picked up for Marie Kondo's book and it's all about having stuff around

you that gives you joy so if an item doesn't make you happy

you shouldn't even bother keeping it in your home number two is this item

functional does it work does it serve a purpose number three have you used this

item in the last year now if you can answer yes to any of these questions

keep the item if you can't answer yes to any of them maybe that item deserves

discarding tip number three deal with paper clutter

weekly so all those Flyers and magazines and newspapers and God knows how many

letters you get in the mail deal with them weekly otherwise they pile up and

then you have a lot of things to deal with the end here

if you're buying something new think it through

now whenever I'm looking to buy something new I put it on a wish list

first it stays on that wish list for at least a week or several weeks and if I

come back a week later and I still want the item that means I really love it

otherwise I just cross it off the list tip number five do a closet cleanse so

this sounds really daunting and to be honest it does take some time but it

will change your life trust me I've had a friend who did a closet cleanse but I

recommended it to her and she is loving her new closet because it takes her much

less time to get ready and it's not as cluttered so what do I mean by a closet

cleanse what I mean is figure it out a closet that works for your lifestyle

think about it we all spend a lot of time in our

closets first thing in the morning trying to figure out what to wear and if

you can streamline that process by only having items that you truly love and

only having items that really easily mix and match you're gonna make your life a

lot easier tackle those junk drawer so we all have

Junkers these are drawers for things that don't have a home junk drawers

aren't the problem it's when we never clean them and then

it's been a year and this is all sorts of stuff I have one junk drawer in my

house it's in the entrance area and I put all sorts of stuff in there that

doesn't have a home but every month I look into it and see if there's stuff

that can be discarded or stuff that can be moved to a new home

tip number seven don't eat the gifts that you don't use so we all get gifts

and some are sentimental so obviously keep those gifts don't really attach to

them and you don't know what to do they're not really for you but someone

else could use them sitter be gifting or consider donating the item so at least

someone else can use it keep the visual clutter to a minimum so

what do I mean by visual clutter it's the stuff that's all around your home on

your furniture and the decorative items and everyone's tolerance to visual

clutter is different what's clutter to you may not be cluttered to mean vice

versa tip number nine get your family support

so if you live in a household which is more than just you you are going to deal

with other people's clutter and if your family's not on board or the

decluttering you can declutter but it's not going to make enough of a difference

10 which is the final tip is review every year or every six months whatever

works for you I like to do a spring clean where I do a full decluttering

every year because you know what no matter how much you declutter the

clutter happens again it comes from somewhere so there you have it ten tips

to declutter your home and embrace minimalism in the process if you like

the video and you learn something you give it a thumbs up and don't forget to

subscribe thanks for watching I will see you in the next video

For more infomation >> 10 TIPS TO DECLUTTER YOUR HOME // change your life! - Duration: 5:27.

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Volkswagen Polo Beats 1.0 TSI 110PK AUTOMAAT - Duration: 1:02.

For more infomation >> Volkswagen Polo Beats 1.0 TSI 110PK AUTOMAAT - Duration: 1:02.

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GROW YOUR BUSINESS IN 2017, RAISE YOUR PRICES & REACH YOUR GOALS I BREAKTHROUGHS WITH BENSON 003 - Duration: 17:48.

I think you know not having the

context for the company that you have and all

these different things, um getting ??????

these different aspects. I think the main thing

is

um

yes, so the main thing is what I would do with

you

is start testing and driving it more

aggressively

Architect, different

assets that your business has and start

documenting different things that your target

audience the people that you're looking for

when you have these assets let's say

Asset number A that people are finding value from

Asset number B, asset

number C. You start distributing these assets

across uh facebook. Youtube, and all these

different assets

and then you'll be able to distribute them. The

ads amplify it, but essentially you want to give

away

some core pieces of value to what your target

audience wants. Let say you're offering a product

then you want take something that's complimentary

to your product and offer it to the target audience.

If you're selling a service like you said the free

minute call, bundle something with that 10 minutes

call and amplify that

and then test these different offers to Your

target audience and don't just look at Reddit, Youtube

facebook and all these different audiences, but

look at where your target audiences invest most

of the time. What websites they stay on

uh which shops they go to really understand

really deeply about your target audience. Look at

the conferences or any events or meeting that they

attend, any books, what kind of books they read

shows they watch really get down to the details.

Then once you have that, what I call the ideal

client avatar you'll be able to look at across

the entire media landscape, all these different areas

for you to pull your assets in and be able

to generate more leads a lot of this is just

gonna be testing different offers you also want to

make sure that your copy hits to the core of your

target audience so that's without all your

business and a lot of the details. What I would

do if I were in your shoes.

What I would do to

get the best bang for your buck of your 200

dollars let's say, regardless of just selling

a product or service there's five layers that you

wanna start with first thing is you, let's assume

that you have an email list, you have a website. You wanna start

with people that are going through your website

or visiting your pages. They're watching your

videos essentially the audience that's engaging

with you they've been through what I call the

influential indoctrination, which means they've

gone through your e-mails, the videos, they

consume your content. They've already entered

into your world they're familiar with your brand, with who

you are. Then once you have that you're able to target

them on on facebook. I think 99 percent B2B, B2C

audiences are can be target on facebook. You just

gotta make sure that the creatives, the assets the

copy all these different things are native to the

platform that you build so start with people

have engage with your brand. The second also with

those of you have built an email list. You can do

custom audiences for email list too. The third thing

I would do is build it look like audience

so look like audience essentially you're able to

send Email for people that visited your website

You're able to build

separate audience that facebook basically matches

and says hey Sally from ABC area let's say

from the New York area. That knows this, like

this. Facebook will find similar people like

Sally and build an audience for you. So that's the

third one, the fourth one is you wanna still

looking the interest targeting

now most people make a mistake with facebook when

they start with interest targeting because they

feel like that's really the easiest way, but

that's actually one of the best ways to waste a lot of

money you wanna always start with the warmest

audience that you have. The people that have

engaged with you and then you can put them into.

Now, the traffic side to is only one piece of

that you wanna be able to when people go to the

traffic what is that progression of you putting

them through, what are they seeing, like what is your

goal where are you driving the traffic are you drive

them into a different step funnel. A progression.

What is that process look like you gonna get drop

offs along the way as they progress through

during your world or the campaign are you putting

them through so it's not just focus on the

traffic side to focus on what are they going to

go through, as your driving the traffic. So those

are some key insights for you that I look into

video and also info graphic.

I think, if you only have the choice to do one

you wanna look at the target audience that you're aiming

for and how they consume content if there

if they're 50 plus

years old and they're they're males, then ideally

you want to use a shorts in depth video to get

them into it. If there a even of them millennials

say 20 to 25 most cases video is the most

engaging way

um

actually no, I think in my mind, I think start with video

do explain the video and then pull the video that

you've created and turn that into an infographic.

If you can do both do both test what works. If

you can only do one then do the video

okay so I will focus on

really like you said you looking at the engage levels

recently, Facebook's algorithm has has dropping

engagement. Obviously Facebook's platform and how they

monetize your ads so they want you to boost your post

to advertisements on their. And their

platform is diamond, one of the best

advertising platform because they have billions of people now on

it

I would look at really

a I'm assuming let's say the six thousand people

are liking the page you really wanna see who they

are there's. Some tools out there that you can

use to measure the audience and look at what

location that they are, even the native

Facebook. As a native platform you can do that.

what I would also do is I would focus on

understanding. What's your intention with buying

that page, meaning that are you just kinda using it to

to build up your positioning so you have like a

page with six thousand like on it or using it's a

kind of you will have info product or service or

you wanna drive into let's say as an affiliate to

some travel agencies that you want to

go with it

Depending on the goal that you have your gonna

have different tactical implementation that you do.

If you want to sell as an affiliate to all these

different tours sites. You wanna start creating

content around those different things, build that

trust and value assuming that there isn't any

trusted value on the page right now and then you

start moving forward to that if you wanna sell a

product or service: same thing, you start

educating them on different areas and different

places. I think, if you're trying to target

people that are traveling, the difficulty is you never

really know when they wanna travel and so that's

really one of the difficulties with a lot of people and

lot of the websites that are selling travel and

and all these different things so

I would focus on just creating and educating a

lot of the people that are on the page, post a

lot of interesting creative stuff and then drive

into something. That's not just on the facebook

platform native. But put them onto something that's

a website or some piece that they're able to

essentially

get more from you, if they want to

says you don't wanna convert around the facebook

page, but put them onto someone else.

But cultivate the brand the trusted relationship via

the page.

Okay so it's a good context

I don't know if you know my

story, what we do so we're known Sung Digital Strategy

and we built a seven figure, essentially a boutique

consulting firm and what I would do in your shoes

it sounds like your essential a startup. So what I would

do is. I would focus on you can test the road

where you lower the price to the same degree,

so there's two pathways. First path where you can take

you lower the price. You get some case studies

and specific industry that you're good at and get

solid results for them build some case studies

around there and once you have a case that you

turn them into creatives and assets that you can

use

to target your local area in the businesses

that are around there or in there. What's

beautiful about when you're doing in digital

marketing you're, not limited to specific

location, but you could start target a specific

place, start with that, building case studies that

you can target across the United States, which is

where I'm assuming you are

uh the second way is you can do it the way I did it.

Actually just focus on just

getting really really good at doing sales and

negotiations and learning all these different

resources don't do cold calling

positioning and building a brand around yourself

and then also at the same time get case studies, but it

once you get really good at sales and talking

with people. Then you'll be able to just sell

more than just a thousand dollars a month right

now to you maybe a thousand dollars a month is a

lot of money, but you can sell higher later on as

you develop

5000, 10000, 15000, 100000 a

month in terms of the the services that people

are gonna engage with you, but start from step one in

kind of build from there. A lot of the best way to

do it so I would give you three specific ways

strategies tactics, new for Sway is always

the case. Studies

second way is look at the relationships that you

have around the area.

If let's say you saw that your marking services

you can partner up with other agencies that you

can outsource to what we want. Your service or

little to you or your part of people that really

need your service if you want to go from there

the third way is get really really good at doing

sales and negotiation with people that's an on

going thing that you're gonna be training once

you get good. These three specific things that

you focus on cultivating as you grow

Then,

maybe one year maybe two years maybe the six

months down the road you'll be able to really

build up the confidence and build up the skills

develop the resources that you need to be able to

grow. The way agency that you are in right now, to the next level

There is a lot of people I

know, I've entrepreneur

colleagues that jumped into fidget spinners,

hoverboards

even the one where you open

the bags and put the air in and essentially it's

like the air sofa or something.

To jump into these different things, a lot of it

is you know the timing the first mover advantage

and you can make a lot of money But it's not a

I just saying, most of the time it's not

sustainable thing. Meaning that is something that's a

trend that comes up

and it's a trend that's gonna eventually die out

because there's so many people just like how

you're thinking about jumping into and there's

hundreds of other guys and gals thinking about

doing the same thing and so what is really the

differentiate for you when you jump into

doing for the spinners or anything else, you all sell fidget spinners

so looking at it from the target

audience's perspective. If there's one person

looking at multiple different things, you

essentially become a commodity

Right there's no difference between what you're

selling

and what the other person selling. It's the same

product so I think it's something that's not

really sustainable when you're looking into a

trend, now, if you're just getting into to make money,

make a few you know hundreds of thousands or

potential millions of dollars you got also look

at the risks and variables that are associate with

growing that.

I think, by now that you listen to me, this is

motivating you, since you going that direction.

But you know you can make some good short term

money from it. You can get a lot of skills and

a lot of knowledge, and then you can take

that and move it into more of a long term

sustainable business. I'm really all about the

long sustainable businesses that you build

because that something that will last you want

something that goes through through risk.

The economy, the finance and all these

different things so I would say to you that you

take the skills if you want to jump into it,

but take it and put it into something that's more

long term and sustainable and not something

that's gonna crash in the next day or two

Two things for you

So it sounds like

you're motivated by a loss and pain which a lot

of people are but most people don't want to if I

don't do this, this bad thing happens to me. so

two things I would do keep a very short, simple

first way is you put money on the line. You say

if I don't do this, then I'll have to pay you

this on this specific day, whatever you guys set

the criteria for the second thing is to really

make this enforceable you announce this publicly

on facebook, on youtube, on anything that you guys

are on or where your friends and family see or

your colleagues and you tell people like in public

and saying that I am mister X I'm going to

pay John in New York City city, a thousand dollars at

if I don't

get 10 clients by this date, let's say for

example, and then people will be able to look at

you and then the follow up with you. So everyone keep

me accountable for this, by this date. If I

haven't done it, I will send x amount of

dollars to them so

make it public that's the best way to make it.

You're gonna feel comfortable doing it, but

it sounds like you're motivated by the fear of

losing something so this could potentially be

something that you you could do and it's something

that doesn't motivate me specific cause I just do

it, but other people. You know a motivated by the

loss of something. Using money as the

leverage to get them to go forward on something

and keep each other accountable.

"How would you keep team Benson motivated?"

good question.

I think gonna put some some strict things. You

know down the road but right now just

kinda feel get a feel for you know what happened

that's a wrap! Alright!

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