Waching daily Feb 1 2019

JUDY WOODRUFF: The past couple of weeks are showing once again just how tough the news

business is right now, with layoffs by digital upstarts and by the country's largest newspaper

chain, Gannett.

BuzzFeed laid off 15 percent of its staff, while The Huffington Post and Yahoo News cut

hundreds of jobs under their new owner, Verizon.

Many in the field are more worried that a hedge fund-backed group known for gutting

newsrooms might buy Gannett.

That would potentially be an even bigger hit to local coverage nationwide.

All of this has led to the growth of so-called news deserts, places where there's limited

access to news outlets.

For a look at the fallout from all this, we're joined now by Steve Cavendish.

He's editor of The Nashville Banner.

That's a nonprofit news start-up that he's in the process of relaunching after the paper

by the same name folded in 1998.

And Penny Abernathy of the University of North Carolina, she's written a major report about

the shrinking of local news organizations and how it increases our country's political

polarization.

Welcome to both of you.

Thank you for joining us.

Steve Cavendish, I'm going to start with you.

You wrote the other day that what's going on right now for journalists is a bloodbath.

Is it really that bad?

STEVE CAVENDISH, Editor, The Nashville Banner: Well, it has been over a long period of time.

It's over the last -- over the last couple of decades, we have seen journalism jobs around

the country being cleaved off at a rate like either coal miners or steelworkers or fishermen.

And those are not what you would call thriving industries.

Journalism has had revenue problems for years, and we're starting to see, as print is really

sort of -- is sort of wiped out, that the conversion over to digital for many of these

properties, many of these newspapers just isn't the same.

And so we're seeing with it a lot of jobs lost.

JUDY WOODRUFF: Penny Abernathy, you agree it's that bad, and, if so, what's driving

this?

PENNY ABERNATHY, University of North Carolina: Well, I think there are two things we need

to look at.

One is the total loss of newspapers, because newspapers are often the prime, if not the

sole source of news and information, especially in small and mid-sized communities.

So, over the last decade-and-a-half, we have seen 1,800 newspapers disappear off the landscape

of the U.S.

But there's also the equally troubling situation that we have with the surviving newspapers,

where we have lost more than half of the newspaper newsroom journalists that we had just in 2008.

We're calling that the rise of the ghost newspaper, in which papers are basically shells of their

former selves.

And, as Steve suggests, it's being driven by a couple of things.

One is the rapid decline of advertising, especially print advertising, and the inability of news

organizations to make up for that in any kind of digital revenue, be that subscription revenue,

be that advertising revenue.

JUDY WOODRUFF: Steve Cavendish, a lot of conversation about the role of these organizations that

have become so powerful over the last decade, Facebook, Google.

What is their role in all this?

STEVE CAVENDISH: Well, as newspapers have tried to become digital operations, and tried

to sell digital advertising, the problem is that they get into these markets, and Google

and Facebook have, between the two of them, about 80 percent of the digital ad market.

And so what's left pushes -- really pushes down on what they can make as -- what you

can make as an organization.

And so the print dollars that many news chains have walked away from have been replaced by

digital dimes or even digital pennies.

And that replacement is reflected in the number of jobs that have been lost.

JUDY WOODRUFF: And, Penny Abernathy, what does that mean for news consumers, people

who have counted on whether it's a newspaper or something else for news and information?

PENNY ABERNATHY: Well, it means the rise of news deserts, in which residents in communities,

hundreds of communities, even thousands, in this country have limited, very limited access

to the sort of news and information that's been the lifeblood of our democracy, everything

from when and where to vote, to topics such as education, health, emergency and safety

information that we need.

The FCC put out in -- earlier in this decade a list of eight topics that they considered

to be critical information needs for communities.

As we have looked at newspapers and the content that comes out of newspapers, as well as digital

start-up sites, we often find that some essential information that we need as citizens and just

residents to make wise decisions, we don't have access to anymore.

JUDY WOODRUFF: And, Steve Cavendish, how do you see that playing out in Tennessee?

What are people missing now?

STEVE CAVENDISH: Well, so, take for example, The Nashville Banner, which was the afternoon

paper here and where I got my start in the early '90s, was sold to the Gannett paper

here in town, The Tennessean, and closed.

Well, they took about a third of that newsroom into and combined it into The Tennessean's

staff.

So you had about 180 journalists.

That number is now less than 70.

And what does that mean?

It means that, you know, large swathes of what was once covered, of courts, of institutions,

of major kind of stories just don't get covered.

And it affects everything, from the cover of health care, which is a big industry here,

to high school sports, to politics.

In the last set of elections where you had a -- we had a Senate and governor's race here

back in the fall, you had basically one reporter covering those races each for Gannett-owned

dailies in three of the four biggest markets in Tennessee.

And so you're seeing fewer and fewer people covering things.

The statehouse reporting is kind of a crisis across the country.

In Tennessee, there were 35 people covering the state legislature and the government,

state government, at one time about three decades ago.

That number is now 10, and, really, a couple of those are specialists.

So you only have eight people covering a $37 billion -- a $37 billion state government

and the legislature.

JUDY WOODRUFF: And we have seen that in state after state.

And, Penny Abernathy, it's so important for us to highlight this, because, here in Washington,

you look at, say, a presidential news conference, and you see a lot of journalists.

You don't get the sense, looking at Washington, what has happened around the country.

PENNY ABERNATHY: Right.

JUDY WOODRUFF: But I want to ask you something you have pointed out.

And that's how all this contributes to the political polarization in the country.

How is that happening?

PENNY ABERNATHY: Well, one of the things that we found through our study of looking at where

people -- communities have lost newspapers and where they are living with severely diminished

newspapers is that it tends to -- news deserts tend to coalesce around areas that are much

poorer, much less well-educated, and much older than other types of communities.

That can be communities that are middle -- inner-city neighborhoods.

That can be suburbs around metro areas.

And it can be what we call the flyover regions of the country, the rural areas that are out

there.

I live in a -- what you would call a news desert, the Congressional 9th, where we still

do not have a House of Representatives member because of alleged voter fraud.

It is -- and it is a classic news desert, where, in 20 years ago or so, you could have

gotten ample coverage of the congressional race through three different newspapers, the

Charlotte, the Raleigh and the Fayetteville paper, and it is -- there are no newspapers

that circulate in my county now.

JUDY WOODRUFF: What determines, quickly, Penny Abernathy, whether this is going to turn around

anytime soon?

PENNY ABERNATHY: Well, I'm most optimistic that if you have a publisher and an owner

in an area that has a good economic foundation, that if the publisher is both creative and

disciplined, that you can turn it around.

We have seen several examples of that.

Where I am most concerned is on the low-income areas, which I do not see a viable for-profit

economic model emerging.

And I'm hoping we can begin to get media funders to begin to look at these overlooked areas,

because it's critical for our society.

It has political, social and economic implications that are long-term.

JUDY WOODRUFF: So important to focus on this.

Penny Abernathy, Steve Cavendish, thank you both.

STEVE CAVENDISH: Thanks, Judy.

PENNY ABERNATHY: Thank you.

For more infomation >> How the decline of newspapers creates 'news deserts' around the country - Duration: 9:10.

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Byah Ke Leja | Sad Song | New Haryanvi Songs Haryanvi 2019 | Manju Aggarwal, Deepak Barota-PR Music - Duration: 4:37.

SUBSCRIBE MY CHANNEL

For more infomation >> Byah Ke Leja | Sad Song | New Haryanvi Songs Haryanvi 2019 | Manju Aggarwal, Deepak Barota-PR Music - Duration: 4:37.

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Como conseguí un trabajo que me pagara por viajar - Duration: 7:45.

Whats up!?

How are we doing, my beautiful people?

Welcome to a new video of my channel, I am Cass Aragon

Today, I am going to explain how to get a very cool job

But first, I am going to talk about where we are

My absolute favorite place in Miami, Wynwood

Okay. The gallery inside the Wynwood walls has a lot of art

We are calculating some of the prices

How much do you think this one is?

3 Million Pesos

What to compare? That is the question

The only problem is that this place is so cool and popular

that is becomes overcrowded which makes it hard to take pictures

but it is worth it

Hello my beautiful people

It is my favorite place in Miami

It is very cool and has a lot of art

okay. I have been receiving many, many messages

from different people asking me about my job

I am the first Traveling Content Creator for Royal Caribbean

I want to explain a little bit about how I got the job

Ever since I was about 15,

I knew that traveling was my passion

I decided in this moment that traveling would become my work

I could not be in an office from 9-5

I dont judge others for doing that, but it is not for me

So I decided to move to the other side of Mexico and started doing tours

and dancing which is what I love

And then I got into Royal caribbean as "Entertainment Staff"

We had did trivia shows, games and dances

I actually have a video explaining what I used to and what it is like to work on a cruise ship.

I am going to leave the link here

Or there... I don't know

Look for the link

So I after I got into the Crew Ambassador Program on the ship

where I would upload pictures and videos every week , and I have always love dphotography

I studied a litte bit of photography when I studied abroad

I wasn't professional, but I was always interested

And I used to have a Nikon but I wasn't inspired with it

But then I got a Canon and I really started to get more into photography

And then I got a GoPro for videos and started making travel vlogs

After that, I entered a contest called, "Best Job at Sea"

I had to upload different photos of the ship, activities, and destinations

I posted as many as I could

We also had to post videos pretending to host Royal's Snapchat

And I made it to the final

with about 6 or 7 people

AND I WON!!!

There was voting and judges

I am very happy and proud that a Mexican won

And that Royal is ranked the #1 Cruise Line for 16 years in a row

and there are new ships every year

I am in the middle of my contract now and this job is more than my expectations

I really love it

Now, what I used to do before for free

I am now doing full time

Even though it has its pros and cons

Normally, I am used to working with a manager and the guests

In this job I am pretty much on my own

So it forces me to make new friends

And be on my own a lot which I usually don't like

I also travel... ALOT

I have been on 6 ships in 3 months

Its a lot of moving around

But I love it!

They have given me a lot of equipment

and I am learning to fly my drone and I am loving my Ramoncito

I have my GoPro all the time

I also got a new Canon

Anyway, I just wanted to tell you how I got this job

and that if there is a job out there that you want, and feel passionate about, you can do it

You just have to put your mind to it!!

And take your time and be patient

I said to myself, I don't want to work 9-5

I don't want to work

doing something that I don't like

I want to be passionate about my work, doing something that I love

And now I am getting paid to do it and its really cool

This is Brett!

This is my friend Brett. He makes tutorial and drone videos as well as speaks a little bit of Spanish

I speak a little bit of Spanish

I don't know who taught him Spanish, but its good

Mexican Spanish

Very good, I do'nt know who taught him Spanish, but its good

Subscribe to his YouTube Channel

And of course Subscribe to mine and my Instagram

Her Instagram is the best

Its very cool

So thats how I got the job and won, so.. yeah.. Bye!

For more infomation >> Como conseguí un trabajo que me pagara por viajar - Duration: 7:45.

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Beach Fossils - That's All For Now - Duration: 3:15.

It's new regret

Isn't it funny how we forget

It's too late for that

You're off on your own

Used to be up for anything

You were the highway star

And of all of your spar

Keep moving on

Keep moving on

That's all for now

Nights that we forgot

Everyone won

But I woke up back again

For more infomation >> Beach Fossils - That's All For Now - Duration: 3:15.

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Gina Drops Some Hot Moves and Big News - Brooklyn Nine-Nine (Episode Highlight) - Duration: 2:22.

For more infomation >> Gina Drops Some Hot Moves and Big News - Brooklyn Nine-Nine (Episode Highlight) - Duration: 2:22.

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Gotham 5x06 Promo "13 Stitches" (HD) Season 5 Episode 6 Promo - Duration: 0:21.

Bruce, status.

One second.

I'm here on a simple mission--

clean house.

I won't let you.

Bang, bang.

[gunfire]

You'll be the bane of anyone who opposes us.

For more infomation >> Gotham 5x06 Promo "13 Stitches" (HD) Season 5 Episode 6 Promo - Duration: 0:21.

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SOFT ICE EATING ASMR (Sesame Seeds) 🎧💤 - Duration: 2:03.

SOFT ICE EATING ASMR (Sesame Seeds) 🎧💤

For more infomation >> SOFT ICE EATING ASMR (Sesame Seeds) 🎧💤 - Duration: 2:03.

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El fiasco del siglo, Fordlandia |El megaproyecto internacional fracasado - Duration: 7:19.

Henry Ford was one of the richest men of his time,

he built a powerful automobile company practically out of nowhere,

incorporated several improvements that allowed all his dreams to come true in front of his eyes,

always looking for ways to improve production processes,

making cars much more accessible to the population, boosting sales.

Ford had the autonomy to produce all the parts of its cars,

except the tires, hoses and plugs that by then, were made of rubber.

a resinous substance extracted from some special trees and plants

located mainly in the English and Dutch colonies of the Asian continent,

which made them the owners of the world monopoly of Rubber,

which was not to Ford's liking.

The complications of obtaining rubber

made its price higher than that of oil,

so this business, at first glance simple, was actually multimillionaire.

Ford devised a way to snatch this gigantic monopoly from the Europeans

and in the process lower the production costs of their cars,

he will create his own rubber industry,

would make it the largest and most successful in the world,

and would strategically locate it in a rainforest in Brazil.

Although there was an avalanche of protests against this idea,

listing all the possible setbacks,

there was no humanly possible way to communicate it to a man, who had fulfilled all his dreams,

so finally, he was suported.

After several negotiations with the Brazilian government,

it was possible to buy an area of 10,000 km2 in the middle of the Amazon jungle,

similar to the extension of the Mexican state of Querétaro,

where the new town of Fordlandia would be built.

Fordlandia construction began inmediatly

several architects and builders were brought in from Detroit,

and heavy machinery was moved through ships,

in addition thousands of native Brazilians, were hired who had a lot of experience collecting rubber.

All the vegetation was removed from the area,

and the construction of hundreds of free houses for the employees begun.

The most advanced hospital in Brazil, a school, electric generators,

a sawmill, shops, restaurants, a water distribution tower,

a cinema, shoe shops, an Olympic swimming pool and even a golf course, roads were created,

and 50 km of roads around fordlandia, were designed to promote car sales among workers in the future,

and electricity and lighting were installed through out the village,

puddles were dried to prevent the spread of malaria, and insects were eliminated with insecticide.

Fordlandia seemed to be one of the most successful ventures in the world.

Ford wanted to create an educated society based on American culture,

so he banned alcohol consumption,

and implemented the mandatory reading of American poetry.

in addition the only dance allowed was ballroom dancing,

the food served was limited to canned peaches, hamburgers and fries,

imposed the use of mandatory shoes,,

banning the comfortable flip-flops that they were used to wearing in the suffocating Amazon heat,

and additionally, imposed a work schedule equal to that of Detroit,

8 hours a day mandatory from 9 to 5

to work on the plantations,

just when the sun is at its peak,

without taking into account that experienced Brazilians, worked early before dawn

and once again when the sun was setting.

Hundreds of hectares were also upholstered with special trees to maximize rubber production.

Unfortunately, the tragedies were about to begin.

The fact of having destroyed the vegetation of the area caused that on rainy days the whole town was flooded,

in addition to the fact that on the roads the weeds did not stop growing

which prevented the correct movement of vehicles,

and removing the plants was a meaningless task, since they grew again with an enormous speed,

in spite of the fact that tons of insecticides were used, the bugs never stopped appearing,

spreading malaria and yellow fever among the workers,

whodied at a rate of two people per day

American workers were never able to adapt to the harsh Amazonic weather,

while Brazilians refused to adopt a foreign culture

incompatible with the environment.

To make matters worse, the newly planted plantations

were quickly infested by a plague of caterpillars and fungi

that killed all the rubber plants,

and although they were sown and fumigated again, they suffered the same fate.

Moreover, the conditions imposed to the native inhabitants,

such as the prohibition of alcoholic beverages,

the limitation of activities to be done

and strange food, filled their patience,

and in December 1930 they violently rose up against the American fordlandia managers,

in the so-called revolution of broken dishes,

where the situation escalated to such an extent that all the Americans

were forced to flee in a boat

and the Brazilian army had to intervene in fordlandia to regain control.

After the Second World War, Fordlandia was declared an official failure,

the plagues, the climate

and above all the invention of synthetic rubber

definitively buried the dream of renegade Henry Ford,

who had to leave the place without having obtained a single penny from there, and curiously,

without ever stepping foot on it.

In 1945, 17 years after starting the dream and having lost 20 million dollars

Henry Ford returned Fordlandia to the Brazilian government,

which bought it for 250,000 dollars.

The automobilegiant would die 2 years after this symbolic sale.

Brazil tried to create an agrarian society in the area for several years,

but after many failures ended up abandoning it completely.

Today Fordlandia is an almost ghost town, deteriorated and vandalized,

only inhabited by a handful of people abandoned to their fate.

What do you think about it?

What will be the fate of Fordlandia?

For Main Watchers I am Snootyaaron

We see you every thursday 20:00PM Mexico

in this channel, so don't forget to suscribe

and activate the bell so you can discover with us

the secrets of history

Until next time!

For more infomation >> El fiasco del siglo, Fordlandia |El megaproyecto internacional fracasado - Duration: 7:19.

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State battles over abortion policy anticipate a post-Roe world - Duration: 7:24.

JUDY WOODRUFF: But first: Proposed legislation in the Virginia House of Delegates has sparked

outrage among conservatives nationwide.

The bill, sponsored by a Democratic lawmaker, would loosen restrictions on third trimester

abortions.

And a warning: This story contains mature content that may be uncomfortable for some

to hear.

Lisa Desjardins reports.

KATHY TRAN (D), Virginia State Delegate: I'm changing the standard, yes.

LISA DESJARDINS: This one-minute exchange with Virginia Delegate Kathy Tran defending

her proposed legislation sparked a firestorm Wednesday.

TODD GILBERT (R), Virginia State Delegate: How late in the third trimester could a physician

perform an abortion if he indicated it would impair the mental health of the -- of the

woman?

KATHY TRAN: Or physical health.

TODD GILBERT: OK.

KATHY TRAN: OK.

TODD GILBERT: I'm talking about the mental health.

KATHY TRAN: So I mean, through the third trimester.

The third trimester goes all the way up to 40 weeks.

TODD GILBERT: OK, but to the end of the third trimester?

KATHY TRAN: Yes, I don't think we have a limit in the bill.

TODD GILBERT: Where it's obvious that a woman is about to give birth, would that still be

a point at which she could request an abortion if she was so certified?

KATHY TRAN: Mr. Chairman, that would be a -- you know, a decision that the doctor, the

physician and the woman...

(CROSSTALK)

TODD GILBERT: I understand that.

I'm asking if your bill allows that.

KATHY TRAN: My bill would allow that, yes.

LISA DESJARDINS: The bill has since been tabled.

But President Trump reacted to Tran's comments in an interview with The Daily Caller, asserting

Democrats want to "rip babies from wombs" and "It's terrible."

But in a radio interview, Virginia Governor Ralph Northam, a Democrat, refuted that, saying

this was for rare circumstances.

GOV.

RALPH NORTHAM (D), Virginia: When we talk about third trimester abortions -- and it's

done in cases where there may be severe deformities, there may be a fetus that's non-viable.

So in this particular example, if a mother's in labor, I can tell you exactly what would

happen.

The infant would be delivered.

The infant would be kept comfortable.

The infant would be resuscitated, if that's what the mother and the family desired.

And then a discussion would ensue between the physicians and the mother.

LISA DESJARDINS: National conservatives focused on his last two sentences about resuscitation,

and reaction was swift.

Senator Marco Rubio equated it to openly supporting legal infanticide.

All this underscores abortion battles pushed by both parties in dozens of states, including

New York, which just passed a law to ease abortion restrictions, including in the third

trimester.

Today, Governor Northam said he regretted that his comments had been -- quote -- "mischaracterized."

To pick up the conversation from there, I'm joined via Skype by Mary Ziegler.

She's a law professor at Florida State University and the author of several books on abortion

politics, including "After Roe: The Lost History of the Abortion Debate."

So, Mary, let's start with this moment right now and what we're seeing in those two states,

Democrat-led efforts to broaden out the category, the health of the woman who could be allowed

for a third trimester abortion.

Can you help us understand, how many abortions could that effect, in theory, and what are

these lawmakers trying to do?

MARY ZIEGLER, Florida State University College of Law: Well, the number of abortions affected,

especially by the expansion of late-term abortions, would be quite small.

So the vast majority of abortions in this country happen in the first trimester.

I think what legislators are trying to do, in many ways, is to prepare for a post-Roe

v. Wade landscape.

So it's widely expected that the Supreme Court is going to substantially scale back on abortion

rights, if not overturn Roe altogether.

And, prototypically, blue pro-choice states are making sure that policy in those states

is welcoming to women in a post-Roe world.

LISA DESJARDINS: Just to help some of our viewers, a reminder that, when we're talking

about the third trimester of pregnancy, we're talking 26 weeks into the pregnancy.

Can you take us through the science on this?

MARY ZIEGLER: Well, third trimester abortions are complicated.

I think the dispute is really about why they're often performed.

So abortion rights groups claim, for the most part, that when women have later-term abortions,

it's either in cases in which a child has a condition incompatible with life, or in

which a woman's own health will be substantially impacted if a pregnancy is carried to term.

Anti-abortion groups that are skeptical of this claim that many abortion providers would

be willing to perform procedures for really any reason at any point in pregnancy.

So, I think the science is disputed, but so, too, really are who is performing these procedures

on the ground and why.

And we don't have enough data on that to really answer it in a definitive way.

LISA DESJARDINS: As the left is trying to expand abortion rights in many of these states,

this comes after many years of the right trying to restrict abortion rights in many states.

And they also point to science.

They talk about, when is a fetus not just viable, but conscious?

When is it conscious of pain, for example?

Can you talk about the science on that end and what we know about human life and its

beginnings?

MARY ZIEGLER: Sure.

I think part of the challenge is that some of these questions are only partly scientific.

So there's not much disagreement, for example, about when from a genetic standpoint a human

life begins.

But what that means from a legal or philosophical standpoint remains pretty contested.

When it comes to fetal pain, it's a more straightforward question of when pain is possible, but there

the challenge is that pro-life groups and pro-choice groups don't necessarily trust

the same sources to answer the question.

So pro-choice groups, or abortion rights groups, have emphasized the American College of Obstetricians

and Gynecologists and medical authorities in the U.K. have found that fetal pain isn't

possible as early in pregnancy as many statutes would provide, in banning abortion at the

20th week.

And anti-abortion groups respond that those groups simply are putting political correctness

ahead of the truth and that many of them, in fact, are dominated by pro-choice obstetricians.

So it's difficult, I think, in many of these cases to find a common set of facts that everyone

in the abortion debate can agree on, much less what those facts should mean in terms

of the constitutionality or morality of abortion.

LISA DESJARDINS: So where does this moment fit in how you see the abortion debate?

Are we now in for kind of the next run of very heated, difficult battles over this?

Or where are we?

MARY ZIEGLER: In some ways, I think we're in a very unpredictable moment.

So it seems that most commentators, including me, think that the Supreme Court is going

to undermine abortion rights.

But what happens next, I think, is sort of a brave new world, because, for so long, the

fight on both sides has really been about preserving Roe or undoing Roe.

And so, if Roe is no longer the law, I think you are going to see a lot more unpredictability

in terms of whether states will ban abortion, what they will mean when they ban abortion.

Does that include, for example, IUDs?

Will blue states go further than we have seen before in protecting abortion, maybe in funding

abortion?

I think we don't know really what this future will hold, much beyond the probability that

the court will, in fact, transform abortion law and undo Roe.

LISA DESJARDINS: Mary Ziegler, Florida State University, thank you for joining us.

MARY ZIEGLER: Thank you for having me.

For more infomation >> State battles over abortion policy anticipate a post-Roe world - Duration: 7:24.

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Instant Pot - Fish curry/Meen kolambu/kuzhambu/நெய் மணக்கும் மீன் குழம்பு with English subtitles - Duration: 5:05.

Welcome to our channel!

Today we are going to see how to make Tasty Fish curry using Instant pot.

Let's see the ingredients.

I have taken 1 pound red snapper fish(sangara meen),small lemon sized tamarind along with tomato soaked in water.

One medium sized onion and tomatoes chopped finely along with few garlic pods.

Secret ingredient - Vandagam(if u don't have take spoon of mustard,urad dal,fenugreek seeds) and some curry leaves.

Let's turn on the Instant pot to saute mode.

Once Instant pot turns ON, add 3 to 4 spoons of sesame oil/cooking oil.

Once oil heated, add the vadagam(mustard,urad dal,fenugreek seeds) and curry leaves.

Once mustard splitters, add garlic and onion and saute till golden brown color.

Now add tomatoes and saute well. to quicken the process,add little salt to it.

Pour the tamarind and tomato by dissolving it from soaked water.

Add half cup of water.

Now lets add 1/4 tsp of turmeric powder,3 to 4 tsp of red chilli curry powder and salt as needed.

Lets allow the curry to boil.

Set the Instant pot to Yogurt mode.If keep pressing Yogurt button, the LED indicator turns to boil. Then close the lid and keep in venting mode.

Once boiling is done, Instant pot turns to Yogurt mode in LED display. Then open the lid.

Now fish curry as boiled.

Lets add Fresh fish to the curry.

Cancel the existing settings in Instant pot. Set it to Pressure cook mode and time to 4 minutes.

close the lid and make sure its in sealed position.

Now pressure cooking is done.Lets open the lid by venting out the pressure.

Fish curry as cooked well.

Now our tasty Fish curry is ready!!

Try out the recipe and enjoy with your family and friends!

Thanks for watching. Please subscribe!!!

For more infomation >> Instant Pot - Fish curry/Meen kolambu/kuzhambu/நெய் மணக்கும் மீன் குழம்பு with English subtitles - Duration: 5:05.

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من السيد پاتريك إلى سعيد العويران | دبلجة كظاك❗ [هدف بلجيكا あしたへフリーキック] - Duration: 3:21.

Hello guys & welcome to Modawana

the anime したへフリーキック

A former World Cup stars appeared in one of the episodes

no weirdness

it's a sporty animation

and a famous football player has appeared

I don't know whether he is a real person or a cartoon character?

did I pronounced the name correctly?

I heard the name in Japanese dubbing and it was..

didn't matter

the point that I want to reach is that

Alzuhraa Studio (Venus) named this player Saeed Alowiran!

let's assume that I made a mistake and the name wasn't Patrick

did anybody hear heard the name Said?

Sometimes (R) becomes (L)

Sorry, surname first, next the name

Saeed Alowiran

Captain, is this ..

Yes, he's Saeed Alowiran

he's Saeed Alowiran

hi Saeed

wasn't enough for Arabic dubbing dudes to Show us there bad works

like if we had a choice!

just sit and watch what's on TV

a deletion scenes

with these reactions

he'll play with us?

what do you think guys?

don't be afraid, he'll teach you some techniques

people's' reactions differ from one another, depending on the country

If we notice Japanese culture

their real reactions or the artificial that they made on animation

It can not

be simulated

as it's

we should do it with own reactions

definitely, scenario must be dubbed as it is

but when it comes to Japanese reactions

that we all know like anger

Or sadness, laughter

laying on ground

surprise in a comic way

we can't just simulated like this

In our way

what can we do about it?

now brother Patrick has become Saeed Alowiran!

Last but not least

I'd like to refer to 2 points

1. If the name wasn't Patrick, kindly, correct me

so I can make a note in description or a comment

anyway, it will not make any difference on the video

2. I know that Saeed scored a great goal against Belgium

In the 90's and those who are from my generation knows this very well

this is NOT Saeed Alowiran!

let's assume that I made a mistake and the name wasn't ..

For more infomation >> من السيد پاتريك إلى سعيد العويران | دبلجة كظاك❗ [هدف بلجيكا あしたへフリーキック] - Duration: 3:21.

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Mount Olympus: Matt Welbourn vs. Tyler Lucas - Titan Games 2019 (Highlight) - Duration: 4:10.

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Ripple XRP and Real World Utility Country, Guns, Stocks - Duration: 54:58.

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Acrylic painting techniques and tutorial with Lynn Jaanz | Colour In Your Life - Duration: 24:01.

G'day viewers, my name's Graeme Stevenson, and I'd like to invite you to come on a

journey of creativity and learning and adventure through the series Colour In Your Life.

There's an artist in every family throughout the world.

Lots of times there's an artist deep down inside all of us as well.

So grab your kids, your brothers, your sisters, your aunties, uncles,

and mums and dads and come and see how some of the best artists do what they do.

(Music Plays)

(Graeme) Okay folks, well we are in Melbourne for

this particular session, and the very talented lady, she calls herself an

abstract colourist. And also, also one of Australia's

leading singing coaches from the Jaanz International Singing

Academy down here in Melbourne, and we're also part of your gallery, which

is the York Street Gallery, so we're very privileged to be here.

Lynn Jaanz, welcome to the show. (Lynn) Thank you, Graeme. (Graeme) Great to be here. Now

Lynn and her darling husband David, have been singing coaches for

some years now, and actually brought some of the most famous Australian singers

to literally the premier of their careers haven't you? It's been quite amazing. I mean Delta Goodrem

for a start, who literally has gone overseas to go on to fantastic accolades.

But your journey as far as an artist is concerned

really came about because of an illness many years ago.

(Lynn) Very much so, yes. (Graeme) and is sort of developed with your, your spiritual

relationship, your relationship with God, (Lynn) That's right. (Graeme) has brought you literally to a place now

where you, I think you paint your destiny in these stories

that you have within your work. Tell me a little bit about when you first

started this? I mean you literally ended up almost dying didn't you? (Lynn) I ah,

I've had, you know of one, but I've had two or three

near death experiences, (Graeme) Aha. (Lynn) but the one

that I had seven years ago was, yeah, I thought

that was it. (Graeme) Aha. (Lynn) I was leaving this earth. Many years ago

I was a chronic sufferer, I was in and out of

hospital having operations every eight months,

on Lyrica, on every medication you could think of. I had a

walking stick. I was told I couldn't have kids. I'm trying to jam it all.

A doctor in Caulfield said that

I would eventually be in a wheelchair by the time I'm forty.

Do I tell my age? (Graeme) Yeah, well she doesn't look her age I

can assure you of that, it's pretty amazing so. (Lynn) And he

suggested that I use art as a form of my healing. (Graeme) Yeah.

(Lynn) And it has been amazing because

that lead me to something higher. (Graeme) Yeah. (Lynn) I'm

a great believer in Jesus. I've got a relationship with him now

and I think my inspiration comes from that.

(Graeme) So you would call yourself an abstract, impressionist,

colourist, (Lynn) That's it. Impressionist, (Graeme) would that be the best way to put it. (Lynn) abstract, colourist. (Graeme) yeah. (Lynn) Lovely.

(Graeme) Fantastic so, well you're going to do a small piece for us today and

we're going to talk a little bit more about your journey and the amazing

things that you do for the very talented people right across this country. And you

and David are you know, the pinnacles, the King and the Queen of

teaching these young people how to change their lives for the better under any circumstances. And you

are such an optimist, which is one of the most wonderful parts about you. Is that you inject

that into other people, and then they go on to create amazing things for themselves.

I'm going to step out of shot right now, and I'm going to let you start what you're doing, and then I'm going to

bombard you with some questions as we go along. Fascinating human being, I mean you've been through

a great deal in her life, to come to a place where she changes other peoples lives

for the better, and part of that is her art as well. So I'm out of here and lets

see what you can do.

(Graeme) Okay Lynn, well you really paint

from a great deal of feeling and spiritualism. And you

describe that there's a place you go to called your secret place,(Lynn) Lovely place. (Graeme) which

yeah, (Lynn) We should all go there. (Graeme) yeah, absolutely, I agree. But it enables you

to produce the pieces you have over the years as well. And obviously you've got

fans in Milan, and Rome, and Singapore, and New York, and you're selling

internationally right across the world. How do you actually start one of these pieces?

(Lynn) It's almost like you have to clear your mind,

singing our techniques, emotion centred singing,

so therefore, I can't seperate that from

painting. An artist is an artist, so whether you sing

or whether you paint, to me they're actually the same.

So you find that spot and be still

and let the paintbrush do its work. I

for today I'm going to start off with a purple,

and just put a little bit in there.

(Graeme) So you were originally born in Egypt, as well. (Lynn) That's correct.

Greek origin. (Graeme) So from your family background is

Greek is that correct? (Lynn) Yes, I was born in Alexandria, (Graeme) Okay.

(Lynn) and yeah, came out here in 1957 which gives

away my age, so you'll have to work it out. (Graeme) You

were one. (Lynn) I was six months old, and (Graeme) There you go. (Lynn) this is crazy,

but I actually stopped breathing on the boat as well

which is all in my book. (Graeme) Yeah, your book is, A Journey from

Heaven to Healing. (Lynn) Yeah. (Graeme) I suppose you could say it's a really

inspirational tale of you know, how you as a young

woman were so sick, and then found the spiritualism that you

have these days in conjunction with that art, and now it's all

come together and developed into the woman that you are now. And obviously

with what you've been through, I can see that you do give a lot back to society as well with

helping these young people develop their own skills which I think's wonderful.

(Lynn) It's very important to give back to society, because

my near death experience, I know that I'm here for a greater purpose

(Graeme) Aha. (Lynn) and I live each day very grateful that I'm alive.

(Graeme) You know, you're obviously very influenced by your spiritualism

and your beliefs, (Lynn) Yes. (Graeme) and I would tend to think that would

be part of the creative path as well. But I mean your

works incredibly vivid. I mean it's, it's

complex as well. I mean it's very simple in its form, but it's very complex in

you put a lot of these together. The colour range is just amazing with what you do.

You've got a piece called Alpha, obviously the top, or the

number one. And then another piece called Birds,

which is just beautiful too. But I mean these all come about with the

techniques that you're using right now. (Lynn) Yes. (Graeme) You just sit down and you start to evolve it

and then (Lynn) Yeah. (Graeme) the picture talks to you in the end. So tell me more about

the singing coaching as well, because you and Dave really are

incredibly well recognised in this country for bringing young people

to X Factor, and The Voice, and obviously working with

Delta and... (Lynn) We consider this as a lovely little

family. Yeah, and I enjoy, enjoy teaching, I teach on the Gold

Coast, I'm the master coach there. But I love also

doing my art in my spare time, and obviously I've been a

professional artist for over twenty years, exhibited all around the world, and

very blessed that I've had these opportunities that have come my way.

(Graeme) Absolutely, your works dynamic to say the least.

You've got another piece called Burning Bush, which I think probably

has a relationship to Moses, from what I can imagine

so, but... (Lynn) That's a little bit like when I had my encounter,

(Graeme) Yeah. (Lynn) I came back and everyone said wow Lynn, you look younger.

I said yeah, I had an encounter with a burning bush.

(Graeme) Well there's another piece that you've got called Dividing Line, and that's got a

number of crucifixes in it as well. (Lynn) Yes, three. (Graeme) And funnily enough you've actually got

the shape of the Nautilus shell, or the spiral in

there which is the Golden Mean, (Lynn) Yeah, that's interesting. (Graeme) a natural part of nature

as well. Well part of the beauty about working with your husband

and all these talented people is you've got your gallery, and your studio

and all of these great

talented singers and musicians as well in the one location. But it's

sort of like a labyrinth, it's like a rabbit warren, there are rooms

everywhere where people are - they're all soundproof - where people are playing

the piano and they're learning how to sing. It's amazing.

(Lynn) It's as soundproof as you can make it, but it's interesting when you

hear when its all going together, it's music there, music there. (Graeme) And art

somewhere else. (Lynn) Art, I mean there's middle room painting

and enjoying it. (Graeme) The whole of the top floor is a gallery as well, where you've got

all your beautiful paintings, and people come in here and they

paint. (Lynn) Well how it eventuated Graeme was that I was getting

people from China, and other people that wanted to view

my work. And you know when you

exhibited at other places you're only given a week or two, and then

felt was

taken to my studio.

So I thought well I've got the space, why not

start an art gallery. And so It's been amazing,

cause now I can also have the opportunity of sometimes allowing

others to come and exhibit. Obviously it's mainly my

work. And yeah, so now I have a space

and my curator, she just sets up appointments and

so I've had a few people from China, and that who have come to

view my work. And also, it's been good for those that

actually can't come on the day for the exhibition and they want a

private viewing. Some people don't want a lot of people around,

especially in the industry, and I've had a lot of industry people come through,

and they are well known, and they don't want people in their faces so.

They want to look at my work and then you know, purchase there's a few

people that do have my work that are in the industry, yeah. (Graeme) But you

also work in watercolours as well. (Lynn) Yeah, I've worked in all mediums.

(Graeme) Yeah. (Lynn) I've found the oils were... yeah, it takes twelve months for

the oils to dry properly, and it can be

harmful with breathing sometimes. And so

I yeah, I'll use them if I have to and I'll be honest

oils is a great medium to work with, but I've

established a technique with the, with the acrylics, and I find

they're easier to work with, dry quicker, and then

because I, because I exhibit regularly I need my work to dry

you know, and I can't afford to wait twelve months for that to happen.

And a lot of my, the students actually can paint

themselves, they're actually artists. So if you can sing you can paint. It's because

it comes from that special spot that I talked about. Our technique

is emotion centred singing, so therefore when

you're painting as well, you've got to be just allow this brush to do

its work, and enjoy it while you're doing it.

You know, every piece that I've personally done I believe

they're quite different. I have started now doing limited

editions of my work. I have started only doing one to

thirty. I know down the track if I get into other galleries

and things like that I might, it might be one

to a hundred. But at the moment there's only two pieces that I'm

selling now which is Flight of Utopia and also, Into the Light,

so they can purchase that. (Graeme) And you've got

a piece here called Isaiah, which is a really powerful, striking

painting. What's the story behind that? (Lynn) Well I used to teach

Isaiah. Isaiah started with me here in this very studio, (Graeme) Yeah.

(Lynn) and I was very inspired by his background.

Graeme, he's aboriginal which you'll know, and

his father started telling me about his stories, and being managed by

Christine at the moment. And this young

boy was singing, he started singing off in church, so a lot of

also, what we teach is our emotion centred technique

is based, is gospel based. Like all the great singers of the world, Elvis

Presley, Whitney Huston, you name them, all started from the church, if

you all realise that. And he got

a prophesy or that he would become a

quite well known one day, and that God was going to use his voice.

So as I was meditating on what he shared with me,

that came out, and yeah, so

it's inspired by Isaiah. It has been exhibited

overseas as well. And

I bought it back because again, sometimes I exhibit and I don't

actually sell them, I just exhibit them, and Miami and a few other

places around the world. I've exhibited in Nix Gallery,

Rosen Gene Bro as well, and

there are some other opportunities that are coming up in Singapore and around the world.

But obviously Australia's my home, so I like to think that

York Street Gallery can be available to the world, and they can come and visit us.

(Graeme) Of course, they get singing lessons at the same time. (Lynn) Yeah, oh yes, definitely.

You don't have to be a singer to learn to sing by the way.

(Graeme) And I can see with most of this piece that you've been using an angle brush

to do what you do. (Lynn) I enjoy using the angle brush because you can do

you can paint in different ways, in different styles like

that way or that way. I've always used a very

fine brush, so that's why my paintings can take quite a while.

I have to walk away from them. So everything you see in the gallery

believe it or not is just with this, yeah.

Sometimes I might use a fan

one which we might use today, and

depending on what I'm feeling. (Graeme) As you were saying before, it's very difficult for

somebody that paints very much from within,

and you sort of get lost in the moment, to being stuck in front of a

camera trying to convey to people what you're actually doing.

(Lynn) Trying to listen to you too Graeme, it's interesting. (Graeme) Sorry about that. (Lynn) That's

okay. You're wonderful. (Graeme) My voice even annoys a lot of the public out there

too. (Lynn) No, I'm feeling very relaxed so I'm able to paint

in my secret place. (Graeme) And you've also got another piece here called, Epic Flight.

Now in a lot of your pictures you actually have the

meaning associated with the work as well. (Lynn) Yeah. (Graeme) In all of the

triumphs and of life it is still an epic flight.

We run the race with endurance full of hope and expectation.

(Lynn) Yeah. (Graeme) There's a lot of meaning in everything you do which is wonderful. (Lynn) I also

do it so, well everyone has statements to their work, and it gives

the viewer an understanding where the artist is coming from, and what

her means. I mean a lot of my work is always,

always related back to the human condition. We're all searching for meaning

in life so, whether we know it or not, and

those that know about my book, which I think Graeme will explain that you

can buy it online. I had an encounter with heaven,

and when I came back from that encounter I looked at life

so differently to what it is now - colour, people,

personalities. What am I here for? What am I doing? A lot of

people are wandering around and they actually don't know their purpose; they don't know

what they're here for. So we all need a

saviour. We all need to tap into another realm,

whether we believe it or not, cause there's more to life than just this.

(Graeme) Well in saying all of that I think the people

should really have a look at your book as well. It's been very influential

for a number of people that have read it. And they can go into your website at Lynn Jaanz art

gallery dot com. And you can go in there and see Lynn's gallery,

her exhibitions, just the amazing story about this lady and

what she has done with art and music over a

number of decades; its pretty incredible. So go in and have a look at what she's got

in there. Okay, well I just saw you pick up a fan brush. (Lynn) Love my

fan brush. (Graeme) You love your fan brushes do you? (Lynn) Yes. (Graeme) I can see a few fans in your work. (Lynn) Yes.

(Graeme) What are we going to do with that? (Lynn) Well it's interesting with a fan

brush so you can put all different colours, so you can see I got a very

messy palette here, but then that's the way I paint.

And I just use my brush to

(Graeme) That's pretty dynamic, yeah. (Lynn) start doing... and it

may not stay like that. I may go over it again

depending on what I'm feeling. (Graeme) Alright

Lynn, because this comes from within, very deep from within your secret place,

we're going to leave you alone for a little while, and then let

the camera's capture the movement of that brush and your expression and

see how this thing develops as we go along. (Lynn) That's awesome, I love that. Thank you so much.

Thank you.

(Lynn) So what's actually happened with my painting now I can, I'm feeling

each time you, each time Graeme throws a

question at me, my emotions change, so the colours going to change.

That's what paintings all about, like abstract, you just kind of

it's emotions centred, so you tend to go with what's ever

happening in your life at the time. (Graeme) Sure, sure. Yes,

it comes very much from the heart, (Lynn) Yep. (Graeme) that's the best way to describe

it. (Lynn) Yeah. (Graeme) You know, you've got a very powerful piece

as well called John 3:16.

(Lynn) Yes. (Graeme) He gave his only begotten son. (Lynn) Wow, Graeme, you

know that piece, yeah. (Graeme) A very powerful piece. (Lynn) Yeah, Well that actually won a

award and was exhibited Chapel on Chapel.

(Graeme) You've got another couple of pieces here. I'll just bring them up as well, because

the place that you are with this painting, I mean they're sort of starting to take on a similar

aspect. (Lynn) Yes. (Graeme) But you've got one called Purity,

which is just great. I mean they really are dynamic pieces. And then there's

also the piece Remnant. Remnant is man's search

for meaning and inner space. A really dynamic looking piece of work.

Well some of the ones that you've got in the gallery are you know, eight foot by

six foot. (Lynn) Yeah. (Graeme) They're quite large pieces so. (Lynn) Some of pieces

you're going up the stairs and some people - it's really funny

some students go up the stairs, and we had an exhibition

and they said we never saw that piece. It just shows you

that you know, people are on a, on a mission

and they don't stop to look. And as I was saying to Graeme

before, do we stop and look at the sky? Do we stop and look at the trees?

Do we stop to look at the colour? Do we stop and maybe observe a

person? Or do we stop and, so sometimes my philosophy

is that I want to... A very well known preacher,

always said, you need to remove yourself out of the

centre. When you remove yourself out of the centre,

then you react differently to other people. Cause a lot of people just suffer

a lot of deep root of rejection, and we live our life rejection, rejection,

someone's hurt me, someone's hurt me, and they don't realise that maybe that

could be us. So when we remove that piece of rejection out of

our heart, and remove ourselves then we're empty

in a way that we can respond to people in a better way. (Graeme) Sure. (Lynn) Yeah.

(Graeme) That makes a lot of sense. And as I said, I mean your work amazes

me. But there's one called the Mysterious Tangle.

It's a tangle and it's mysterious. (Lynn) This is a bit of a mysterious tangle too.

This piece is becoming a very mysterious tangle.

I'm just trying to figure out, yes. (Graeme) It's the idea. I mean part of

Colour In Your Life is going through the individual journey of each artist.

(Lynn) Yeah. (Graeme) You know, it's sort of what brought you to where you where.

(Lynn) And so I've learn't from you know, my upbringing that

really at the end of the day, we're not living for ourselves. We

just need to know that we're here for a bigger purpose, and we need

to go out there and find, find out what it is.

I'm blessed to be able to paint, and sing, and teach, and

I love my job. It's not a job - I enjoy it. (Graeme) Yeah.

(Graeme) Absolutely. (Lynn) So I probably won't get this finished today.

I want to take it home and give myself some time

and just see what needs to be finished cause

Graeme, you've been talking to me. (Graeme) Sorry about that. (Lynn) I think I've got all my

emotions in this painting. So yeah, I'd

love to do that. (Graeme) Okay, that's a great idea. But because of the beauty of

editing, you can see the finished piece now. It's really, really

well done, (Lynn) Thank you, Graeme. (Lynn) and I think that you have your emotions and your intentions well

and truly in the right place for the rest of the world. (Lynn) Thank you, Graeme, and you too. (Graeme) So thanks so much for having us in

here.

(Graeme) Alright folks, from the York Street Gallery in Melbourne, and the Jaanz

International Singing Academy as well, we had a great day here.

Beautiful facilities and so well set up for art, and obviously teaching these amazing

young talented people in Australia. Lynn, fantastic. (Lynn) Fantastic

(Graeme) Thank you for a great day, (Lynn) Thank you so much. (Graeme) we really had a lovely time with you. (Lynn) Thank you. (Graeme) Very, very

spiritual lady, very well meaning towards life and everybody else around her. It was

a real, real pleasure to have you here. (Lynn) Thank you, Graeme. (Graeme) Also, Lynn's

book, A Journey from Heaven to Healing. If you'd like to go

into Lynn's website, it's Lynn Jaanz art gallery

dot com, you'll be able to go in there and see the book. It's actually a beautiful book,

really well written as well. So pop in there, and then go and see some of Lynn's work,

it's really quite amazing. Very, very talented woman, abstract colourist.

(Lynn) Impressionist, abstract. (Graeme) Impressionist as well? Okay. (Lynn) Yes,

(Graeme) Okay, we can do that. (Lynn) very much so. (Graeme) But we're down in Melbourne for another week.

A great place to be; we love the people down here as well. Come and see us at colour in your life

dot com dot au, and our Facebook page, and subscribe on our YouTube site

as well. We've got hundreds of thousands of people in there these days. It's amazing. But

we're going to head out of here, and until we see you guys again - remember: make sure you put some singing

and some colour in your life. We'll see you next time. Bye now guys. (Lynn) Bye. (Graeme) Bye.

Bye.

For more infomation >> Acrylic painting techniques and tutorial with Lynn Jaanz | Colour In Your Life - Duration: 24:01.

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Imagine Dragons - Bad Liar (chords & lyrics) cover guitar - Duration: 1:52.

Imagine Dragons

Bad Liar