Starring Madeleine Carroll as Amelia Earhart on the Cavalcade of America sponsored by Dupont, maker of better things for better living through chemistry. As these words are spoken, 2,200 women are now piloting civil air patrol planes. Others are ferrying bombers to distant places. Thousands of American women are pouring through the gates of factories, shipyards, and airplane plants after a hard day's work. Today we know that there is hardly a job that a woman cannot do. And if there is one woman who proved that fact once and forever, it is America's greatest woman flyer whose thrilling story we tell this evening. For her courage, her skill, and her persistent efforts to prove woman's place in aviation, Cavalcade salutes Amelia Earhart. You want to know about Earhart? I know plenty about Earhart. Mister, that's one lady you can't think about too long. She'd break your heart. Well, you come to the right guy, or guys, I should say, because I'm speaking for all the mechanics. Call me Johnny. I'm the man who cleaned the spark plugs in her plane before she took off the first time. I'm the man who checked the wires on her ship time after time. I'm the guy who fixed a propeller on that big job she took into the Pacific when she never came back. Behind the guy she walked over to that day in 1922 when I was standing next to a plane, wondering why I wouldn't run. Having trouble? Yeah, all the time I'm having trouble. Mind if I watch? Nope. Pretty engine, isn't it? Mind if I ask you what you're doing in this hangar? Nothing, just, uh, well I come here from the office now and then, watch the planes take off and land. Doesn't it bore you? It boars me something terrific.  What are you? Nobody. Just trying to get up in the air. You got me money? Little. You knew anybody would take up a passenger? Do I know any sister, the pilot, and this feeler starving to death. Come on. Hey, here's Frank. Wait a minute. Hey, Frank, come over here, will you? Yeah, what's up? Well, I just wondered if I could buy a ride. Oh, sure. The motor's still warm. Come on, right this way. Is this the plane? This one? It looks so little, doesn't it? Big enough to fly. Scared? Oh, no, I just meant that, well, they look so sturdy from the ground when they're flying over you. Oh, when you get close, you see the skin and bones, right? Well, get in. Say, do I climb on the wing? Yeah, on your toes. Uh-huh. Don't put your heel through the fabric there. Right. That's it easy now. All right, move over now. I'll sit right next to you. It feels so alone in here. What's under this floor? I mean, what's holding it? Uh, just goodwill, I guess. Give her a spin, Johnny. Your shakes you up, doesn't it? Hold on. Going into the wind. Look over the side. The ground is rushing under us, but I can't see the wheels. Are we off the ground? Now we are. Pick your clouds. Smells like rain. You like it, huh? To live up here. Why not? Here, take hold of the stick. You still with it? Just pull it back and see. Take it easy. Just push it forward now and the nose will go down. Let me fly it. Oh, it's got to go down now. It'll cost you too much money staying up any longer. What would it cost to learn? Five hundred to a thousand. Wow. Got that much money? There's old planes. They laugh when they take them. They were really something. Every time a plane went over, the kids used to yell their heads off with excitement. That was about the time they put four-wheel brakes on Buick's. That's when Earhart was working in an office, saving her money.  When she was broke again, she'd just come nights and sit around a hanger shooting a bull with the boys. What's up? Come here, but don't make any noise. What are you looking at? Look there under the wing. Something wrong with the wings? No. See that fly? You're starting that again. Yeah, I see the fly. Last week, it was cats landing on their feet. Now it's flies again. I'll brush him away, and when he comes back, you see how he makes that upside-down landing. See if I'm not right. Okay, okay. There he goes. Now don't move. He's coming back. He's going to land on the bottom of the wing. You haven't got that fly trained, have you? He did it. He barrel-rolled. He didn't barrel at all. He nosed himself up, then laid over backwards. I saw... Crazy arguments like that till midnight. She talked herself to sleep. Just planes, planes, planes. So her eyes changed in those months. Being around planes seemed to make her breathless. Beautiful. She wanted to grab the world by the tail and swing it over her shoulder. She could swing her, I couldn't. With both fists. I came all the way here to tell you this, and now you won't listen. Miss Earhart, I own this airline. I'm in business. There is one idea my passengers must never get. That air travel is unsafe. All a passenger would need is to see a woman in the pilot's seat and he'd faint first and then come to me for his refund. In other words, a woman is undependable, scatterbrained, a congenital nitwit. No, not at all. Just say that as far as piloting goes, a woman is a congenital woman, that's all. But I'm a good pilot. I beat the altitude record. I'm competent. Ask anybody who's flown with me.  What are you telling me? To go home and scrub pots? Isn't it time to unlock the kitchen and let women out into the free air? Young lady, you can have all the air you want, except in my planes. Listen, mister, I can fly a plane as well as any man. I intend to work in the sky and nowhere else.  Flying simply isn't a woman's business. It's just like shipbuilding or riveting or fighting wars. They just aren't for women. And who says that? Well, look around you. Look at the world. Yes, indeed. Look at the world. And think. Try and imagine how much richer it would be now if half its population, if all its women were freed to do their part of the world's work. The world has been walking on one foot, working with one hand when it has two, blinding one of its eyes, stifling half its brain, yes, and flying with only one of its wings. Do look at the world, Mr. Brown, and hold your breath, because it's changing right now. Well, Earhart went around saying that to a lot of people. She didn't get nowhere. He had to take another office job. To me, that's like caging a bird. I can see her looking out of that office wind at the weather. Earhart was a cloud sailor. She lived in weather and changed the wind. Her hair was cut for flying. Her eyes was pure. They were made for sharp sight, for gauging distances. She must have gone nuts in that office, especially on that clear November day. It was about five o'clock. Got to lock the office, Amelia, coming. Hey, Amelia. What? Oh, oh, sure. I was just getting ready. Hey, you're getting to look like a walking fog. Why can't you forget flying? That's not easy, Vera. It's as though I told you to start walking with a limb to forget you can run and roll it over a chair. Well, what's there about a plane that gets you that way? You know, I knew a boy once in Riviera Beach. He was the same way about flying. What is a duty anyway? It's just the idea of flight, that's all. Do all pilots get this way about it, or are you just plain romantic? Well, I never met a pilot who would admit it, but there's one thing about flying that really gets them. What's that? It's hard to describe, Vera. Flying isn't only exciting. It's beautiful. You don't know what the world looks like until you've seen it from up there. It's a wonderful sight. You feel transparent when you're up there, as though clouds are passing through you. You don't know what a feeling it is just after dawn, when the air is so clean and the propeller bites into it. You don't know what it is to open your mouth in the sky and devour distance. Distance has a taste, Vera. It has a feel, a texture that the Earth destroys with its ruts and roads. I'll take it. Hello? Yes, this is Miss Amelia Earhart. You say my name was given to you by George Putnam? What's that? Me fly across the Atlantic alone? Yes, I know. No woman's ever done it. What do I say? I say yes. Yes, sir. I'd like to very much. You are listening to Madeline Carroll as Amelia Earhart on the Cavalcade of America sponsored by the DuPont Company. As our play continues, Amelia Earhart is nearing the end of her solo flight across the Atlantic. Can you tell me where I am? I can. You're in Derry, sir. In Derry? Oh, London Derry. Yes, sir. I haven't helped you. It is a woman. Whose house is that over there? It belongs to the Galleers. I wonder if I could stop there. Have you come far? I've come from America. Well, it made a change. I don't have to tell you that that trip made her famous. So famous, in fact, that a cop stopped her for speeding a couple of weeks later, and he wouldn't let her go to the league. Took her home with him, met his wife, and had some milk and chocolate cake with him. You try that sometime with a motorcycle cop. Man, a couple of years went by, and then a day came that I'll never forget. Looking over a nick and the propeller of a new plane, she come over to me. I looked at her and felt something terrific was up. There's a big dancing going on in her eyes. How's it going, Johnny? Think we need a new prop? Nah, she'll do fine. She's a beautiful plane. You know that, Erard. She sings. That's the only word for it. I take her off the ground, and she just starts making music. When I up there in this plane, I feel like the wings are growing out of my back. All I have to do is lean, and she banks. I raise my head and she climbs. Hey, hey, you're excited about something, aren't you?  I'm going to be married, Johnny. You? Isn't that funny? I never thought of you as anybody's wife. I mean, I always think of you up in the air. You don't seem very happy about the news. Yeah, I'm happy in. Just wondering. What? Tell me, Johnny. I want to know what you think. Well, just whether a woman can go flying all over the place and still be somebody's wife. I mean, make both things last. You don't think it can work, do you? I don't know. Can it? It's got to.  It's got to work because it must be true that a woman can live out her personal dreams and still be a wife. I mean, women must have a right to lead the way once in a while to search for new things instead of sitting home waiting for men to do the work of the world. Isn't that true? Well, I hope you go on flying because I'd hate to see this plane put away in my thoughts. What would you say if I told you I was going to take this plane around the world? Earhart, you're going to fly around the whole world? As soon as I can get ready. What do you say to that? What do I say? I say, wow. Put the map in your hand, Miss Earhart. That's it. Thanks. That's good. How many years do you think it'll take, Miss Earhart? Oh, I don't know. I've got a rubber boat along. How much food do you take? Enough, I hope. Tell me, Miss Earhart, are you doing this just for a lark? No, I'm not doing it just for a lark. Well, what are you trying to prove? I'll tell you what I'm trying to prove. Miss Earhart. Yes, what is it? Well, you're coming to the office for a second, please. It's very important. I'll be right there. Excuse me, please. Miss Earhart, I've got some bad news for you. Bad news? What's the matter? The other backers and I have come to the conclusion that we've made a mistake. Mistake? I don't follow you. What do you mean? Simply this. We've given this very careful thought and consideration and we feel we must withdraw our support as sponsors of your flight. Withdraw? But why? Well, frankly, Miss Earhart, when we got behind this thing, we thought we were all going to benefit. But apparently, we made a serious mistake. Every newspaper in the country is criticizing us. We feel it advisable to withdraw. I see. I'm sorry. I know this comes at the 11th hour when everything is ready. And I know it's embarrassing to you, but all I can say is you must abandon this flight, Miss Earhart. And, of course, we'll assume all the expenses that have been incurred to date. I'm sorry you had to make such a decision. But I don't agree. This flight will not be abandoned. I shall assume full responsibility myself. And, gentlemen, I'll be ready to take off in an hour. That was Earhart for you. She went ahead with the flight. Then came that day in New Guinea. Lied in the name of the town. We're fighting the chaps there now. On July 2nd, a nice peaceful spot. Hot, though. All you could see on that runaway in 1937 was cameras and newspaper men. Do you remember the photographs? I'm the guy in the overhauls with his head in the engine. Earhart was about to take off on the last leg of the round-the-world trip. You remember? She'd already passed Brazil, Africa, Arabia, India, Australia. Now she was shooting for California. Newsmen started to move away from the plane. I stuck my head into the cabin. Everything okay, Earhart? You all set? Be a good boy now, Johnny. And remember me to your monkey wrenches. Okay. I'll see you when you come down.  Is that a nice thing to say? Just don't bank on anything. I figure my chances are ten to one. I didn't hear a word you said, Earhart. Well, take the air, lady. The world is yours. Bye, Johnny. Bless you, Earhart. That's the last any of us ever saw of Amelia, Earhart. You know I wonder sometimes when I'm alone at night what she must have done out there. I hear a voice. I'm on the other side of that ship, so clear. Is it, Bill? Five o'clock, Earhart. When does the sun come up out here? I can't see a thing. Sun's up half an hour. Well, when is the night going to end? Is there any clearing anywhere? Black. Black all around. What's that down there?  Oh, I didn't know we were so close to the water. The altimeter shot. Very. Maybe he can get an idea of where we are. And rather let him sleep, Earhart. No, Bill. Wake him. Don't talk like that. We're through, Earhart. We've got gas for five minutes flying. I'm lost. The wind is so strong I can see it. Look down, Bill. Look into the sea. There must be an island somewhere in the sea.  Look down, Bill. The port motor's dying. Bill, look down. Find something down there. There go the engines. They're going down. I'll try and stretch her out. A long glide. I'll make it long. Maybe we'll hit a reef. Oh, heaven. At least it's quiet now. Bill, you don't regret it, do you? Get the rubber boat launched as soon as we touch the waves. I'll try and get her in without turning over. Listen to the waves. It's raining into the sea. Thank you, Madeleine Carroll. Ladies and gentlemen, in a few moments, Miss Carroll will return to the microphone to present our guest of the evening. Meanwhile, we have a story of chemistry from the DuPont Company. Upon the speed, accuracy, and continued performance of machines of all types, depends the nation's war production. So you see why machine operators are mighty important in this war. But in many an industrial plant, a well-designed lighting system is robbed of complete efficiency by dingy ceilings, walls, floors, and machinery. In other plants where surfaces are properly painted so as to reflect light, quite a bit is still lost, blotted up by dark floors. Operators at the machines don't see as well as they might. The result is more accidents, something to be prevented at all times, and there's an enormous waste of electricity when conservation of manpower, materials, and electricity are more important than ever in our history. Two years ago, illuminating engineers and DuPont paint technicians began intensive studies of this factory lighting problem. One result of their studies is three-dimensional ceiling. Introduced by DuPont, three-dimensional ceiling is a way of spotlighting machinery with especially chosen paints, light in color and high in reflecting power. DuPont's new technique of painting machinery and colors so that workmen have full vision without eye strain is rapidly being adopted throughout industry. Some manufacturers report production increases running to as much as 15%. Along with greater operating efficiency, there is less fatigue for workers, and there are correspondingly fewer accidents. Now, these three-dimensional ceiling studies have been applied to working surroundings as well as to machinery. A ray of light isn't allowed to stop work, as you might say, just because it strikes a flat surface. Instead of being absorbed by a dark surface, it is reflected by a light one, getting the last bit of value out of every bit of light.  The workers see their work better without glare, without strain. Practical application of three-dimensional ceiling production plants proves beyond question that it is often possible to get as much as 100% more usable light for each watt of electrical energy. So we can report to you tonight that this DuPont development, which has already improved production, working conditions and morale, and decreased the number of injuries, has now reached the point where it offers industry still another benefit, getting the last bit of value out of every ray of light and every penny's worth of electric current. We invite inquiries for complete information from engineers and manufacturers. Three-dimensional ceiling deserves a noteworthy place among the contributions of DuPont chemists and engineers to better things for better living through chemistry. And now our star, Miss Madeleine Carroll. Mr. Carrier, tonight I would like to present our guest, Mrs. D.A. McNeil of Ellington Field, Texas, the first woman aircrew chief in the world. Women like Mrs. McNeil are working day and night in flying fields stationed all over America. Upon their skill and accuracy of judgment, the safety of our planes and the lives of those who fly them depend on them. These are the women who keep the planes in the air. This is D.A. McNeil. Down at Ellington Field, they call me the Captain Cherokee, because I make my living selling Burma cattle on my ranch outside of Houston when the war came. When I first entered service at Ellington Field, I was a little skeptical about women mechanics. It was not considered a woman's work. That attitude has changed. We were there to do a job. Upon our work rested the responsibility of human lives. The moment a plane is grounded, it is met by an inspector and checked from nose to rudder. Then it is sent to the hangers where the necessary pairs are made by women before it is ready for the air again. That responsibility is ours and we take it seriously. The first time we stand on the field and see a plane take off, we must know that there is no mistake. We must be sure that everything from hydraulic pressure to the smallest boat is right, because I am interfering with planes. They are depending on us. I have a husband and armed forces and a little girl two years old. When a plane goes out, every woman who has worked on that plane must think of these things as I do and of what depends upon her work. I have to wear wings on my lapel. I am working for that. But until then, I am proud to do the groundwork that keeps our men in the air. As a pioneer, a media airhawk first saw women's place in aviation. There are many branches in the field open to women today.  Go to your post office. Secure the information regarding women needed in various branches of this one great service. Women are needed in machine shops as laid workers and workers on delicate precision instruments. We women can keep our men in our planes flying by doing the groundwork. Thank you. Good night. Ladies and gentlemen, next week, Cavalcade will be proud to honor the men of our merchant marine in a new radio play called Torpedo Lane, a story based on the actual experiences of the heroic men who carry the goods over the seven seas fighting submarines beneath and bombers overhead. Our star will be the popular stage and screen star, Dean Jagger. Don't forget next week, Dean Jagger in a merchant marine play entitled Torpedo Lane on the Cavalcade of America. On tonight's program, the orchestra and musical score were under the direction of Don Borey. The part of Johnny was played by Frank Reddick. Cavalcade wishes to thank George Palmer Putnam for material made available in his soaring wings. This is Clayton Collier, sending best wishes from DuPont. This program came to you from New York. This is the National Broadcasting Company.


Hi everyone. Welcome to our TechSoup 30. How to plan your first non-profit event? This is the first in a series of non-profit event webinars that will hold over the next few weeks. My name is Susan Hope Bard and I'm going to be your host for today's event. You are in our learning management system in TechSoup courses inside of our TechSoup 30. So our TechSoup 30s are a series of webinars 30-minute quick events. You can watch them at your leisure at any time. So you can just go to the month and the week and the topic and you can watch the recording, access all of the resources that we have available for you. Sometimes there's a downloadable PowerPoint or resources where you can further your learning on that particular topic. I will be adding some resources and chatting those out today during Ali's webinar about the first how to really host and build your first non-profit event. So Ali, I am ready to turn it over to you. You ready? Alright. Hi everyone. Thanks Susan. My name is Ali Vizdekin. I'm the Interactive Events and Video Producer here at TechSoup. I'll be talking to you today about how to get started with hosting some of your events in a few easy steps. So let's get rolling. Let me just share my screen with you all. There we go. So like I said, this is meant to be a general overview of where you should start and how to think about planning interactive and engaging events. This is only the beginning, so please do come back for a future event to go into more detail on some of these sections. So whether your events are fundraising, educational or perhaps celebratory gatherings, we'll go through some of the basic considerations you should have when thinking about planning and preparation. So together today what I'd like to do is discuss the who, what, where, when, and why's of event planning. I personally think that event planning can be easy and fun if you put the time and effort to think things through beforehand. And so hopefully you'll have fun in the process as well. Let's start with the why. So you decided to host an event, which is great to hear. Events can be a very rewarding and interactive way to engage with your community. The first thing you need to ask yourself at this point is why do I want to have an event? So if you are actually in the process or even thinking about proposing to plan an event, you really need to sit with thinking about your event's main purpose and think about the type of event you want to host. I'll ask you to share out some of your ideas at the end, but really think about what would be your goal. Are you trying to raise money? Are you trying to rally support for a cause? Are you trying to celebrate a milestone? Do you have a campaign to promote engagement around? You should have a clear objective for hosting your event. So otherwise you might put in a ton of work without a whole lot of return for your organization. So this thinking about why really becomes a cornerstone from which you plan the rest of your event. Let's go into the who. Who is your audience? If you know that a specific segment of your audience is particularly engaged with one issue area, market your event to them, get them in a room. Are these your biggest supporters, ambassadors, or donors, or perhaps they're some of your board members? Really thinking about the audience will help you cater your event to that audience. When you identify who you want to be in the room, it becomes much easier to program material to their interests, needs, or desires. So for example, many of the slides that are in this stack are pulled from a storytelling event hosting guide that I wrote. And this slide in particular lists some of the questions we ask of some of the members and participants at our events, just really to get to know them a bit as well as kind of get a sense of their levels of experience with storytelling so that once these folks are all in a room, we know how to cater their experience and program to their levels of interest. These are also really good conversation prompts during the event, by the way, which I'll get into a bit later, but better knowing your audience makes it easier to prompt a collective action to take.  It's really the reason for your event. The why and the who inform the what, where, and when. So once you have a reason or that main objective for your event, plus the audience in mind, you can really start begin programming and planning the run of show for the day of your event. So for example, typically for a tech soup event, we begin by budgeting or budget considerations because after we know how much money we have to spend, then you can go down the line and secure a location, nail down a date, recruit expert guests, invite a co-sponsor, for example, to provide food and drinks, if that's something that you wanted to offer, and then begin marketing and promotions. Now, the run of show on the day of really, really depends on the type of event you're hosting and how you want to frame your events. So the question I asked at the beginning, which was, you know, like what sort of events can you see you when your organization running, the day of will really depend on what that main objective is. So for example, if we take one of our storytelling events, we do everything in the leading up section on the slide that we just went through. And then on the day of what we do is we go through a checklist that includes, you know, for example, setting up a table with name tags and a sign-in sheet. We make sure that all the technology is in order and running. So that means if you're going to use laptops or a projector or, you know, everything from making sure the Wi-Fi works, make sure all those tech pieces are working and are in order. We also make sure that if we did have an event sponsor for the food and drinks, for example, that we would have created signs that give thanks to the sponsor or shout out thanking them, as well as, you know, putting up signs that mention any social media hashtags to follow or whatever that call to action is you want them to take, make that front and center, make that visible somewhere in the event space. So once you are considering framing your event, you should really think about engaging the audience in activities that heighten their senses and really aim at connecting them to specific tools or actions, like I mentioned. Like I mentioned earlier, for example, having a set of conversation and discussion starters or prompts is a really excellent and engaging way to narrow down the focus of the conversation and really just to get people talking to each other. I mean, one of our main objectives at TechSoup is that one-on-one connection to peers and colleagues and, you know, really amplifying the learnings from the group. So also think about innovative ways to incorporate opportunities for spontaneous storytelling at your event to capture the engagement. So you can consider, for example, prompting audience members to update their Facebook status in unison with a specific message or perhaps you want everyone in your audience to create a quick video story on Instagram, whatever that is, have them pull out their phones, create and tag their story using a common hashtag in real time. So really what I'm getting at is that the more interactive, the more engaging your event will be, the more memorable it will be, and the more likely the individual's in attendance will be to take that action that you set out for them to take. And don't forget to document your event. You know, you have the opportunity of having all of these engaged individuals in a room together. Take photos. Follow the hashtag you created. See what people are saying and sharing and maintain that conversation online. Remember, at the beginning, you would have collected the emails of those in attendance from the sign-in sheet at your table. So make use of that. Send out a follow-up email. If, you know, you have their social media postings and social media handles from the interactive posting experience, keep in touch with them. Keep the conversation going. So I asked you guys at the beginning to think about what sort of events you are interested in hosting, are those fundraising events, are those networking opportunities, are those related to campaign engagements, are those end-of-the-year festivities or celebratory events? Share those out in the comments. And Susan will let me know. In the meantime, there are some helpful resources from TechSoup that you should check out. The event hosting guide for one that I mentioned and the checklist that I spoke about that we use internally here at TechSoup, both of which will be downloadable from, we have an annual storytelling campaign that we engage in annually. And on that contest page, the Storymakers contest page, we'll have those two downloadable. So look for that to go live next month. The event guide in particular includes prepackaged resources, many of the conversation starters that you saw in this presentation and suggested activities meant really to capture kind of the maker spirit experience that we hope to cultivate during those face-to-face meetups. We encourage two tracks of engagement, one that's more workshop style hands-on and then the other, which is more discussion-based, put on by a panel. Or we oftentimes have a slide deck made to hand off. But both of the tracks are meant to, like I said, capture the maker spirit and really spark the creativity of the guests and the members in the audience when it comes to your event. And really, like I said earlier, it's about getting them to take a specific action that you would have identified for your event. And then we have our social media starter kit, which can help with your own promotion efforts. It is a really helpful guide in taking a look at how to strategize your social media promotion and marketing efforts. It's downloadable and Susan will chat out the link to that. And then if you're looking to host an event but still aren't quite sure how to pull it off, Network for Good has a really excellent event management tool that can be helpful to you. Susan will share the link out to that as well. So, if there are any questions, I would be very glad to take those from you. I'd like to also see what you have in mind when it comes to creating your own events and maybe we can start an engaged discussion in the comments. So please take the opportunity to chat some of your ideas and maybe where you are in hosting an event. And I would love to speak to those. Thanks, Allie. It does look like I have a question here about what exactly would be your first step. We talked a little bit about thinking and thinking on how to approach your first, but how did you do your first nonprofit event? When you got started, maybe here at TechSoup, I think it would be helpful to understand how you got started and maybe even some of the lessons learned and what not to do because that's often as helpful as the things to do. Yeah, both of those are really great questions, Susan. Okay, so how I personally have run events for TechSoup specifically is I pinpoint a topic based on what I want from the community. So for example, let's take storytelling because a lot of the events that I program are around storytelling. If my primary objective is for TechSoup members to be in the same room and meet each other, I'm going to create a space for them to do that. And that will be the primary objective of my event. So the thematic focus of that objective would speak to that. So I would have, for example, a meet and greet. I would create an agenda that includes a meet and greet. Turn to your neighbor and introduce yourself. Tell them about the organization that you're from. If that's the level of engagement that I want, it'll be baked into the program that I'm putting together. Now, some of the tips that I would give, just from experience, I do think it's important to on one hand procure sponsorships for food and drink because oftentimes it's a draw. It'll get more people in the room if they know that that is available, especially if it's open to the community, which a lot of our events are open to the community. However, if you're not very strategic in your outreach, if you're not in control of who will walk into the door, sometimes you'll get random people at your events that have found your listing on whatever event hosting site that you put your event on, whether that's Eventbrite or Meetup.com or wherever you sent your promotions out to. On the Internet, you'll have people coming into your doors that you don't necessarily know or have control over. I would really make sure that if you are opening your event up to a certain degree, try to have a certain sense of control over where you're posting your event. Bye. Great. Thank you. And that's kind of the lesson learned, right? Sometimes the folks that may not be as prepared to enter the event as you had hoped. And sometimes those folks get those random messages. And I think you spoke a little bit about having a plan, a social media plan to promote the event and other types of promotion. Have you found that there are certain channels or certain social media channels or even print channels that work better for getting these folks to come to your events? Yeah. I mean, the two that I mentioned just a second ago, Meetup.com and Eventbrite are really good in, they're not only event hosting websites, but they're good in promoting events as well. And that's outside of your circle of influence. So meaning, to a certain degree, you control the promotion to, for example, your members, your community, like that outreach, you're in control of your social media channels. Then you can widen that pool by researching other relevant communication threats on social media. So like on Facebook, for example, what sort of groups are working in the space that touches upon your event topic, for example, send a message to the group leader or post on that Facebook groups wall, or on Twitter, you can create lists based on segmenting the audience and the conversation. You can message the list. You have, to a certain degree, the ability to segment your audience and invite the people that you want to invite. Obviously, the more traditional means of marketing, email marketing, newsletter marketing, those are all very effective and direct means by which to invite and share your members. You can also, depending on the scale of your event, for example, if it's an end of year or celebratory event, and you're going to, for example, host a gala, you may, and you want to invite your board members or quote unquote celebrities in your community, you may want to go the traditional way of sending paper invites, or you can even think about publicity. If your event is to that degree in your community that warrants or the impact warrants, media publicity, who can you get involved, who do you know, do you know, can you get yourself on TV or in the newspaper or, you know, whatever, only you define the scale of your organization's event, but depending on how you're framing your event, the outreach, there are so many different ways to do outreach, effective outreach. Thanks, Ellie. Another question as we lead into the other event topics for the next few weeks, such as, you know, Facebook live events and other like in person like meetups and we'll talk more specifically about the needs of those particular style events, you've talked a lot about the pre-production of an event, right, like the planning of it, and one part of that is developing an agenda. Do you have any tips for folks in terms of creating an agenda that encourages, you know, interaction or, you know, less passive and more active and interactive interactions, I guess I would say. Yeah, absolutely. I mean, once again, it depends on the objective of your event, you know, if your objective, one of your objectives is interactivity or engagement, you know, a few of the suggestions I mentioned in the presentation, which, you know, were collectively, spontaneously take a specific action, so whether that is post a status update on Twitter or Facebook or, you know, take a group selfie and post it to Instagram or, you know, for example, for our storytelling events, maybe the exercise is an exercise in putting together a creative story and publishing it to YouTube using your smartphone or, you know, I can imagine that for example at a fundraising event in the event itself, you can program opportunities to allow people to donate, you know, like you have 30 seconds to maximize this time and let's see if we can exceed this goal and really kind of, you know, funnel people towards that action that you want them to take. One last question, how do you measure the success of your event when you're planning it? Yeah. Well, all events should be measurable. Your goals should tie to measurable outcomes. So again, it kind of depends on the type of event that you're putting together. I know Susan, you love that. You know, like if it's a fundraising event, for example, the success of your event can be measured depending on the criteria that you put in place. If that success looks like dollar signs, then obviously the more you get your members to donate, the more successful your campaign is going to be. If your measure of success is the number of people that walk through the door and not the amount of money that you raise, but just bringing that community of people together, then your measure of success is something completely different. It's important to have whatever your measure of success be, be communicated internally to all internal stakeholders and all parts of the team and management so that, you know, someone doesn't come to you and say, this was a fundraising event and, you know, we didn't hit X dollars in their mind, you know, they saw success as something else. But perhaps maybe that's not how you were thinking about it as you program the event or plan the event. So communicating that to internal stakeholders and management is also an important key for success so that everyone's on the same page and working together towards whatever goals and objectives you set forward. Thanks. That was a perfect answer, yes, because measuring outcomes is important. And as you move to create different types of events, whether it's like a Facebook live, which we'll be talking about later on this month or in August, or like Allie was talking about our story makers campaign, it's important to set up your objectives in advance so you can measure them and then iterate on that event, especially if it's your first time, you are going to learn from your mistakes. And I think it's okay. And I know Molly, our social media manager, and Allie both agree with this. Sometimes you have to do things a couple of times to really get it right. And that's why collecting the data helps you then iterate on what you did and what things you could do better or differently. And to that end, I did want to share my screen with you, Allie, if you had any other comments before I shared my screen, okay. I wanted to let folks know that are on the webinar today that, and there's going to be a little bit of tunnel vision for a second. And you're seeing our live event, but within TechSoup 30, everyone should know that you can view all of our past events and our upcoming events. Just by clicking on the module, I've curated April and May so that all of the events are under one module. But you can simply click on the tab or the module. We have the recording for you, any sorts of templates or resources. We've posted everything in the course. So I want to remind folks that this course isn't just for the individual live event, but it's an ongoing curated series to help you. And we also do ask that you complete our survey at the end because then that helps us know what we can do differently or better. I will be posting a recording of this event right here. We have some time today or this afternoon, and then resources that Ali has provided to us will be in this final column. And then our survey, you can complete the survey right here in. It's been embedded in the module. We do want to have your feedback so we can continue to provide content that's relevant to your nonprofit or library. So I encourage you to do that. I also encourage you to chat with us in the platform. Some of you already know because we've been exchanging private chat. I was able to chat with some of our attendees today. But you can also chat with other learners in the platforms through our news feed. And you can also communicate directly with us here that manage all of these courses and give us feedback. One other quick thing I did want to showcase because Ali is our video production manager, and she is phenomenal. And all of the stuff that she's put together for the Storymakers campaign has come to fruition in a course that she worked very hard on. And it's a free course. So any of you that are interested in digital storytelling, if you go to our Storymakers course, you can register for the course. You could take a pre-course assessment to kind of assess where you're at right today. And then you can take the modules of pre-production, production, post-production, and then learn about all of our resources for creating those compelling digital stories. And in October, Ali will be hosting the Storymakers campaign event. And we hope you join us then. So I'm going to stop sharing my desktop. And I want to thank everyone for their time. And I also want to thank Ali. She is producing videos every day. But she found the time to put this together. And her and our social media team will also be delivering some additional content on other special events in the coming weeks. And our friends at Caravan will also be here to talk about events that they host. So we hope to see you then and have a great rest of your week. Bye-bye.


Welcome to Church of the Chair, where Rose the Hat is a euphemism for naughty times. I'm your host, E, and today we're sipping on that red rum. If you're new around here, I need to give you a warning. In this series, I will be spoiling all of Stephen King's work, so if you haven't read all of his stuff, I suggest you click away now. You've been warned. Today, we're talking about Doctor Sleep by Stephen King. So how does Doctor Sleep tie into the Stephen King universe and the Dark Tower? Let's get into that. The first thing I'm going to mention is the importance of the number 19. If you're a Dark Tower aficionado, then you know the significance of 19. If you don't, I will be posting a video about all of the links, all the tie-ins, and the importance of the number 19 in a later video probably sometime this fall once I am done redoing all of the Stephen King theorist videos and the reviews. Why that number is important in this one is because Dick Hollerin from The Shining and who is also mentioned in Doctor Sleep died on June 19th, 1999. If you don't know, Stephen King was hit and nearly killed by a van on June 19th, 1999. The line made famous by Jake Chambers in Dark Tower Book 1 The Gunslinger Go Now There Are Other Worlds Than These is mentioned in this book even though it is shortened to There Are Other Worlds Than These. Doctor Sleep is also the very first mention of the fictional boy band Round Here that was used in Mr. Mercedes. And once again we are dealing with the theme of consumption with the true not. In the Stephen King universe there are two types of vampires. The ones that sustain themselves on blood and there are the psychic vampires that sustain themselves on human emotions. And in this one he goes a little bit farther by having the true not feed off of those people with the shine like Danny and Abra. I will be doing an entire video or video series on this topic, the concept and theme of consumption throughout all of Stephen King's work and I will be using a lot of notes that my friend Jacob Brennan mentioned in both the discord and has been mentioning in the comments to back up a comment from a different user that I got some time ago that I have already showcased on the channel. But that's all the time I have for you today. Did I miss anything? Do you have any corrections for anything that I said in this video or do you have theories of your own with how Dr. Sleep connects to the Dark Tower and the Stephen King universe? If you do, leave them down there in the comments. But until next time, are you gonna hurt me? Yes, we are.


Hello and welcome to the session. In this session we will discuss a question which says that a cool ship is travelling due north at 20 knots that is at 20 nautical miles per hour. Then part A is if the wind is blowing due east at 5 knots, what is the resultive velocity and direction of the ship and B part is if the wind velocity doubles, what is the resultive path and velocity of the ship. Now let us start with the solution of the given question. Now in the question it is given that a cool ship is travelling due north at 20 knots and in A part it is given that the wind is blowing due east at 5 knots. So we first draw the diagram representing the situation so that we can make a clear idea about the direction. Now we have these directions that is north, east, south and west. Using these directions we will draw the graph. Now we take coordinate plane and positive y axis is in north direction, positive x axis is in east direction. So we draw the initial path of the ship due north. Now the ship is travelling due north at 20 knots, a vector representing the path lies on the positive y axis 20 units long and it is given that the wind is blowing due east at 5 knots. So a vector representing the wind will be parallel to the positive x axis and it will be 5 units long. Now using the triangle rule we will find the resulted path which can be represented by a vector from the initial point of the vector representing the ship to the terminal point of the vector representing the wind. So this vector represents the resultant. Now by joining these we can see we are getting the right angle triangle at these points be o, a, b. So o, a, b is the right angle triangle. Now here you can see magnitude of vector o, a is equal to 20. Now let this magnitude be a. So a is equal to 20. Similarly magnitude of vector a, b is equal to 5. Let us denote it by b. So b is equal to 5 and let the magnitude of the resultant vector that is the vector o, b is equal to c. Now by Pythagorean theorem we have c square is equal to a square plus b square. So this applies c square is equal to 20 square plus 5 square which applies c square is equal to 400 plus 25. This means c square is equal to 425 and this applies c is equal to square root of 425 which implies c is approximately equal to 20.6 thus the resultant speed of the ship is approximately equal to 20.6 knots. Now we have to find direction of the ship and for this we will use tangent ratio. Now here this is the angle theta and this is the right angle. Now here side a, b of this triangle is perpendicular and side o, a is the base. So tan theta is equal to perpendicular upon base. Now magnitude of vector a, b is 5 and magnitude of vector o, a is 20. So tan theta is equal to 5 upon 20. This implies theta is equal to tan inverse of 5 upon 20. Now using calculator this implies theta is approximately equal to 14.0. So the resultant direction of the ship is about 14 degrees east of due north. Therefore the resultant vector is 20.6 knots at 14 degrees east of due north. Now in the second part if velocity of wind doubles then we have to find the resultant path and velocity of the ship. Now here we will use scalar multiplication to find the magnitude of the vector for wind velocity. Now it is given that velocity of wind doubles. So here scalar k is equal to 2. Now previous wind velocity was given to us as 5 knots. So magnitude of this velocity is equal to 5. Now the new wind velocity will be 10 times magnitude of vector v that is 2 into 5 which is equal to 10. So new wind velocity is equal to 10 knots. Now again we represent this situation in a diagram. Now the ship is moving with velocity 20 knots and it is already represented by this vector which is 20 units long. And now the new wind velocity that is the wind is going due east at 10 halves and it is represented by this vector which is 10 units long. Now again we will use the triangle rule. So here the resultant path can be represented by a vector from the initial point of the vector representing the ship to the terminal point of the vector representing the wind. So this is the resultant. Now here again we have got a right angle triangle. Now the magnitude of one side say A is equal to 20, magnitude of the other side say B is equal to 10 and that magnitude of this resultant vector BC. Now again we will use the Pythagorean theorem and we have C square is equal to A square plus B square which implies C square is equal to 20 square plus 10 square which implies C square is equal to 400 plus 100 and this gives C square is equal to 500 which implies C is equal to square root of 500 and we have C is approximately equal to 22.4. Now let this angle be theta and this is the right angle. Now we have to find the direction of ship. So we will use the tangent ratio. Now 10 theta is equal to perpendicular upon these that is 10 upon 20 which implies 10 theta is equal to 1 upon 2 and this gives theta is equal to 10 inverse of 1 upon 2 and by using calculator theta is approximately equal to 26.6 degrees. Now here we have obtained C is approximately equal to 22.4 which means the resultant velocity of the ship is about 22.4 knots and theta is equal to 26.6 degrees which means the resultant direction of the ship is about 26.6 degrees east of due north. It means if the wind velocity doubles the ship cruises along the path approximately 26.6 degrees east of due north at about 22.4 knots. So this is the solution of the given question and that's all for this session. Hope you all have enjoyed the session.


My name is Sam Vaknin and I am the author of Malignant Self-Love, Narcissism Revisited. Torture robs the victim of the most basic modes of relating to reality, and so it is the equivalent of cognitive death. Space and time are warped by sleep deprivation. The self, the eye, is shattered. The tortured, the victims, have nothing familiar to hold onto, family, home, personal belongings, loved ones, language, name, territory, all dissipate in the process of torture. Gradually, the victims lose their mental resilience and sense of freedom. They feel alien, unable to communicate, relate, attach or empathize with others. Torture splinters early childhood grandiose narcissistic fantasies of uniqueness, omnipotence, vulnerability and impenetrability, but torture enhances, on the other hand, the fantasy of merger with an idealized and omnipotent, though malicious, other, the inflictor of agony. The twin processes of separation and individuation are reversed. In other words, as the torture is being inflicted, the victim identifies with the offender. She wants to merge with her torture. Torture is the ultimate act of perverted intimacy. The torturer invades the victim's body, pervades her psyche and possesses her mind. Deprived of contact with others and starved for human interaction, the prey bonds with the predator. Like bonding, as it is known, akin to the Stockholm syndrome, is about hope, the search for meaning in the brutal and indifferent and nightmarish universe of the torturer's cell, or home, or abuse take place. The abuser becomes the black hole at the center of the victim's surrealistic galaxy, sucking in the sufferer's universal need for solace. The victim tries to control her tormentor by becoming one with him, by interjecting him, and by appealing to the monster's presumably dormant humanity and empathy. This bonding is especially strong when the torturer and the tortured form a diet, a shared psychosis, and collaborate in the rituals and acts of torture. For instance, when the victim is coerced into selecting the torture implements, and the types of torment to be inflicted, or to choose between two events. The psychologist Shirley Speets offers this powerful overview of the contradictory nature of torture in the seminar titled The Psychology of Torture. She says, Torture is an obscenity in that it joins what is most private with what is most public. Torture entails all the isolation and extreme solitude of privacy, with none of the usual security embodied therein. Torture entails at the same time all the self-exposure of the utterly public, with none of its possibilities for camaraderie or shared experience. The presence of an all-powerful other with whom to merge, with all the security of the other's benign intentions. A further obscenity of torture is the inversion it makes of intimate human relationships. The interrogation is a form of social encounter in which the normal rules of communicating, of relating, of intimacy are being manipulated. Dependency needs are elicited by the interrogator, but not so, not so that they may be met as in close relationship, but to weaken and confuse. The presence that is offered in return for betrayal is a line. Silence is intentionally misinterpreted, either as confirmation of information or as guilt for complicity.  The final products and outcomes of torture are a scar, an often shattered victim, and an empty display of the fiction of power. The trial says, she really speaks. Obsessed by endless ruminations, demented by pain and a continuum of sleeplessness, the victim regresses, shedding all but the most primitive defense mechanisms, splitting, narcissism, dissociation, projective identification, introjection, and cognitive dissonance. The victim constructs an alternative world, often suffering from depersonalization and derealization, hallucinations, ideas of reference, delusions, and finally in extreme cases, psychotic episodes. Sometimes the victim and some victims come to crave pain, very much as self-mutilators do, because it is a proof and a reminder of her individuated existence otherwise blurred by the incessant torture. Pain shields the sufferer from disintegration and capitulation, preserves the veracity of her unthinkable and unspecable experiences, proves that she is alive, that she is here, and that she exists. This dual process of the victim's alienation and addiction to anguish complements the perpetrator's view of his quarry as inhuman or subhuman. The torturer assumes the position of the sole authority, the exclusive fount of meaning and interpretation, a source of evil and good and all truth. Torturer is about reprogramming the victim to succumb to an alternative interpretation of the world, preferred by her abuser. Torturer is an act of deep, indelible, traumatic indoctrination. The victims, the abused, also swallow a bone and assimilate the torturer's negative view of themselves. As a result, the victim is rendered suicidal, self-destructive, self-defeating. The victim sees herself from the torturer as an abuser's point of view, as worthless, subhuman, trash. Torturer has no cut-off date. The sounds, the voices, the smells, the sensations reverberate long after the episode is ended, both in nightmares and in waking moments and in post-traumatic stress disorder. The victim's ability to trust other people, in other words, to assume that their motives are at least rational, if not necessarily benign. This ability is irrevocably undermined. Social institutions are perceived as precariously poised on the verge of an ominous Kafkaesque mutation. Nothing is safe. Nothing is credible. Nothing, to a large extent, is real anymore, after torture. Victims typically react by undulating between emotional numbing and increased arousal. Insomnia, irritability, restlessness, and attention deficits. Recollections of traumatic events intrude in the form of dreams, night terrors, flashbacks, distressing associations. The torture victims develop compulsive rituals to fend off these obsessive thoughts. Other psychological sequelae include cognitive impairment, reduced capacity to learn, memory disorders, sexual dysfunction, social withdrawal, inability to maintain long-term relationships, inability to have intimacy, phobias, ideas of reference, superstitions, delusions, hallucinations, psychotic micro-erasals, and emotional flatness. Depression and anxiety are very common among torture victims. These are forms and manifestations of self-directed aggression. The sufferer, the victim, rages at her own victimhood, and at the resulting multiple dysfunctions. She feels shamed by her new disabilities, irresponsible or even guilty, somehow, for her predicament and the dire consequences borne by her nearest and dearest. She detests the helplessness. Her sense of self-worth, self-esteem, are crippled. In a nutshell, torture victims suffer from post-traumatic stress disorder. Their strong feelings of anxiety, guilt and shame, are also typical of victims of childhood abuse, domestic violence, rape. Torture victims feel anxious because the perpetrator's behavior is seemingly arbitrary and unpredictable, or mechanically and inhumanely, regular. Torture victims feel guilty and disgraced because to restore a semblance of order to their shattered universe, the modicum of dominion over their chaotic life, they need to transform themselves into the cause of their own degradation and to render themselves the accomplices of their tormentors. If they can convince themselves, falsely, that they have initiated their own torture, that they are responsible for it somehow, that they have brought it upon themselves, at least they can still believe that they are in some control of their life. The CIA, in its Human Resource Exploitation Training Manual dated 1983 and reprinted in Harper's Magazine in 1997, summed up the theory of coercion and torture this way. The purpose of all coercive techniques is to induce psychological regression in the subject by bringing a superior outside force to bear on his will to resist. Regression is basically a loss of autonomy, a reversion to an earlier behavioral level. As the subject regresses, says the CIA, his learned personality traits fall away in reverse chronological order. He begins to lose the capacity to carry out the highest creative activities, to deal with complex situations or to cope with stressful interpersonal relationships or repeated frustrations. So says the CIA. Inevitably, in the aftermath of torture, its victims feel helpless and powerless. This loss of control over one's life and body is manifested physically in impotence, attention deficits and insomnia. This is often exacerbated by the disbelief many torture victims encounter, especially if they are unable to produce scars or other objective proof of their ideal. Victims of psychological torture, verbal torture, are disadvantaged compared to victims of bodily torture because they cannot produce visible, photographable proof. Language cannot communicate such an intensely private experience as pain. Speaks again, makes the following observation. Pain is also unbearable in that it is resistant to language. All our interior states of consciousness, emotional, perceptual, cognitive and somatic, can be described as having an object in the external world. This affirms our capacity to move beyond the boundaries of our body into the external, shareable world. This is the space in which we interact and communicate with our environment. But when we explore the interior states, the interior state of physical pain, we find that there is no object out there, no external, referential content. Pain is not of or for anything. Pain simply is, and it draws us away from the space of interaction, the shareable world, inwards. It draws us into the boundaries of our own body. Bystanders resent the torture, because these victims make them feel guilty, and they are ashamed for having done nothing to prevent the atrocity. The victims threaten the sense of security and the much needed belief in predictability, justice and rule of law. The victims on their part do not believe that it is possible to effectively communicate to outsiders what they have been through. Richard Schenbers or another galaxy. This is how Auschwitz was described by the author Kate Settling in his testimony in the Eichmann trial in Jerusalem in 1961, called it another planet. Kenneth Pope in torture, a chapter we wrote for the encyclopedia of Women and Gender, quotes Harvard psychiatrist Judith Perman. It is very tempting to take the side of the perpetrator. All the perpetrator asks is that the bystander do nothing. He appeals to the universe of desire to see, hear and speak no evil. The victim on the contrary asks the bystander to share the burden of pain. The victim demands action, engagement and remembering. But more often continued attempts to repress fearful memories result in psychosomatic illnesses, process called conversion. The victim wishes to forget the torture, to avoid re-experiencing the often life-threatening abuse and to shield their human environment from the horrors. In conjunction with victims pervasively stressed, this is frequently interpreted as hypervigilance or even paranoia. It seems that the victim cannot win. Torture is forever.


Another way of saying it is that we'd expect energy to be conserved, so the total energy the photon is going to be split up into the kinetic energy of the electron afterwards and the energy we had to give it to get out of the material in the first place. So Leonard's initial exploration that showed that the energy the emitted charges was proportional to the frequency of the light isn't quite what Einstein's theory predicts. Einstein's theory predicts this extra kink in the graph, whereas just a linear relationship would look like that. But perhaps the experiments hadn't been done sensitively enough in those earlier tests by Leonard. Einstein's theory however does explain why the intensity light gives us a current, because the intensity light just tells us how many photons we have. It doesn't tell us how much energy each of those photons have. And therefore as we increase the intensity light we're just getting more of these photons hitting our surface and so we're going to get more electrons coming off. And so the intensity affects the current, how many electrons per second are coming off, and it's the frequency that affects the energy. And in 1914 Robert Millican did a series of very careful experiments where he showed that Einstein's prediction was exactly correct, and he could calculate the work function of various metals. And that was basically the birth of quantum theory. Previously Planck had discovered that if he assumed the energy came in packets that he could explain radiation, but it was the point where Einstein made a very serious attempt to describe the photoelectric effect saying that that was exactly how the radiation works. That these waves, electromagnetic waves were genuinely coming in these packets that seemed a lot like particles called photons. That's when quantum mechanics really started.


Hi, I'm Stu Miniman with theCUBE, and we're here at the Winslow Technology Group, Dell EMC user group, and happy to have on the program multi-time guest of theCUBE, Scott Winslow, who's the president and founder of Winslow Technology Group. Scott, thanks so much for having us here. Good to be here Stu, good afternoon. All right, so you opened up the event here. I think you've said you've got between 150 and 175 users, and if I remember right, your first user event was actually here, and it was like what, eight users? So, great location here in Boston, friendly right behind, you're taking your users to the game. Tell us a little bit about the history of the company and this event. Yeah, when we started the user group 13 years ago, it was here at the Hotel Commonwealth, and it's been a great venue for us. Really, it started with eight customers around a conference room table. We had Marty Sanders, the CTO from Compelent, Phil Soren, one of my mentors as the CEO of Compelent and founder, and I think we were talking about how do we improve the GUI on the enterprise manager for Compelent, and that was how it started, and kind of last minute, we decided to go to Ballgame afterwards, and that was kind of the roots of this event, but it's changed over the 13 or 14 years, but we try to provide really good education for our customers, give them some things to think about in their infrastructure and their environments. We try to be a thought leader, and it's kind of evolved around that theme for the last 13 or 14 years. Obviously a lot bigger now than it was. We've grown up. The challenge for us is how do we continue to have our customers have a white glove experience as we continue to grow, but we're really excited about where Compelent took us to Dell and Dell led us to Dell EMC, and here we are. Yeah, so Compelent to Dell, Dell to Dell EMC, and we're still talking to the storage industry about making their user interfaces better, right? We are. We are, well, I mean, we are in that one sense, but in another sense, as you move into hyper-converged, that really is kind of the backdrop for that story, because as you get into hyper-converged infrastructures, you're talking about one-click upgrades of server-storage networking hypervisor, so I think it really is kind of a good backdrop, and we've seen that evolve over the years. Yes, Scott, when you look at your portfolio, you've started out very much storage, a server-storage network, hyper-converged, the PC and mobile cloud. How many people you have in the company now, and how do you manage that kind of change and expanse of your portfolio without getting a mile-wide and an inch deep? Yeah, we've got 37 people in the company now, so we've added six this year already. I think we try not to go too wide in terms of number of vendors. We've tried to focus on a few key strategic partners, so for us, that's Dell EMC, it's Nutanix, it's VMware, and try to really specialize in those areas. We think customers are looking for a partner that's got deep technical expertise, really good sales acumen. I guess a fair criticism of us would be you don't go wide enough. You're not partnered with Cisco or HB, but we'll accept that. We think it's led to 35% growth over the last three years, and we think it's been a good strategy for us. Yeah, no strong growth, absolutely. What are you hearing from your users? How much is this digital transformation pulling them along and driving them to that breadth of solutions that you're offering? Yeah, I mean, we're having conversations with them every day, and the conversation oftentimes is, do we continue down the path we've been or are very comfortable with a three to one solution? For us, a lot of times that's a Dell server, Dell networking, Dell Compellent. We're very comfortable providing that, but as they look and say, hey, we built this wonderful car, but it's probably gonna run out of gas at some point, do we move into more of a hyper-converged solution? Do we look at a cloud solution, and how do they continue to evolve their environments? And that's provided a great role for us to consult with them in that regard. Yeah, all of your partners, Dell, Nutanix, VMware, all trying to figure out how they live in kind of this hybrid or multi-cloud world. How are your partners doing? What view is kind of the voice of the customer? Do you want to see from them to kind of mature these solutions even further? Well, I think we've seen it already. If you think about like at .next, Nutanix announces cloud integration with Google. I think we're looking for solutions where we can provide a really good on-prem solution for some of the data, but then you have to have the ability to go off-prem and have cloud integration. And if I look at Nutanix, Dell, EMC, VMware, I think they're providing that. If you look at like an NSX solution from VMware, for example, we've seen the virtualization of compute with VMware, we've seen the virtualization of storage with products like Compellent and others, and now you've got a virtualization layer and abstraction layer in networking with NSX, and that provides some real benefits in terms of what can be done around operating efficiencies and networking, micro-segmentation, et cetera. So we see those vendors providing those kinds of solutions. Yeah, so NSX is going to be one of the critical components when we get VMware on AWS. I'm curious whether that Microsoft Azure Stack or Jeremy Burton was talking this morning about Virtustream being able to go on-premises.  They do, they do excite our customers. I would say right now we're, I don't know if they excite our CFO as much. We're having a lot of conversations with customers about the things like NSX. I wouldn't say it's been a big revenue driver for us. We're still driving a lot of revenue through some of the traditional server storage networking hyper-converged solutions, but I would say as it relates to an NSX, for example, it's a topic that customers want to talk about, security's very much top of mind, and it hasn't translated yet into a lot of revenue, but it's definitely a part of the building blocks that our customers are looking at.  I'm curious, how does the customers looking to kind of change CapEx into OPEX, how does that affect you? Are you, are service providers in the public cloud, those an opportunity for you, for partnership? Are they a challenge for kind of the channel's business model? Yeah, it's a good question. I think we've seen a lot of the partners that we work with try to provide an operating OPEX model and try to be more cloud-like in their solution. So if you look at the Nutanix's and the VxRails, having a solution from Dell EMC or from Nutanix where you can present it up almost like a cloud solution where they only have to commit to maybe 40% of the overall payment or they can grow it very quickly like they would a cloud solution. So we're seeing a lot of that type of activity, I would say. At the same time, we're reaching out to the cloud providers, the Amazon's and the Azure's to figure out can we be partnered with them and what does that model look like and it's certainly not going to be a lot of margin working with those types of providers but you can build a big consulting practice around it. So we're heavily engaged in those kind of discussions. All right, Scott, last thing, as your users, as they walk away from this year's event, what do you want them to think about their relationship with you and kind of their big takeaway from the event? Yeah, I mean, for us, we try to be the trusted advisor, right? That's our role. You've got a number of OEMs out there. We're putting solutions together. That's why we call our engineering team the solutions architects because we're piecing it all together for them. I look at the manufacturers kind of as like a big aircraft carrier and they're good aircraft carriers but we're a little speedboat, right? We can go back and forth, we're very nimble, we can demo stuff quickly. So I want them to think about us as a solution provider, as a trusted advisor and to think about some of the new technologies that we presented up today. They're so busy working through day to day problems that in one afternoon to be able to come out here and hear about like a cloud solution, like Vergestream, NSX, to hear about what's going on at Hyperconverge, what's going on in the managed security market. I'm hoping they'll take away some of those ideas and think about how they might apply in their business. All right, well, Scott, really appreciate you bringing theCUBE here, looking forward to talking to a lot of your customers as well as some of the partners and everyone here at the show. I've been Stu Miniman, this is theCUBE.


So you now have a CCO sitting out of India. How does that work for Uggilbee and how has it been since then? It works just fine because in Piyush Pandey we have somebody who is so inspiring. He doesn't have to be in New York or Chicago or Buenos Aires for people to feel his presence. He is incredibly accessible. So if you text, email or call Piyush, better call him. He is always willing to help and give his advice which is incredibly helpful to many of us. The reason that I picked Piyush is India is one of the most important markets in the Uggilbee Worldwide Network. I wanted India to have a bigger influence on the whole company and having Piyush in that role has even in just six months. He has provided that kind of help across the world. We met recently in California for four days. We brought our top 60 leaders from around the world. And Piyush was one of the keynote speakers and was incredible to everybody. So I couldn't be more fortunate to have a worldwide creative partner in Piyush.


Hi, I'm Erin Olson, and I'm Lesley Prollykeen. We are Instructional Technology Consultants with Prairie Lakes A.E.A. in Iowa. And we're excited to share with you part of our Connecting Creativity Series, an experience called Out My Window. Our perspective is shaped by our experiences. Those experiences are shaped by where we live. The themes of geography, place, location, human-environment interaction, movement, and region can be addressed through personal narrative. And when that happens, an appreciation for all that is experienced and all that is seen is heightened. Stories are the thread connecting us all. Using geography, photography, and poetry, participants can share and celebrate their story. Out My Window was born from a quest to have students gain global perspective while sharing that story with the world. The process reveals cultural awareness and understanding through poetry and photography. So the first part of the process is for students to take a picture, which is what Erin's daughter did here. We want them to take a picture out their window, thinking about the five themes of geography. My daughter wanted to capture the farm, the horizon, the grove, and she was thinking about this and framing it with our walnut tree, considering what photographers consider with the rule of thirds. The first photo edits were to create, mood, and help set a tone for the writing that would follow. Since this is our home, I wanted to warm the tones in the photo. I also wanted to deepen the colors to reflect the season of autumn. That was important. I loved the shadow effect that the picture had originally, so I wanted to enhance that even more. And just using PicMonkey and experimenting with the different photo edits, I was able to do this easily. You'll also notice that the image was cropped. I took out the few leaves that you could see in the far left corner because I wanted that barren tree to frame the backdrop of trees in full growth who still had their leaves. I liked the idea of that contrast. So the color changes along with the barren tree, with trees still leaves, I wanted to show change in this photo. After I completed some photo edits, I went to brainstorming and I started to think about the themes of geography in relation to what the picture revealed, along with what I know about our farm. As I started to brainstorm, I thought about the stories that have been told. I thought about what is there, actually there, and so I listed those things. The walnut tree and the soil and it's black. But the idea of a story stayed with me because there is such a rich story in connection to how my husband's family came to this area and even with how their livelihood, I guess. So that connection and the connection to the metaphor of land being a story is really what drove my brainstorm and I knew I wanted to do more with that. So one of the things that you'll notice as Erin talks about her brainstorm and as Erin sort of demonstrates some of her photo edits is that the five themes of geography are really threaded throughout the process. So it's important to note how crucial that understanding is for students to be aware of and to be able to demonstrate as they thread throughout. So for example, as Erin's thinking about region and what are the characteristics of where she lives, that's a concept that's going to need to be pretty well ingrained in her head prior to taking her photos and to starting that brainstorm. So you can really see the content knowledge shining through in how she goes about editing and writing. Just as it's important that that content and concept understanding exists in geography, so is it with ELA and you'll notice some things that I'm thinking about with even extended metaphor, the idea that the land is a story. So your writers would need to understand that. If that's what you're working toward, this is a teacher choice, what you want to work toward and what you want included. Also thinking about figurative language, so not only seeing what it is, but sensory imagery. So the English content and concept, the idea of perspective and how maybe that shifts over time, that easily fits into what we're doing. And a teacher can a front load with that instruction to make sure that that learning happens, but also that the showcase of understanding of that learning happens. After I brainstormed, I knew I had to go back to the image as I wanted to further support the idea of a story. So not only was I literally writing that connection, but I wanted to have that representation through my image with the next photo edit that you see here. I was ready to write and my brainstorm led to this. Under the autumn sun, through the harvest moon written in the folds on black soil, the story beginning six generations before, from Norway to Northwest Iowa. So for more than a century, sweet plenty providing while feeding the world. Evening sky shadows the season's corn, blankets the walnut tree fence, pages turning, but this remains. My choices as a writer, it goes back to extending that metaphor. So you will notice that I intentionally included that language, pages turning and using the word story and even the word folds. And then I also was aware of wanting to keep this as it's something that's happening now it's ongoing, since it does continue. And that's why I chose present tense with feeding and providing. I'm also proud that I use figurative language. You will see alliteration with plenty providing in Northwest and Norway and so there's some choices that I made as a writer to add not only to that metaphor, but to create a mood and tone. So I think the combination of text choice and photo edit helps accomplish what I set out to accomplish. Thinking about Aaron's writing from a geography perspective, I definitely could pull out several of the themes. So the most obvious would be location, referencing her Northwest Iowa pulling in Norway. But from there, we definitely pull in human environment interaction. So thinking about the crops and moving that and feeding the world and being able to, you know, grow crops that are going to feed people in other locations. Beyond that though, I definitely see movement in the idea that she's bringing not only her family, but those traditions from Norway to Northwest Iowa. So hitting on three of the five is actually a great accomplishment. Depending on the age of your students and the background of your classroom, whether you are a language arts classroom or a social studies classroom, will really dictate how deeply you can go into those five themes. And we've actually found that hitting all five is a difficult task. So it might be an extension for students, but it's definitely okay to focus on one. Maybe if you're working with a younger audience or two or three, depending on your classroom and your needs. I would say that that's also true with the concepts and content taught in language arts that you can make adjustments and maybe it isn't that you want to have every kind of figurative language device used, but maybe it's a focus and application of one or two. But again, that's your design and your implementation choice. One of the most important parts of Out My Window is that opportunity to gain global perspective and share your work with an audience. So one of the things that we've done is create an open Flickr group where students or teachers can upload their creations and have an opportunity to really expose their work to that outside world. So this is where we start pulling in the opportunity to learn from others. I can see people's contributions to the community. I can learn from that and I can comment and interact with others in that way. In addition to the opportunity to participate in that dialogue and really show that perspective and story, we'd really encourage you to use the comment section in the Flickr group to give students an opportunity to clarify the learning that we might see represented in their design choices. So sort of those nonverbal things just like Erin and I did today as we thought about the rhetorical choices and the text choices and also the application to the five themes of geography. We made that thinking very clear to you. We would encourage you to give your students that same opportunity where there might be deep learning in their choices that you wouldn't otherwise be aware of. Just as sharing process is beneficial for a teacher to see what their students have learned instead of thinking, wow, that was just a pretty picture. It benefits other students as well and other learners by showcasing that process and letting others learn from another learner's thinking. Sharing the process is just as powerful as sharing the end product. The other avenue that we've created for students to be able to share that perspective is through the use of a hashtag, which is hashtag OMW1415 so that students and teachers can continue sharing work through social media platforms such as Twitter or Instagram. Just giving them another avenue to reach out to an audience to share their work and to really celebrate their creations and who they are and their story. That also gives us another opportunity to have students and teachers provide feedback to the other sharing. And Leslie and I are both really passionate about encouraging positive interactions through being a digital citizen. And what an awesome opportunity that this is that it shows not only that you can share your voice with others and others can share their voice with you. So it's a great model of using a digital platform for learning and in a positive manner. That cultural awareness and continued geography piece and appreciation of perspective is really going to come in through that feedback piece. So we really encourage commenting on any of the platforms because that's how we learn with and from each other is through that conversation not just through the intake of the photo and the poem itself. One of the most exciting parts of Out My Window is the opportunity for you as the educator or for the learner to tailor it to meet their needs. Whether they're curricular needs or creative needs, we encourage adaptations. So whether that is a first grade classroom doing it as a whole group or secondary classroom using individual pieces and creations as part of performance poetry or as a method of exploring art processes and photography. It's really about your individualization and what makes sense for your classroom. There are so many variations and I think as educators you know your class, you know your students, you know your content, you know your concepts you're trying to reach and so do make those changes to work toward those goals using this as a starting place and you never know what could come of this. We found in the schools we've worked in that so many students found this as an outlet for their creativity and perhaps discovered a life's passion through photography or through writing and then what a gift. So we think about some of the writing that we've seen that could be given to to family members. It could be a tribute and in a sense. So really we encourage you to think about what goals you're reaching, your content goals, your concept goals, your students and design around that. We're going to share with you. Yeah so that being said we want to share with you some student examples so that you can see some of the creations. More of those are available on our Flickr group so you can really dig into what that might look like and really start sharing with your students. But these are some of our favorites. Out my window as part of the Connecting Creativity Series transforms how we look at and teach geography by making it a cross-curricular venture to connect with a global community. Honoring student voice and perspective in the process of not just consuming but creating content also honors the power of the human story. Traditionally geography is not viewed as poetic. The emotion poetry can incite connected to geography's themes is transformative. Imagine if more students globally gained an appreciation for people and their perspectives for their human story. Imagine how that would influence empathy. For more information about Out My Window and the Connecting Creativity Series visit our website. We can't wait to see what's out your window.


Babe, babe. You ready? Almost. I know you were coming up here with that. You know it's going to be a good day, right? Why? Because my car's back. Oh, gosh, the car. It's going to be a really good day. But first, breakfast. Breakfast, yes, I'm so excited. You have no idea. Me too, I'm starving. So can we go? Yes, we can go in a second after I sharpen my lipstick. Sharpen your lip? Yeah, my lip liner. All right. Nene, how are you feeling? Tired, right? How are you feeling, Nene? He's always tired.  Say, because I'm a baby, and I could do that. He's not a baby. He's six years old. He needs to get a job. All right, guys, he's back. Any comments? I'm so happy that you have your car so you could stop worrying about it. I know. Thank you so much. You look nice in this lighting. Thank you. You look real nice. Very pretty. Very cute. Thank you. What's going on, guys? Welcome back to another video. If you guys are new to the channel, make sure you guys hit that Subscribe button. Today's video is about to be wild. Do you want to let them know what's going on? No, I don't. Don't? No. Not this lightest bit? No. So if you guys know or didn't know, I dropped my car off about two weeks ago in Orlando to get some work done. And I'll get into the specifics as to what I got done. But right now, the car on a nice day, because weather does play a factor on turbo cars. On a good day, I'm making about 750 horsepower now. How does that make you feel? Scared. Scared. It makes me feel scared, too. If that makes you feel any better. No, it doesn't. You're supposed to be confident. Oh, I'm confident. I'm confident that I'm going to be scared. All right, that doesn't make me feel better at all. No, guys, it's on the car. So I can switch the car from rear-wheel drive to all-wheel drive. Most of the time now with this power, I will leave it at all-wheel drive, because I don't want it to get too squirrely. And God forbid something happened. But we are going to be getting Janice's reaction today from taking this car from 500 horsepower to 750 horsepower. It's going to be a major difference. It's going to be great. I'm scared, too. I don't want to do this. Guys, the only reason why I am OK with being in this car right now is because we're going to get breakfast. I actually found this spot. I did. It's called Another Broken Egg. It's in Tampa, I believe. Lot of good reviews, so we're going to go and try that out. So I figure, you know, on the way there, why not get your reaction with the stuff that got done to the car? Yeah, so while you're being crazy, all I'm going to think about is chocolate chip pancakes. I'm not going to get crazy. This isn't going to be a driving crazy like part four like we've done in the past. I'm just going to do like a little poll here and there just so you can feel the power difference. I just want to get your reaction to the power difference, that's it. I'm not going to be doing the wild stuff that I did in the past. I'll say that for another day. But I do want you to hear the pops. So we're going to roll the windows out. Ready? So a little louder than before. Yeah. Noxious like my other cars. I'm not going to lie. My other cars were a little obnoxious because it would be like, pop, pop, pop, pop. It wouldn't stop. And I'm not going to lie. Back then I was immature. Yeah, you grew up a little bit. Just a little bit, but not even stepping on it. That's the thing. That's scary. That's what's really scary. I'm not stepping on it at all. It pulls so much more. Like guys, right now, for the people that don't know about like car stuff, I'm stepping on it like 25% of the way. Like 25% throttle. So justice at all. It's wild. I'm going to switch it to all wheel drive so I can start doing pulls because I'm still learning the car. Whoa, when did the camera get like this? I don't know. Anyway, yeah, I'm going to switch the car to all wheel drive so I can do some pulls. Nothing too crazy because I'm still learning the car. I just got it back last night. So I'm still feeling it out, still testing that power. But so far, it feels great. People's heads turn. Yeah, people don't. Either people really like it or people don't like it. People hate it.  It's going to be bad. The car's in all wheel drive now. So it should be better with pulls. Look hard, guys. What do I do? Don't say everybody. This is insane, bro. And the thing is, I have in Florida. That is so scary. That's only like halfway, 50% of throttle right there. I'm not even being dramatic. Like, guys, this is scary.  Like, that's what it feels like. It doesn't take a lot of time for you to just go.  I'm not a mess. I'm not a mess. This society, go have room. He said, yeah, guys, you could definitely feel the power difference going from 500 to 750. It's really significant. Yeah, that's actually crazy. I want to floor it, though. Like, I want to feel all the 750 voices. No, no, no. I've got to wait for it to open up, obviously. Yeah, don't do that again. I can't be around people. But it does feel safer, I'd say, in all wheel drive. No spinning tires and stuff like that. Even though, to me, that's fun, not the safest thing. But we'll try a little pull, a nice, decent, good pull, when we get to the highway. How do you feel so far, though? Scared. Still. Even more scared now. I don't know how fast it goes. Made it to the highway, finally, a little bit of traffic. But you're ready for a little pulley pull.   I feel like we just teleported. I'm speechless. I got to do that again. That one made my heart drop a little bit. That is scary. My god, that was like 75%. OK. 75%. Three, two, one.  Oh my gosh, you can feel the car. Like, the car is ready to be like. It doesn't want to stop. I freaking love this car so much. This is insane. Look at this bike flying by right now. He just got smoked. He gave me a thumbs up. Oh my god. That was fun. I hope, I don't know if you guys can hear it. You just took off though. Oh my god, I need a bike next. Oh my gosh, she's literally out. Yeah, he's out. He's gone. That's the thing with bikes, man. You can just be out through traffic easily. So for the fact, I want a bike so bad. So bad. A bike or a moped? Like a three wheeler. Well, I actually wanted a bike like to work my way up to it. Way less scary than cars, but everyone doesn't think so. You know what you're doing? Like, you're good on a bike. I don't know. Just, I feel like you should start with a three wheeler first, just so you get the hang of it. I wouldn't necessarily put you on a bike as soon as you get your motorcycle license. No, definitely not. But yeah, that's what I would start with. Yeah, so I'll work my way up to that, but I think it's in my teens because my daddy used to. He got to a park accident really bad, and he stopped. So I don't know. I don't know, it's a little scary to the clouds. Is it bad that I have anxiety right now? No, you should have anxiety, because this is the most scary stuff that you did. This gets so much attention, isn't it? Not out to BMW for being the best car. Janice, who let me buy this car? I don't know. Quite frankly, I don't care. Nasty, man. Oh my god. I got to take it to the drag strip to really abuse it. Why would you want to do that? Because that's the point. That is the point, my young grasshopper. Don't be calling me that. All right, guys, I'm going to chill out here. I think we've got enough reactions. We'll get through what the vlog now is. Taking it peaceful like a normal citizen. Now I can breathe. Yeah, we'll go get some breakfast and keep the vlog going. So how would you say overall, though? What do you think? I'm a little shaky. I'm a little shaken up. Power, increase, definitely noticeable. Yeah, definitely noticeable. OK. It's a lot stronger. Yeah, yeah, strong, yeah, yeah. We made it to another broken egg in a cafe. Do you know what you're getting? Yes, so I'm going to get a broken egg. And it's a chicken tender. But instead, I'm going to get it on bread, gluten-free bread. I'm going to add chocolate chip pancakes. Interesting.  I'm going to do my usual five-year-old stuff where I get chocolate chip pancakes. Period. Yeah, so we'll see how that goes. The real question with the chocolate chip pancakes is, am I actually going to finish it this time? Probably not. Probably not. I think I've done that maybe once out of my whole 25 years of living. I don't know why they just always fill me up. Guys, I did it. I feel like throwing up. But I did it. Good. All right, we were worried about pancakes, not potatoes. But you didn't finish your whole meal. I did it, but I finished the pancakes. When do you ever see that? Very rarely. Exactly. They're little baby pancakes. You just have to take it away from me, right? You just have to. That's why you got chocolate chip in between your teeth. I don't care. All right, so we're out of the breakfast spot. You want to let them know how you feel about the food? I think from now on, you should pick the spot, baby. It was good. It wasn't like it was nasty, but definitely not the best, like not even close. Yeah. So I've been craving some chocolate chip pancakes. And this is the only place that I saw that had gluten-free pancakes. So I was like, OK, we'll try it. And it was not it. The pancakes was dry. They were really dry. I had to keep sipping my sweet tea after every bite. Yeah, it was crazy. And he got regular pancakes. Gluten-free is already dry. So I was like, bro, what are they feeding me? Carb board?  And it wasn't toasted. It was just bread.  But it is what it is. I just learned my lesson from next time. I definitely won't travel over here for food. We drove 40 minutes for some dry pancakes. Literally 40 minutes. Isn't that crazy? Yeah, man. This is what I want. I'm going back to Jersey. Seriously. No, I'm not going back to Jersey. I'm joking when I say that. No, but Jersey has the best food. That's the thing that sucks about living out here is like the food has just not been it. Like there's nothing that compares to Jersey food at all. Like I literally miss going over there just to eat. I want to buy one of those. What the? The bulldozers. A bulldozer from what? You see it? Look how small it is. All right, guys, we'll catch you on the road or we'll make you back home. Nene. Nene. Hey. Hey. Nene. Hello. Why are you being rude to the Infinite Fam? Did you miss us? Boo-hoo. Oh, oh, oh. Is that your friend? Hmm? Oh, is that your friend, baby? Oh, that's your friend? Is that your friend? Guys, he loves this toy. He literally just like ripped it open right now. Look at him trying to get to the inside. Daddy's going to take him away from you. I can't. He is so cute. All right, y'all. So we are in Erlenai. It's finally fixed. I don't know if we told you that. It was all messed up, but. No, I showed them. Oh, you did? This whole screen was missing. They just replaced it this morning. Thank God. Yeah, this whole thing was completely off. You guys can see how dirty it looks in here. Show them this corner. Like, it just looks dusty, dirty. Look at this. Look at all these flies, all the webs right here, and all that. Like, that's insane. And it goes all the way up. You can see, well, maybe you guys can see, but there's.  Yeah, so I'm going to go ahead and power wash this whole thing, get it brand spanked, and new again, clean the way it was before that got ripped. But yeah, I think that's where we're going to end today's video with me doing some manly house things. Oh, yeah? So, yeah, let's close it out. All right, infinite fam. So that is it for today's video. We hope you guys enjoyed. And yeah, you got anything you want to say before we close it out? I just want to finish this already, so I can go, you know, joy ride in my car. Oh my gosh, guys, he is like dripping sweat over here. Man, it's high. It's 95 degrees out. Yeah, it is. But anyway, we love you guys, and we will catch you all in the next video.