I would like to add my thanks to those of the other speakers. Thanks to Sylvie Patry and to Martha Lucie, to Alia Palumbo and to the team of the Barnes Foundation for having permitted us to discuss and talk about Matisse while having many of his shadows nearby. Thank you. My talk proceeds from the research conducted for the catalogue of the forthcoming exhibition in Lyon, Musée des Beaux-Arts. The title of the exhibition opening beginning of next December is Matisse, Le Laboratoire Intérieur. And our research, of course, has been helped, as always, by the Matisse archives and George Matisse and Vanda de Ghibriand. On two occasions, 20 years apart, Matisse expressed his thoughts about his drawings, not only by means of words, as Antéry has just brilliantly exposed, but by means of a different kind of demonstration that is through the reproduction as a book of a selection of drawings chosen and organized, selected and organized by himself anyway. For the first of these books called Second Dessin par Henri Matisse, Fifty Drawings by Henri Matisse, published in 1920, he set himself up as his own publisher and gathered together the extraordinary suit suite of drawings in graphite for the most part or ink pen and ink from his model, Antoinette Arnoux, drawings created in 1919. The second book, Temes et Variations, published in 1944, would be a completely different story and expose a quite different poetics of drawing. It's, of course, the first of these two demonstrations by way of publications that I would like to explore today. Let's rapidly review the circumstances that led to this book on drawing. In 1918, after making up his mind to stay more than a few weeks in Nice, Matisse would spend some time getting organized, finding the workspace and seasonal rhythm that suited him. Winters in Nice, summers in E.C. or Paris. The first year, 1918, he used hotel bedrooms as studios and had no regular model. But in early 1919, having moved into the Hotel de la Méditerranée, he had a 19-year-old model, Antoinette Arnoux, a wheel-away thing with very light skin and light brown hair, as different as possible from the Italian type of Lorette, his model for the years 1916 and 1917. But with Antoinette, he established the same sort of working routine. He painted and drew from the model on a daily basis and took her with him in Paris and E.C. in the autumn, thus ensuring a continuity in his work that was essential to him, and which remained so with the succession of model till the end of his life. Wearing an astonishing musketeer's hat adorned with ostrich feathers and streaming ribbons, we have to believe was made by Matisse himself. Antoinette would pose for that important canvas, one among others, the white feather created in spring 1919. The painting was preceded on what I accompanied by an extensive body of drawings and at least three painted studies. This beautiful portrait still makes my references to Manet in its bold color choices, a solid background of an intense thread, and in the way the face is constructed through large, flat zones of paint. And also a few of these drawings, those close us to the painting. I choose to show you the plates in the book to stay, to keep the focus on the book, and also to address the question of reproductions, reproductions in this case controlled by Matisse himself. Another drawing, the one, another plate from the drawing that is in Philadelphia Museum of Art, and this one in the Lauder collection. In these drawings, Matisse strove to depict in detail the substance of things. That appears to have been something altogether new when compared to his work of the previous years. He tries to make palpable the differences in density, in texture between fabric, skin, hat, ribbons, hair. In his words, I quote, the feather is put there as an ornament, decorative, but it has also a physical presence. You sort of feel its lightness, the sort of light aeridone which moves with a breath of air. He told the Swedish critic Ragnar Hoppe in June 1919 regarding the ostrich feathers that decorate the hat. It was through an intense labor of drawing that he succeeded in appropriating both the grace of his model, her serious face, and the specificity of the various accessories of a costume. The white-brimmed plumbed hat, of course, another hat with flowers in other drawings, or the color of a finely embroidered Persian dress. That's the drawing in the Washington National Gallery of Art. Except, of course, when Antoinette posed simply nude. That's the plate 25 of the book. Many of these sheets are meticulously detailed as another drawing with a Persian dress in Baltimore. Sometimes more elliptical or even more in this plate. So you have here already the modulation between slow and fast, between a firm command of detail and a desire for arabesque. This modulation, this alternates between two modes of drawing which would afterwards characterize his works on paper. In fact, without yet systematizing the two-stage process that was necessary for the full expression of his drawings, was already in 1919 conscious of it. The further remarks collected by Ragna Hope during the visit to Kesa Michel in June 1919 provide evidence of that. I quote, you see here a whole series of drawings that I did for one single detail, the lace collar around the young lady's neck. The very first ones, well, go back. The very first ones are worked out minutely. Then I could simplify more and more and in the last one, when I knew the face as if by heart, I was able to translate it with a few quickly drawn lines into an ornament and arabesque without losing its character of being the lace and of being this particular lace. And at the same time, it's a complete matisse, isn't it? I work the same way on the face, the hand, and all the other details. And of course, I did a lot of movements and composition studies. I'm not sure he spoke about this particular drawings, but still. That day for overtly didactic reasons, or so that his Swedish visitor would understand that his canvases were not, I quote, improvised, haphazardly and hurriedly composed, and of course, he organized the private exhibition of sorts as Ragnar Hoppe tells it. Matisse showed him, I quote, a huge portfolio with close to 50 drawings, all for the same lady's portrait. On the wall hung a couple of oil studies for the same canvas. The completed one was in a commercial gallery. And of course, not already the number, 50. And that recurrent preoccupation was explaining and even demonstrating in reaction to the accusations of apparent ease of which Matisse's works have always been the object. The writer and gallery owner, Charles Vildrak, would be favored with the same demonstration, but it Matisse's absence. That was in late May of very beginning of June 1919. And Amélie Matisse opened to him the studio and also opened for him the portfolio of 50 drawings. Soon afterwards, Vildrak wrote an enthusiastic letter to Matisse on June 4, 1919, I quote. Madame Matisse showed us, showed me, sorry, the series of drawings that were used for this portrait that is at your studio and which is amazing. I don't think anyone could be better informed about your art and your labor or could better persuade himself that you are achieving the truth of art and with the utmost probability than in looking at these drawings, their evolution and the realization of the painting to which they lead. The public should know of these drawings. And of course, not already that mention of utmost probability. I go back again to the drawing in Philadelphia, Museum of Art. This mention of utmost probability that a piece has a subliminal illusion to anger which the style of the meticulous drawings of Antoinette might suggest at first glance. Despite that obvious reference, Matisse's relation to anger and especially to that word probability is not so simple. For in a note published in 1939, Matisse will admit his perplexity about if not his disagreement with the meaning of the famous statement engraved above anger signature in the little monument dedicated to him at the École des Beaux-Arts in Paris. Drawing is the probability of art. And for Matisse, it seems that that word probability, a moral assessment, essentially has no relation to drawing which in his view has nothing to do with honesty or with a purely superficial fidelity or resemblance but has to be related with truth, with a freer, more profound quality of truth. And though Matisse did admire anger practice as a draftman, it is so less for that supposed probability than for anger gift for the arabesque. Was it Vildrak's suggestion that decided Matisse to publish a series of 50 drawings? The public should know of these drawings, wrote Vildrak. In any event, Matisse acted quickly. And a few weeks after having received the Vildrak letter, on July 19, 1919, he received from the printer Victor Jackman. He received because he had asked, of course, three sets of proposed specifications for a book. And at the end of the same summer, on September 4th, Jackman sent a definitive proposal where most of the technical elements of the book were already spelled out. The book would have 20 pages of text, 50 élio gravure, that is reproductions of drawings, some of them in pencil writes Jackman. See proof, he has already tried the élio gravure. And the others in pen. Matisse had therefore already decided on the number of drawings he would like to have in the book. And that was certainly based on the content of the portfolio, shown to Ragnar Hopper and then Vildrak. The handmade paper, Van Gelder Holland White, would be specially ordered. Also stipulated was an original etching on colored paper and a cover of cream simile Japon paper with letterpress printing. All that for a print run of 1,000 and at the total cost of 48,500 frags. Note that the final cost for the publication assumed fully by Matisse would rise a little more to 52,000 francs. I try to check and it's about the same amount in present-day euros and a little more in dollars, so about $60,000, which is not an unsubstantial sum, I think, for Matisse. The stages of manufacture of the book proceeded but slowly, especially since Matisse returned to Nice and was later absorbed in his work for the sets of the Song of the Nightingale. Jack Ma worked from the original drawings, which were entrusted to him one series at a time. In late December 1919, Matisse still had five more to send him. He was anxious to be done with them. He writes to Jack Ma, I quote, I am longing to be satisfied with your proofs, to be done with them and move on to something else. He wrote that on March 1, 1920. So all the process was rather slow. Jack Ma was worried on his side as well because the price of the raw materials and the workers' wages had greatly increased since the submission of the estimate as a result of inflation in this post-World War I years. In the meantime, in early summer 1920, Matisse proposed that Vildrak write a preface. He wrote that during the summer and the text reached Matisse on September 1, accompanied by a letter. Here is, I quote, Vildrak, here is the little preface. I wanted to indicate as briefly as possible why these drawings were important and the new preoccupations on your part that they appear to show. I did not want to insist on their quality with all sorts of common places generally used in that day. It seems to me that to praise or mainly to judge the work in a preface is presumptuous and insults the audience, especially when the drawings will generally find their way only into the hands of people who know how to look at them. Vildrak's letter ends with a post-script that is not without interest and which takes us back to Angre. I quote, that strange poetry borrowed from the past that Baudelaire spoke of regarding Angre imbued with the antique style is also the archaism of feeling that fills the work of a host of present day painters who capture, who capture the style from somewhere besides life. But I did not want to say so there in order not to contrast Matisse with his little pals, C'est Petit Camarad. Before commenting this document let us consider briefly that term, PJ, a term of art still in use in workshops in the early 60s. It means, I don't know exactly how it could be translated, it means it's a familiar word, it means attraper to capture, as for example a resemblance in the case of a portrait, or to pick up a knack, a technical trick, or in this case to capture the characteristics of a particular style. Vildrak seems here to be contrasting the proponents of a neoclassicism laboriously recomposed from dead documents and was result as also dead. To contrast that to Matisse and his way of working and looking. Matisse may invoke on his side the foreign poetry of Angre but he never loses sight of the living presence of his model and of a carnal and physical presence. Perhaps it's possible to detect here in Vildrak's words a discreet illusion targeting among other little pals, Picasso, with his new classical and ingresque manner, post-Balirus after he had been to Rome and made the acquaintance of Olga. That ingresque manner of Picasso had become widely known, especially through two recent exhibitions of Picasso's works at the Galerie Léon-Rosambert in June 1919 precisely and at the Galerie Paul-Rosambert in October of the same year. The two exhibitions were heavily covered in the press, which highlighted the reference to Angre, whether to praise Picasso's virtuosity or to mock his facility as a pasticheur. As one may expect, the harshest commentary came from an old painter friend, an old camarade, Braque, in a letter to Canvaler on October 8, 1919. I quote, As for Picasso, he is creating a new genre known as the Angre genre. What is truly constant about that artist is his temperament and Picasso remains for me what he has always been a virtuoso full of talent. The dates need to be taken into account, of course, because Picasso had drawn ingresques since a number of years, but it had small doses, beginning in January 1950, the famous portrait of Max Jacob in the Musee Picasso. But at that time, without abandoning cubism, alternating the cubist mode and the ingresque or realistic mode. As it happens, a comparative exhibit dedicated ago, with a few, where a few of the 50 drawings of Antoinette were set against exactly contemporaneous portrait drawings of Olga. I'll show you some of these drawings, Picasso Newed in Turban, 1919, or a slightly earlier Olga recombinant, Olga Couchier, Musee Picasso, set against a Matisse drawing from the 50 drawings in the Pierre Matisse Foundation in New York. Another Picasso, Olga, 1919, and contrasting with a drawing, Matisse drawing from the 50 drawings, plate 5, 1919 also. So, that was an occasion to evaluate on the basis of evidence, of this evidence, the distance between the mass produced, automated elements, characteristic of the classical turn taken by Picasso in 1990, precisely. That's the portrait of André Derin, or the one, the portrait of Diaghilev, the two in Musee Picasso in Paris. These works have been analyzed perfectly in Rosalind Croce Picasso pastiche, and they display the sureness of a continuous line, sort of filled the fair, hard-on line, that appears to be traced, and which perhaps is traced either from a photograph or from an older drawing. It was possible to see in this exhibition, or we can appreciate, looking at the 50 drawings, it's possible to appreciate the almost maniacal and obviously more laborious attention of Matisse, the corrections and antimony, sorry, with which Matisse gave himself to depict, down to the slightest thread of embroidery, down to each individual wisp of ostrich feather in the plume-hard drawings, down to each of the model strands of hair and even lashes in order to better draw a Matisse. Therefore, rather than being a birthday present that Matisse gave himself the year in turn 50, as John Elderfield has suggested, this publication, 50 drawings, at the author's expense, ought perhaps to be seen as another episode in the friendly but merciless battle that Matisse and Picasso engaged against each other, and perhaps a way for Matisse to mark out his territory. I too am a draft man. I would be affirming in this book I too look at Ag and the masters, but of course never with the coldness and ironic distance of his little pal Picasso. Finally completed, the book was published on September 18, 1920, but not before Charles Vildrak had made the last intervention, giving Matisse at the last minute, just before printing, a regular lesson in illustrated typography or how to typeset the title and cover. This is the letter of Vildrak, belonging to the Matisse archive. The book was distributed privately and its success was limited, though the drawings themselves, as Vildrak anticipated, were appreciated, gradually being dispersed among the most picturesque art lovers. Their power of seduction is commensurate with the mastery of the drawing techniques, the sureness and even virtuosity Matisse displayed. Beyond that, a diffuse emotion emanates from the drawings. The beauty combined with melancholy on the face of the very young Antoinette is rather poignant. That's another drawing in the Bluthroman, as early as 1919, along these qualities, along with a very distinctive quality of light as in the place from the drawing in the Fogart Museum. And even at times, a strangeness, as in certain moods with spindly members, rather strange, which brings to mind some German quality of the strange in Matisse's work. If Matisse well-known article Comanjefemé livre, How I Made My Books, opens, of course, with a magnificent malarmée published by Esquira in 1930. It may be noted that 50 drawings, Sainte-Déceint par Henri Matisse, is objectively speaking the first book he composed, the first in which he was completely involved in content, the elaboration, and in this case, even financially involved. No doubt Matisse was not fully aware at the time of what the entirely original architecture of a book could be, a relation between text and image re-invented each time. But he selected and distributed each of the 51 plates, also the proofs and printing with his usual meticulousness, demanded one kind of paper rather than one another, and finally selected a certain grey for the cover papers. He also chose rather paradoxically to dig up a beautiful little drawing from 1906 for the inside cover, and finally, specially for the book's frontispiece, he did an etching that depicted the face of his daughter Marguerite. By way of a discreet dedication, Marguerite had just undergone the last and decisive surgery that finally liberated her from the black ribbon, a distinctive sign that had previously been present in all her portraits. And perhaps you will find, that the Marguerite frontispiece is the only portrait and very moving portrait among the whole series of exquisite Antoinette studies. Thank you very much.


Rick Ross is also one of the latest celebs to purchase a private jet taking to social media recently to show off his Gulfstream 550 as well as the private jet hangar where he parks a ton of his exotic cars. Built in 2012 Ross reportedly purchased the jet in April 2023. Since then the aircraft has undergone a makeover by Duncan Aviation and now it's worked a custom all-black look with Ross's name stylized as Rick Ross emblazoned in gold letters on the side. The tail features the logo of the Maybach music group, the record label established by Ross in 2009. It's not known how much he paid for the G550 but similar jets typically cost in the region of 15 to 20 million dollars depending on their age. Over on Instagram Ross recently shared a series of photos and videos of the 18 passenger plane. Ross thanked Duncan Aviation for the plane. Five billion dollar play Ross said in a video taken next to the plane, who want to go around the world with Ricky Rosé? I'm letting you know right now.


Ka mwa ni muna tWhu na mawekumata, ni hiniha mitaandu na mawekumata. Shei isa mawekuma na mtimenda, hiniha mta into milibili na mngi janiha mhaniin zi mawekuma na mawa. Miha kwa kutisha, ni kutisha, mawekuma kanatika, mawekuma. Na vizakitaa, mawekuma, mawekuma. Ndajkisha m 같은데, mawekuma na mngi tia mwawekuma. Because so many people come to work and to learn how to organize and planning operations in my country. These are just some of the benefits that one gets in attending these type of sessions. The problem of counterfeit in amivia is relatively under control, but then in the true sense of the word it is a concern, judging from the operations that we had We had, in particular, Operation Tosha last year and this year we had Operation Wipeout. The successes that we had from those operations, those are just indications that indeed issues, especially in the branding issues counterfeit in terms of Nikes and Adidas and what have you, there are a lot of outlets, a lot of shops that are selling this type of items on the market, on their shelves and if you really look at that one, especially with Operation Tosha the first one, it's an indication that there is a problem somewhere and then as the police in Namibia have the challenge to unearth this type of problems to make sure we bring them to the surface so that we can rescue and help individuals who fall victims to this type of issues. The type of support that we get from Interpol which falls within the co-functions of Interpol is really co-function number three and four if you really look at the operational support from Interpol. It's quite great. In most of the challenges that we are infounding, Interpol is right there to assist us with provision of databases and then the last co-function of Interpol the provision of capacity building and development of law enforcement. So these are just two kinds of assistance that I can on but then even the provision of secured services from Interpol these things are right at the door steps of our police. Interpol provides technical support, it assists in terms of providing resource persons. We had, especially with operation atosha I remember very well, we had experts coming and capacitating showing officers on the ground the difference, the different type of items on shelves and in that process the police is capacitated and developed. They are able to investigate cases thereafter because of the assistance and support that we will continue to enjoy from Interpol.


Hello, I'm doing a pause during the production of episode 34 to inform you about how it is going and yes, this is the first time I do a video report about the production report. So I will have some little quirk here and there but it will improve this time and if you are on this channel for the tutorial or for the learning content, you can skip this video and I will do a special video thumbnail so you will know what content to skip. But let's move to the production report. This video contains visuals and ideas about the next episode of my webcomic pepper and carrot. It doesn't contain what I would call spoilers but if you just want to read the comic and keep the full surprise for later, I advise you to skip this video. Thank you. So here is a little recap to give you context. In the previous episodes of the webcomic, Pepper finally got her diploma and experimented her new power on a battlefield. Pepper is now finally ready. Remember, it was clearly ununsaid by her godmothers at the end of the book 3 after she does her first chain reaction. This situation put a big closure on the main story as I designed it so far. Pepper needed to grow as a legit witch and it's done now. Yep, I'm proud of Pepper, she grew so much. So I knew I would have to start for the next episode a totally new story arc for the series. For that, I decided to focus on the introduction of a new major character, Wasabi. Wasabi is the godmother of one of the friend of Pepper named Chichimi and this character was already existing in the Viki and in the fanfictions around pepper and carrot since years. So it was time to insert her as part of the main story. She was just designed to be the main antagonist for Pepper. Yes, only that. So not a little character and a very big challenge. Unfortunately, it wasn't the best timing for writing such a major episode. By June 2020, I decided to finish the project I had on my hands for years and this project was the self-published book project for Pepper and Carrot. So it took me five months of production to complete it, but it gave birth to the art book and a new refreshed website with a new eShop page on it. I also started later to work on many other projects that felt really important to me like PeerTube and Mobidizon. So all in all, I haven't made a lot of Pepper and Carrot episode in 2020, but I'm still very proud of all the things I did this year. Meanwhile, I started to multiply the scenarios for the new episode. My two main attempts were a shared on the Pepper and Carrot beta reading thread, but I wasn't happy with them. The first version focused on Pepper trying to get a new job and Wasabi was acting as a super administrator for managing the witches. The script wasn't really well understood on the beta testing thread and it was also boring and confusing. It ended we wrote a lot about it. I then continued to write more synopsis. One of them was Pepper breaking in the temple of art with Chichimi, more precisely in the library at night, to discover some secrets about her school. Because I really like the cinematographic cliché of let's break into a library at night. This one was honestly a good candidate. I had a full storyboard ready with all speech bubbles and dialogue, and also all the main concept art done. I even made progress on getting color red page for the start of the comic around September. But I quickly realized the story was leading to nowhere on the long term and the setting of the temple of Chichimi and the introduction of Wasabi was just another pretext for a comic strip joke. So after that and more scenarios cancelled, I understood that introducing Wasabi would be a bigger task than what I thought. Adding Wasabi would affect the long term of the series and its core structure. My previous way to write episode wasn't working anymore. It was based at each time on a tiny comedy comic strip and then later rapid into the setup of a fantasy adventure. Instead, now after adding a villain to the story as Wasabi, the reverse started to work and the goal of each episode started to be about making progress for a fantasy adventure. But don't be afraid, I'll keep a strong comedy tone to the series of course. Once I realized and accepted this new evolution for the way I've write my episodes, I could write episode 34, but also 35, 36, and all the guideline until, well in fact, until the end of the series itself. I was really surprised. But for a reason you easily understand, I decided as an author to protect this full story of pepper and carrot and never reveal it publicly. All in all, this big writing process took me a very long time and it was hard also to take decisions now about what I'd simply have to draw over the next years. It was really, really hard. And even harder because writing doesn't create a lot of visual material. So I had no picture to post on social media to keep you updates. So that's why I was silent for a long time on this project. Right now, by the end of January 2021, I clean up my storyboard and I'm halfway inking the episode. It's a really long episode with over 10 pages where each pages are made of many panels. I'll not reveal the story of the current revision to not spoil what I do for it. But by the first pages, you'll understand it happens at the graduation of Shishimi and Pepper joined the celebration just after the end of the previous episode. It starts with a crash on the crowd and making the layout and the drawing for this scene was super complex. I struggled a lot with the production process and started over my pages several times to redraw the panel and improve my design. I tried speed painting them. I tried painting over color red sketch. I tried multiple widths of inking. Then I made two coloring tests and all of this to realize my inking was bad and pushing me to redo my drawing and inking. Yes, I probably inject a little bit too much work into that. In final, I found a way to ink my drawing with a soft brush and I learned to work more on the precision of the proportion and the dynamism of my design. I keep working on a light gray color red background to preserve my eyes from the too violent white of the monitor and I rarely use pure black for the stroke. This method is convenient also because I can see clearly the boundaries of my borderless panel and borderless pitch bubbles as both of them use a flat white color red background. This type of soft painterly inking also allows me to do many layers and paint over the inking using some time values presets. This way I can add little shadows or texture and increase the modeling of my forms to test visually my designs. Once the artwork is done, I just adjust the level of the picture to remove the gray and contract the line out back. I achieve this way a very soft painterly inking as you could see recently on my artwork and letting me room to paint over later with colors. This is not a new technique but I'm just revisiting a process I had on episode 21 the magic contest and episode 32 the battlefield. I'm just trying to push it to a better rendering. It's a solid process with a big priority on the drawing and that's probably where all my weaknesses are so it's a lot of work. Yes it's a lot of work but also a very good opportunity to improve my design, learn to draw better the character as I have them acting in my imagination. And I think all my research comes from this frustration. I really would like to make pepper and carrot episode looks as I imagine them and not just as a close enough approximation of this type of rendering and for that I still also have a lot to learn and I'm simply on the way. So that's all for this production report in video about episode 34. It's not a full production report I still have a lot of work to do on this episode and it will not be ready until weeks. So I want to thank a lot all the supporters of pepper and carrot for their patience. I'm really taking a lot of time on this episode and I know it but now you understand why and I hope it will be a good episode. So thanks for watching. If you have any questions, any comments about the format, you know what to do and I'll see you on the next video. Bye bye.


First of all, I'm working really hard every day and I'm so happy to figure out a few things on my defense. I mean, every practice, every day, I'm working with Mendy to follow, to fix all the little things I've been working during the OX season. And I mean, I feel good. I mean, I feel happy. I feel a little more confident right now. And now I'm just trying to play and enjoy and try to do my best. I mean, it's really important to me to be in really good shape. I mean, this year we played 162 games. And personally, I just want to play all the games. I mean, be healthy all year. And that is how I help my team in any opportunity they have so far. I feel really good. I prepare myself every day. And I think it's mentally, I feel like 200% right now. I believe in myself. That is a big point for me.  Don't do too many errors. I mean, the routine is really important to me right now. Every opportunity to get to make out, try to make out and don't make too many mistakes. I mean, error is part of the game. I understand that. But mentally, right now, to me, it's don't do it. So I'm just working really hard to prepare myself in each opportunity I have. And also, every day during the practice, I create really hard situations. I mean, and try to make a really easy thing. I mean, prepare myself before each play and try to do. So when I'm practicing like that with Mandy, it's a little bit easier when I'm back to the field and real games and when that play is coming and just prepare myself before. So that is the way I feel a little bit more confident right now, more comfortable and just try to play. For sure. I mean, last year is tough year for everybody. I mean, during the back situation last year with Kobe, we stuck like three, four months and literally after three weeks, we started playing. It was a little bit hard for for players, especially to me. But yeah, now, I mean, we know we play full season. We have a regular off season, a regular spring training like a month. So the way is we prepare really well. I mean, mentally, I feel really well. I know it's not it's nothing happened. I hope in a few weeks. And I just I just prepare like every year I prepare. I mean, be be focused in everything during the defense or hitting. And that way, I feel better. I just prepare myself really well. Just try to do my best in each practice or each game and just try to prepare to to be ready to the regular opening opening day and opening season.


From the Cosmopolitan Hotel in Las Vegas, Nevada, it's the Cube, covering Koopa Inspire 2019. Brought to you by Koopa. Welcome to the Cube, Lisa Martin on the ground at Koopa Inspire 19 from the Vegas. I'm very pleased to welcome not Bono, not Sting, it's Chandar. The CMO of Koopa Chandar, welcome to the Cube. Lisa, thank you, it's great to be here today. This is a really cool event, it's, procurement is sexy. It can be so incredibly transformative to any organization. I loved how the last two days, what you guys have done is a great job of articulating Koopa's value in procurement, invoicing, payments, expense through the voices of your customers. And I think there's no better brand value that you can get. Absolutely. Tell us a little bit about your role as the CMO of Koopa and marketing in a fast growing company with a product that people might go, I haven't heard about. What is that again? Yeah, it's a good question. I think, you know, if I look at it, my role is at Koopa, especially for Koopa, what's interesting about it, as you said, is that every company makes money, every company spends money. So invariably, Koopa can be used across a set of different companies, one from the Golden State Warriors to, you know, Procter & Gambo, to the Lukumi and Lymphoma Society, across the board. And then from our perspective, you know, the holistically, we're looking at business spend management, different aspects of spend. You said procurement, invoicing, expenses. So my role is to build that marketing engine to get the flywheel effect, the first you drive awareness, all marketing starts with awareness and you said people haven't heard of it. And it's the first to drive awareness in a very thoughtful way to the right contextual community we want to go after. And to drive acquisition, we drive close synergies between sales and marketing to ultimately drive pipeline and win rates and ultimately deals. And then very importantly in today's world is to drive the advocacy. Yes. And get your most passionate customers to evangelize about the brand so that you create the flywheel effect of awareness, acquisition and advocacy. And that's really what my role today is. And I love how I read an article where you call that the stairway to marketing heaven. So I thought, I wonder if you're a guitar guy. But you're right, it's have to drive awareness. But in a meaningful, thoughtful way, especially today with all the technology, we wake up with it, right? It's our phone is our alarm clock. Sure. We are bombarded by ads if we're on Instagram, you know, following our favorite celebrities or whatnot. We and it's scary when they have kind of the right context, but it has to be thoughtful. We need to know our audience. Totally. So you describe this stairway to marketing heaven as you just mentioned, it's awareness, it's acquisition, which is key. But I feel like a lot of companies, don't forget the advocacy part, but they don't invest enough in it. That's a great point. Because that's the best sales person for your technology is the people that are using it successfully, right? Totally. Totally. Yes. So in fact, you know, there's a study about a couple of years ago which looked at how balanced the vote is in terms of spend in pre-sale versus post-sale. And it's interesting that 87% of B2B marketing spend was pre-sale. In other words, only 13% of people was investing in retention marketing, adoption marketing, you know, customer marketing, and you know, this whole advocacy marketing, right? And in today's world, that doesn't work because you've got to balance the vote because to your point, you're getting in a pure bond work where your existing customers are your best sellers and the more, and prospects who have all the buying power today are looking to your existing customers to guide them in their purchasing decisions. So as an organization, if you balance the vote, then you're going to get the flywheel effect going for you in terms of driving the right advocacy across all channels, just not your own channels, your own channels to ultimately drive that acquisition going. Do you think that's actually more valuable? Because it's one thing to have on your .com site, your social media sites, all these great things about your technologies, et cetera, coming from customers or from product experts, from influencers. Talk about the value as technology advances so much and we are influenced by so many other channels. The value of the earned channel and that peer-to-peer relationship. Yeah, I think, as I say, that every mom says her baby is good looking. But in software, not every baby is really good looking. Which means, if you take that analogy and extend it, if you're coming to your own channel, invariably you're going to see some great customer videos about your product. You're going to see some great endorsements and testimonies. You're going to see some great quotes about your product. In reality, there's no bad news about your product on your own website, on your own channel. But the reality is, there are some people who might have different opinions. If you go to Glassdoor, no company gets a 5.0 on Glassdoor. If you take the same thing and extend it to earned channels for advocacy, folks like G2 Crowd, Trustradius and B2B, for example, are becoming more relevant today than before. Because two things. One is 87% or 85% of a customer's journey is self-directed. That much. That much and a forester has anywhere from 60 to 80.  And in that process, they're looking to move these earned channels as validation of which ones to go after than just your own channels. So that's why we've got to balance the boat and distribute our advocacy spend dollars across both your own channels and your earned channels. And that's really important for you. And the flyby will pay off for you over time from that perspective. It will. And that sort of seems like a lot of the things that Suzy Irwin was talking about to the audience earlier, that's common sense is, why is it that you see these marketing budgets that are so heavily weighted towards just getting awareness, getting them customers acquired and then not thinking about retention marketing and account-based marketing? I'll tell you why. I'll tell you why. I think any smart CMO will conceptually agree with you. Nobody is going to say, of course it's not important for me to get advocacy. The challenge comes in terms of how that marketing department is measured. What gets measured gets funded at the end of the day. That's a good point. And reality is, a lot of these B2B companies are still measuring marketing based on what's the pipeline you're driving and what's the top of the funnel metrics that you're driving. In reality, that's a little bit of a skewed thing because then if that's what you're being measured at the board level, at the executive level, then guess what? All your funding is going to go towards that. But really the true measurement of marketing is about one is about, yes, you have to get pipeline. You have to influence win rates in the bottom of the funnel and that's where product marketing comes in. But as importantly, you have to look at the number of brand advocates you create and lifetime value of a customer. Yes, CLB. CLB. And it's really, really, customer lifetime value is so important because in a SaaS business, ultimately, the Mufasa metric, you know, I'm a Lion King fan, the Mufasa metric is really lifetime value because if a customer stays longer with you, pays you more and is shouting from the rooftop, then invariably that SaaS business is doing well. And that's why you have to balance the board in terms of post-advocacies, post-acquisition spending to advocacy as much as you've done in pre-acquisites. When you came into Koopa a couple of years ago, have you been able to shift those budgets because you're able to demonstrate the value that that advocacy piece generates? Absolutely, absolutely. And I have a progressive, very progressive thinking CEO who partners with me on this too. So we've been absolutely able to do that. In fact, what we're trying to do at the end of the day and most software companies, you know, the real goal should be creating a tribe, right? In technology, you know, you have to create a tribe to be a Titan and it's just not about the capability, it's about the community. And that's really what we're trying to do at Koopa is to create the tribal community feeling. So this community is bigger than the brand. It is about the community itself, learning, sharing, and growing with each other and being successful and we're just fostering that. So from that perspective, if you look at this conference and the investment we're making here, some of the programs we're doing in terms of advocacy, what we call spend setters, et cetera, is all about that community tribal feeling and go establish that, right? So I, you know, to use some, you know, inspiration from our consumer brands, right? If you really think about it, people don't buy what they want. People buy what they want to be. So let me give you what I mean by that, right? What I want could be a bike, could be any motorbike, but what I want to be could be part of a very special community and that's why Harley Davidson is successful, right? What I want could be any, you know, stationary bike today, but what I want to be is part of some cool community, modern community like Peloton. That's why Peloton is successful. So similarly for us, what I want could be some spend management software, but what I want to be is part of this community, this cool club, and that's the feeling you're trying to create in the post-acquisition cycle.  Yeah. And one of the senses that I got yesterday when Rob was talking about it.  We think about that in terms of, you know, like a developer community or something like that, but where Koopa is now managing $1.2 trillion to spend through the platform that every other business that's using Koopa gets to benefit from its customer-centric, its supplier-centric, but it's about applying the right technologies, AI, machine learning to all this data so everybody benefits. That's right. And one of the, you know, the interesting aspects of community building is one aspect of community building is, you know, the Mark Pennyhoff at a great, you know, evangelistic marketing was a way of community building. He would come and, you know, really evangelize and this is where we're going and you all need to come with us. When I was at Marquero, it was interesting community building was through more educational marketing and doing it through this kind of, you know, I'm going to educate you to thought leaders share. Another good way of community building is through product intelligence, which is community intelligence. So collectively, the sum of all parts are smarter than the parts themselves. Yes. Right? And Rob has a great line which says none of us is as smart as all of us. And the fundamental community intelligence offering is based on this first principle. So example that if I'm in the community of Cooper customers, the next customer is smarter than the previous customer because the collective intelligence grew, which means I can then go benchmark it myself like I give an example this morning of USO, the company that provides services to the United States troops. And when Rick Quaintan's at the USO benchmark himself using community intelligence, which is the rest of the community, he realizes that his invoice cycle times are seven times lower. So that kind of intelligence is extremely beneficial and invaluable to companies. So that's the value of the community is providing the collective intelligence. Like Waze is a great consumer example, right? Like those of us who use Waze for traffic know that it's all community driven and each one of us is smarter because we're collectively using it. It's the same concept in applying that to B2B software. So as we see you mentioned the over 80% of the buying decision is self-directed, whether we're buying a car or Coupa software. Did Coupa kind of foresee that in the last decade to see we're going to have to go to a more community driven collaboration because the consumer of anything, any product or service is going to be so empowered, we need to, because that's part of the Coupa foundation, which we don't see a lot. It's companies that are 10 plus years old. Yeah, it's right and I credit to Rob for his vision for this is because I think early part of the company he wrote it in the contracts that the company can benefit. Collectively every company can benefit by being part of this community. And the fact is that it is aggregated, abstracted, there's no information that is sensitive, etc. But the fact is we all can collectively benefit because there's a great vision of Rob and the early people and that's benefited us because the benefit is really over scale and time. Now we have $1.2 trillion. That's significant in each different industry to get that intelligence. And that is one of the other reasons we launched our business spend index. It's called spendindex.com where we can use the billions of dollars spent in the community to provide a leading indicator of economic growth based on current business spend center. You kind of think of ADP as this payroll, it's called ADP payroll thing that comes out and GDP on the gross domestic product report comes out. Those tend to be rear view mirror lagging indicators of intelligence to provide a windshield, a leading indicator of where the economy is going. So there's so many different use cases benefiting based on spend you're doing as well as where the economy is going and all this is based on the intelligence. It's so powerful because to your point it's not, you're not looking behind, you're actually exactly able to be looking forward. So with all the announcements and the great things that have come out with the AWS expansion, what you guys are doing with KUPA Pay, what are the advantages of businesses that are still writing paper checks or the fact that a lot of companies have 10 plus banks that they're working with. There's still so much manual processes. You must just be, the future is so bright, going to work shades with KUPA but what excites you about what you guys have announced the last couple of days and the feedback that you're hearing from your tribe? I think there's two kinds of things, right? One is continue to set the innovation agenda for the industry because really you have to look at every customer on their unique journey of maturity and maturation so we have a very thoughtful what we call maturity index, the business management index, whereas you're saying some of these customers, for example, you mentioned maybe in the first stage of this maturity where for them it's just getting automation going from paperless to going from paper to paperless could be the first step but as some of the customers might say that I've gotten there but I want to get to the next level of sophistication to orchestrate these businessman processes. What's exciting for us in the feedback is we're creating product capability across this maturation journey for our customers to make them successful at each of those places and KUPA is one example of that and whereas some of the other pieces we talked about, we announced about some of the community offerings that we did also is on that so that's one exciting piece the other exciting piece that customers tell us at this conference is foster platforms for us to engage with each other, learn from each other, share from each other and grow with each other so even stuff that Rob talked about which is sourced together this concept of customers coming together to drive a sourcing process and again the collective intelligence of the community that we're getting very very positive feedback from our perspective and ultimately Rob is really good saying that it is not about customer satisfaction it is about customer success it's a delineation there a customer could be very satisfied with you but it may not be necessarily success and we say it's not about satisfaction it's about success and by creating this innovation cycle and then having a post implementation process that's driving true value that's really how we drive customer success and something that I've heard over and over as I've talked to a number of your customers yesterday and today is how much they're feeling KUPA is listening their feedback is being incorporated they're actually influencing the development of the technology that was loud and clear the last two days yeah I think there is Rob talked about the number of features that have been influenced by the community 300 plus in the last 12 months 300 plus in the last 12 months this is concept of two years one mouth and listen, learn and innovate and that's kind of the philosophy here but it's a right mix of listening to customers learning from them and getting the right input from them for driving innovation as well as having strategic vision as the market is going and having the right mix of those to provide the capability to customers wow you're on a rocket ship Chendar it was great to have you on the cube you'll have to come back? yes Lisa absolutely I'll come back awesome thank you so much for Chendar I'm Lisa Martin you're watching the cube from KUPA Inspire 19 thanks for watching


Welcome back, in the last segment we gave the definitions, the complete definition of our string class. Now we are going to use that first to solve the problem with which we started this lecture. So the problem was how to store many names of varying sizes. So here is the program, so we are going to read 100 names and store them. So for that we are going to allocate an array of strings. So it should be instructive to just see what this actually does. So in the main program this is going to create an array of string objects. But let me remind you that a string object is really very simple, it just contains a single PTR. So this is the PTR. So we have 100 PTRs really because each object just contains one PTR. So 100 words will be allocated in the activation frame and these PTRs will be null by the way at the beginning. Then to do the reading of the names we are going to use this buffer of 80 characters. This is just meant to be a large enough number. And now we are going to read each of the 100 names. So in this loop iteration we are going to do that. So this time let us say we use the safe alternative but this will also allow us to get in the spaces. So this will cause the name to be read from the keyboard, new line terminated into our char array buffer. And of course inside the buffer it will be stored with a null termination. And then we are just going to assign names of i equal to buffer, that is it. So if you remember what is this, how is this going to work, names of i equal to buffer. So this is going to be viewed by C++ as names of i dot operator equal to of buffer. And if you remember we defined this operator equal to, a minute ago, an operator equal to which takes a char array as argument. We defined that a minute ago. And so what that will do is it will allocate some space on the heap and it will start pointing this pointer to this and it will copy whatever was in the buffer into the space. So in this code we are not mentioning things like how many characters did we read into buffer. But all that will happen as a result of this assignment. So that is it, that is the code. Now you can use this names array however you want. You can do whatever you want with the names inside that array. So again I just want to point out that we have solved the problem that we started off this lecture with. The number of bytes used for names i will be equal to 1 plus the number of characters. And incidentally this was exactly the solution we got. So even in the solution that we got very early on in the lecture we had the same situation. In the activation frame we had an array of pointers. And here we effectively have an array of pointers, although we call it an array of string objects the string objects themselves are containing only one member called which is a pointer. And that pointer points to something on the heap, on the names which are stored on the heap. But the beauty is that over here in this solution we are not talking about the heap at all. We are not talking about how many characters we are transferring, how much we are allocating and anything like that. So all this is implemented automatically and we are not mentioning memory allocation. And we do not have to worry about memory leaks, we do not have to worry about tangling pointers. Our implementation of the string class takes care of all of these things. So I am now going to give a quick demo which uses our string class. In this program we did not use the concatenation feature but in this demo we will be doing so. So let us take a look at that. So yeah, so this is numbers. So here I have copied the length and S copy functions and then over here our string class starts. So let me just move it to the side a little bit so that the first character is not cut. The string class is here with the member functions. So all the operators, operator equal to's and everything is there. And this is the destructor which we also wanted. So what is our problem? So the problem that we are going to look at is sort of a fun problem, nothing useful by any means but just a fun problem. So what is the problem?  So I will tell you what we are going to do. So this program is going to read in a number from the user first and then it is going to print out something. So that is about what it is going to do. So what is it going to print out? So it is going to read in a number which it expects to be a two digit number. Actually it expects the number to be between 20 and 99. So if you type a number between 20 and 99, say you type 37, then this program will print out 37. So it just writes the number in words and it does this only for a two digit number. But it illustrates the kinds of things that we have been doing over here. So what happens here? So first we have an array of strings. By the way once we define strings then the C++ machinery will allow us to define arrays of strings, that is no problem. So we will have an array of strings, one array called units and another array called tens. So in units we are going to put 1, 2, 3, 4, 5, 6, 7, 8, 9, we could put a zero over here as well but we really do not want to because we will see why we are not putting a zero. And in tens again we are not putting a zero but we are putting 10, 20 all the way till 90. So what is this doing over here? So you give me a number then I am going to extract the tens digit from it. So that is simply z divided by 10 and then I am going to use that to index into the tens array. So suppose the number I typed was 37 then the tens digit or 37 divided by 10 is going to be 3. So I am going to index into this and now that will get me my 30. So remember I am supposed to print 37. So I have now been able to get 30 from this. Then I want a dash. So dash is another string called dash which I have assigned to this character dash. So I am going to add it or I am going to concatenate these two strings together but I also want the units place. So to get the units place I just have to do z mod 10. So for 37 this would be 7. So units of 7 would be this so I would get a 7. So from this I would get 30, from this I would get dash and from this I would get 7. So I would get 30 dash 7 concatenated which I am going to print. And since print is not putting an end line I am going to put an end line myself. So that is all there is to the program. It is kind of a trivial program but it does illustrate some ideas. One of the ideas is that you can use an array of characters to do some interesting things because you can index into that array. But most importantly I am doing this because I want to show you that here we are able to concatenate the objects which we are storing in our string class. So let us compile this and run it and let us run it. So let us say we type 37 so we do get 37. Let us do one more say 85 and we will get 85 but let us do something improper. So let us say we type 5. So let us see what we got. So we got the 5 alright but that 0 in the tense place did not come as it should not have come but we did get that dash because the dash is there. So maybe we should write, we should modify our code so that the dash also does not appear. And of course you really should make some special cases, you should put in some if statements to check whether the numbers are 11, 12, 13, 14, all the teens basically and for all the teens and 10 itself and 11, 12 there should be a special case and those cases should also be handled. So anyway so that is what this program does and as you can see it uses the capital string class that we just created and we are really at the end of the lecture so I just want to make a few concluding remarks. So our class string performs memory allocation and deallocation behind the scenes and it happens automatically in the sense that the user is not really aware of what is going on. Now string variables appear as simple as care variables. So when you use care variables you do not really need to worry about where are these stored or you could think of them as being stored in the activation frame and if you want you can think of the string variables also as being stored in the activation frame that would not really cause any major problems. The only difference is that the string variables can contain character strings of arbitrary length rather than individual cares. So in the next lecture we are going to see a class from the standard library called string where S is not capitalized and we will see that it is a richer version of our string class. But the point of discussing this capital string was to see how such classes can be implemented. So the basic idea is that these classes that we are going to see in the that appear in the standard library and some of which we are going to see soon use memory allocation and deallocation from the heap and as an example we have studied this, we have designed and studied this capital string class and there are other classes in the standard library which we will discuss and one of them will directly enable you to store polygons, variable sized polygons as was mentioned at the beginning of the lecture. So that concludes this lecture, thank you.


Item No. SCP-082 Object Class Euclid Special Containment Procedures In large living quarters located at R&B Containment Area-14 have been appropriated for the suppression and appeasement of SCP-082. While standard weapons have little effect on policing SCP-082, cooperation is easily attained through a charade. The project is currently under the impression that it has been made the King of France and that its containment area is actually a grand palace designed for its protection. All interacting personnel are to be made aware of this charade in our order to follow the rules. Housekeeping personnel are to be class D personnel only. All interacting personnel are to be made aware of this charade in our order to follow the rules. Housekeeping personnel are to be class D personnel only. Most tasked with the containment of SCP-082 are to be given level 2 clearance but are instructed to refrain from interacting directly with SCP-082. Description SCP-082 is genetically human, however through some process, either chemical, hormonal, cancerous, or supernatural, SCP-082 has grown to giant proportions. Approximately 2.4 meters tall, around 8 feet, and weighing over 310 kilograms, about 700 pounds, SCP-082's physical characteristics are grossly disportional.  Subject is both overweight and possesses a great amount of muscle mass. Farms are muscular and dangerous, with a circumference of about 71 cm, about 28 inches. The breadth of the subject's fist is nearly 30 cm along the knuckles, almost 12 inches. Though feet are large, they are small in proportion to the subject's body, men size 14 US. Subject's skin is tan dark and overall physical appearance is compounded by numerous scars, the results of years of attempts at suppression and containment. These x-rays have been difficult to interpret because of the high density of its muscle tissue, but scans have revealed countless bullets and even several knife and sword blades lodged in the SCP-082's flesh. SCP-082 refers to itself as Fernand, and speaks fluent French and heavily accented English. When it speaks, it does so through enormous clenched teeth. SCP-082 only parts teeth to eat food and to sing. Subject will sing songs of its own pleasing, ranging from forgotten Victorian-era bar songs to modern classical, typically while cooking and eating. SCP-082 does not comb the hair on the sides of its head, but does cut it and shave with a large butcher knife originally provided for food preparation. It should be noted that even facial hair is exaggerated, a single strand being as thick as a millimeter, similar in thickness and appearance to graphite of a mechanical pencil. The SCP-082 will clench its teeth so hard that the guns bleed, but it is not known why. This is considered normal. The demeanor of SCP-082 is very amicable and carefree. SCP-082 has accrued a wide wardrobe over its time of incarceration, and it enjoys dressing up in many different fashions, including formal wear, military uniform, as a clown, and in women's clothing. New pieces should be made available upon request. Subject often attempts to joke and is usually polite to personnel, often inviting them to dinner. However, visiting personnel should be aware that at any moment SCP-082 is capable of attacking and voraciously eating others. Subject will often apologize for his lack of manners for interrupting someone's conversation by devouring their head while making a mess of his quarters. SCP-082's jaws are strong enough to crack bone, and it seems to enjoy skulls. Attacks are seemingly at random with no motivation. Whether or not a subject has recently eaten has no effect on his cannibalistic hunger. SCP-082 is incapable of differentiating fact from fiction when he reads it or watches television or films. On several occasions, SCP-082 has expressed a great desire to meet his favorite person, Hannibal Lecter. The subject will believe that all television programming is some sort of reality television. Though subject has shown heightened intelligence in the form of memory and puzzle solving, the concepts of parody, satire, and fiction are beyond his understanding. SCP-082 apparently understands the concept of lying, has shown to know when others are blatantly lying, and generally tells obvious falsehoods when asked about its past. In the SCP-082 he is a vampire, a homunculus, Big Bird, Andre the Giant, Napoleon, Obelix, Sidekick of Asterix, Dr. Bright, The Hulk, Alexander the Great, Captain Hook, Sherlock Holmes, Dr. Frankenstein, Frankenstein's monster. When questioned about these lies he gives the excuse, but I only lie when it's through my teeth.


At running back, Davion Smith, as mentioned, had a really, really good role last week with Jock Patrick getting banged up. Smith played 77% of the snaps, that is the second most for running back in the XFL at any game this year. So that's awesome. Smith 24 carries and two targets. He's had at least 15 carries in three straight games and he's hit double digits in every game. So with Davion Smith, we know he'll get the ball a lot and that's especially true if Patrick sits. St. Louis, their fourth and rush defense great. I don't really care about rush defense all that much, but like they're not an outlier in a positive sense. That's good. I think that Davion Smith and Matt Jones are like the top two guys on the Slates. I prefer Davion Smith because he's at home and because I can feel better about him getting the lion's share of the carries. Where does Davion Smith stack up for you on the Saturday only slate? Yeah, he's like a court play for me. I really like him and you mentioned the 77% snap rate coming in part because of the injury to Patrick, but I mean, Smith had played 60% or more in the two games prior to that. They've been giving him the ball. He had over 100 rushing yards already this year. And I mean, he's kind of got that floor, at least 8.9 Fando points in four of his five games. So I still might put Matt Jones ahead of him by a hair just because I like the offense a little bit more, but I really wouldn't follow you for putting Smith number one.


The Minister of Aviation Hadi Sirika has announced that the new National Carrier is expected to commence operation by the first quarter of 2022. Sirika disclosed this on Wednesday while addressing state-house correspondence after the federal Executive Council meeting. He explained that the new National Carrier is long overdue and the private sector on airline will be in operation by early 2022 with possibly cheaper rates. He added that the new National Carrier is expected to be a viable airline and is potentially poised to cater to millions of travellers in Nigeria and Africa. And after speaking with the National Carrier, thank you very much for the question. It is still on top, top, top gear. We are coming back to council hopefully within the next two weeks to present the memo on the National Carrier. We went to council to approve the outline business case, outline business case for the Carrier. And then the council raised some questions and asked us to go and fair the memo again and bring it back. So once it comes back and the outline business case is approved by council, then of course we will now go to the full business case which is now going to the market and then you know establishing the National Carrier. It is our intention to have the National Carrier running in 2021, which is this year, unfortunately due to COVID, which took the greater part of last year since March last year, activities are almost impossible. This in itself, though negatively affected civil aviation, in terms of establishment of the National Carrier, it makes its much, much, much better time to establish a Carrier than before. Of course for obvious reasons, we now have access to the equipment that they will come faster to us. Deliveries of the aircraft will be faster. Perhaps even the rates might be cheaper and so on so forth. So we will go to council on that and then we will further brief you. But it's on top gear and we needed more than yesterday.