Today is a very exciting day. Especially exciting for my mom, but she has no idea what is about to happen. I got her an electric bike from my buddies at Priority Bikes. And what they did is they sent it to their friends at VeloFix here in Denver. They put the bike together and they're coming over right now to her house to deliver the bike. Hello, mom. Hey, Brian. How's it going?  Just came over to get some food.  Sorry, Brian. There's apples on the tree outside. Would you like one of those? Maybe that's better. This is the house where I grew up and my mom loves photos. So there are photos of the kids everywhere. She has four of them. Pretty cool. This is me always goofing around. Mom! There's somebody at your door. How are you? I'm trying with VeloFix, the mobile bike shop. Are you Donna? Yes, I am. Hi, Donna. It's very nice to meet you. We've got a little surprise for you out front. If you want to follow me, it'd be great. Oh, boy, surprises. What do you think it could be? What do you think it could be? Look at this, look at this. Oh my gosh. You liked it. Oh my gosh. All right. This is absolutely incredible. Oh my. You don't even know what it is. Well, I can tell it has a battery. Oh my gosh, I've wanted an electric bike forever. And then if I just start pedaling, it'll kick in. It'll kick in. It's very smooth. You probably will hardly feel it, but trust you, it is helping you. Oh, let's see. How's it feel? Good work, guys. High five. High five. That was a good surprise. Look at that smile. Oh my gosh. The ladies at the street are like, hey, is that a new bike? They're like, I want an electric bike. So one thing about the gears on this, Donna, is it's a pretty special. It's called a new Vinci hub, and it's a pretty neat and unique hub. Most bikes have different gears that you sort of click into. This one's pretty much infinite gears. So you just turn this and it goes to basically wherever you want. It's kind of a different feeling, but it's super smooth. It's really cool, but you're not gonna feel the clunk of gears when you start shifting. Well, there's a lot of things about this bike that are really special, not only for a commuter, but also in my opinion, that quite frankly sets it apart from a lot of e-bikes out there. The fenders are great. They come stock with the bike. The lights, the integrated lights, as far as that goes, a nice bright LED headlight, a nice flashing tail light. So it's easily seen.  They don't want to get grease on their pant leg, those kinds of things. With the belt drive, there is no lube. There is no grease, and it's super quiet. It's super clean. And it lasts a long time as well, pretty much in all elements. That carbon belt drive is really durable. The Bosch motor, it's very smooth. It's very intuitive. Smooth enough to, again, to the point where you almost don't even realize it's helping you, and then you realize your Superman going up a hill, and then that's when you realize it. It's absolutely, you know, a fantastic feel. What have been some of your concerns about electric bikes, Mom? Well, I don't want to go too fast. This is pedal assist for one thing. There's not a throttle. Some e-bikes have a throttle where you don't even have to pedal, and they can be kind of jerky and torquey as it were. This one, again, speaking back to the smoothness of it, it almost doesn't feel like it's doing that, whereas some kind of have a feeling of, whoa, it's kind of getting away from me, which is sort of a cool and fun feeling, but it's not as smooth as this one. So you don't really have that concern. This is a class one e-bike, which means that it assists you up to 20 miles an hour, and that's where it stops. So it's not gonna keep going beyond 20 miles an hour for you.  If you have pedal really hard, you can go a little faster, but the pedal assist will stop at 20. I'm a big hiker and I can hike up hills, but I can't bike up hills. And so it's like, yay, now I can keep up with everybody. And I'm always the pokey one, always.  Folks of all different levels can enjoy riding together. And one person isn't killing themselves to keep up with the other person and the other person isn't slowing down. Everybody can get the ride at their speed or their effort, as it were, and ride together and enjoy the joys of riding a bike together. And now we can ride together. That's the big thing. We can finally share biking. Yes. Go mom, go. Priority is a direct-to-consumer brand. And we are their, basically, we're their concierge delivery and assembly service, as it were. So basically what happens with our services, the bikes come to us. We unpack them, assemble them, and then deliver them to the customer at a time of their choosing. All right, mom, I'm gonna steal your bike for a second. I wanna play with it. Of course, we need to try turbo mode out right away. Oh man, this is smooth. My mom is in luck. This is gonna change her world. Mom, I love your bike. Okay, you can have it back. Merry Christmas, mom. All right, you have really done it this time. Yes, I'm so excited. And it's cold today. It's not ideal biking weather. We're gonna take this thing on a serious ride when the sun comes out. Okay, it's a deal. Thank you. All right, the sun is shining. It is time for your inaugural ride. Are you ready? I'm ready to go. All right, but it is always more fun, I think, to ride bikes with friends. All right, ladies, let's go for a little ride. So these are my chosen sisters, my travel companions, my best buds. I can now go out and have fun and play with them on a bicycle. And why couldn't you before? Cause I couldn't keep up. How does it feel? It feels like I'm gonna get better at this and I'm gonna have so much fun. I'm just looking forward to being able to go out and bike with my friends to be able to make some trips without my car and to be able to continue smiling through retirement. The bike is amazing. The bike is absolutely amazing. So smooth and it's so, I just feel very stable on it. I just did my first skid back there and everybody was pretty impressed. You're ready for the X Games. Oh, it's already, it's so great. Like we can go out, we can ride together. When it's hard to ride, or maybe you're not as confident, you don't ride your bike as much. But now she's just gonna be out there. She's gonna be riding. She's already practicing skidding and putting her knee up when she turns into it. And yeah, she's gonna be great. Quick question. Where the heck did you get this helmet from 1985? Yeah, I believe it. What is this thing? Yeah. I think we need to get you a new helmet. What just happened mom? I hit 20. Awesome. 20 miles an hour? Yep. How'd it feel? It felt okay. Is that your first? Yep. Awesome.  I don't think so. This is a really big moment.  I feel like I'm teaching her how to ride a bike for the first time. We're going up a pretty big hill right now. And I can't keep up with my mom. Wait up. Good job mom. That was my turbo speed up the hill. We both did turbo and left them in the dust. Yeah, I'm not even breathing hard Ryan.  Well, one thing.  But your mama was like, I'm like digging in, going, going, going. She's like, on your left. Ding, ding. You rubbing it in mom? I haven't seen a smile on your face this big in a long time. I know. It's a little break. You've gone 12 miles, which is like a world record for you. Yeah. It's been a great 12 miles. I mean, it's beautiful to see all the trees changing. And usually when I go out and I hike, you know, it's four or five miles. That's all I see. I've seen 12 miles worth of beauty today. So that's pretty incredible. Nice. And how does it feel? This is all new. Yeah, I know. It's like, oh my God, I'm out riding my bike. Yeah. And if I need a little boost to get around somebody, it's so easy to just, you know, dig into the pedal a little bit and zoom off I go. How do you think after, you know, just riding it for a couple of hours, this is going to change your life? I'm going to be more intentional about the trips I take from the house. And it is my intention to get on my bike more, have more fun and use less gas. I like it. So yeah. And I think today going 12 miles is giving me more confidence that, you know what, I can get out there and do this. Totally.  I don't have a car. I ride my bike everywhere. You've, you know, but you've never been able to join me on any bike adventure ever. Yeah, yeah. Hopefully now we can plan something. Yeah, that'd be awesome. Yeah. I still got to get over my fear of the roads. Yeah. I mean, there's no getting around cars. Cars are always dangerous, but luckily Boulder is a safe place to ride a bike with all the bike paths. But I think the more that you ride the bike, the more you're going to feel comfortable on it. Your balance is going to get better. Yeah. You're going to get used to stopping and starting and going up and down hills and going around people. You know, the balance thing is a good point because I think as people age, balance becomes one of the more important factors in their physical fitness. Yeah. So hopefully the bike will assist me with that as well. But I think it will just give me more hours being outside, which is just incredible. And what about, you know, we're going to put a rack on this bad boy and some bags. Yeah. What's the deal with it? Go shopping, go to the gym. When you think back to some of your best childhood memories, anybody, not just you, but it's learning how to ride a bike and you have that sense of freedom and you're getting that back. Yeah. Yeah. I mean, it's been a long time since I've like gone out and played with my friends on bikes. So it was so fun today to just stop by, pick up friends and go play outside. I mean, that's what I want out of retirement is more play. Yes. And you deserve it. Check out her new helmet. Looking good, mom. She did it. No more of this thing. This thing is like 20 years old. Looking good. Yep. Now it looked like I belong on this bike.


Digital security is a hard subject for all people that work with it, because it's not simple, because it consists of different parts of it, and it's hard to be mastered in every piece of it. So it's important in every country to build a good team of people who are keen on some part of it, and then when you have a good team, you have a good result. Of course, we can say about good teams, but always it is a matter of system, how the system in a country is organized, or maybe not only in the country, but all over the world to fight the cybercrimes and to organize the cyber security environment, because it is not only a subject of law enforcement, but it is a subject of the industry and all the services that it is given by the industry to people, because sometimes it's hard for law enforcement to give good services to the society because some obstacles from the industry or from the legal rules.


My name is Hope C, Karibu Sanaka E-Circuit. Atsanti. Feel free at home. Atsanti, ashgoro. Let's tell the story. Wolianda, when exactly did you record the first track? Okay, my first track, I did it in 2012. 2012? So far you have 3 audios and 1 video which you are going to debut today on the E-Circuit? Sorry. I have four audios. Four audios? And one video. And one video. What motivated you to go into music? Okay. What can I say? I think the most important thing in fanyani is that I feel like I can do music. I had a lot to tell people about my life and maybe what I went through during my life, kwa mtoto mpa kamali nile fika. So I was like, how can I get all the people? How can you not understand your story? So you're speaking through your music, a little background to Hobsi.  But then again, things have been working out.  You started out as a hawker, but now, we have a lot to tell you. We have a lot of changes. We can't find a way to do it. We can't find a way to do it. Exactly. We have a lot to tell you. And we have a lot to tell you. And you're also a gospel singer. I started out in 2012. Now give us the backstory to that. Because before we go into the music, it's a way to be able to pay for the music. Who helped you there? Okay. I started out with music before Yobeshara as like a business, but at the same time telling stories, but at the same time serving God through that. So I had thought of what can I do to venture into music. As in, from the start, I was a manager because I knew how to support you. So I thought, I used to talk to people when you're in music, when you're in industry of music. So they used to advise me and say, oh, Collins, the best thing you can do is you can do more than what you want. You can support your music. Because no one will help you. No one will give you that money to go to the studio. Unless you do something on your own, fresh out of it, then someone will come in to support you. So I thought, I will do it. After getting that idea of like, I will do music, it was just a hard time to me. So I was praying, praying and praying. So I think, it's not just me. After thinking, I will come to a home but a capital. So I had to go to church, my church, and I will go there. Which church? I will go to the Glow Doh Ship Center for, okay, it will be at town but it was transferred to Rangai. Mn, nibu kwa chape kashoutout? Ah, okay. Okay. Praise God church. Wuni hobsi leon, nikuwa panao represent. God have blessed. Mn, nisafika bisa. Ya. So okay, church, kani chikuwa kani pili kakampu. It was like, ukoli murukuna place, ini toka buku. It was like, ni youth, as in, it's called DNA. DNA. Discipling nation agents. Like transforming those people in your kwa kwa streets, wami maleza fumfuna wana any option you could do in life.  So after that, the reason why me nili, and after that, I wanted to realize myself. Apart from being an artist or a gospel, what else can I do? So when I talk to the pastor, pastor and I say, I'll take you somewhere, you go there and make sure when you are there, pray to God, akufungu le blango, so that you can get what you really want. Your purpose. Ya, purpose for going there. So after going there, I really can interact now. What? Apakuna mati, when you are kwa puatida, puwa manini, we are mixed up. You are all on the same level there. Ya. So you are getting ideas from both sides. The first week, actually nili niland more of discipline, living as a discipline Christian. Sikuwa najiwa iso. So from there after the second week and the third week, I was also taken to Uganda for another three weeks kwa prayer mountain. So in Uganda I was praying for actually niki kudya Kenya, what should I do? Kwa music nimi kwa na fanya and record audios do. Ya. See na video. Na performo moro na sema, you have a good music, you can go places, but no one is willing to kwa ni. To find the video. The video. So niki kwa kula, I was really praying that when I go back to Kenya, wacha mungu kanifungu le blango, nipatile kitu neza fanya, mi umo nyi niji mami e video. Then from there niki kudya, I went back to the church in Kawaleza, I am now a grown up Christian man and I feel like they can do something as one of you. So they gave me, ok wakani wulizuliza, some few questions, nika wambia wakapata ok, I am somewhere. They only funded me with 1,000 bob. Here 1,000 bob was to mi umo nyi niskiri wacha kandu because 1,000 honestly nipesaki dogo sana So you had to get creative with that amount of cash. Exactly. So ok, after being given that 1,000 bob, siku tu miya, I had to keep it somewhere. Nili niletu kuhenda church 1,000, have you studied something? Nambia bad. So wakaita another lady from Eldorage, kudya church akatufungu kutengeneza, easy jik, easy shampoo and so on. And then the detergent. Yeah exactly. So nike chikweyo do, we went to the shop kabae. I did exactly biletulifunzo. Then from there niwe wukuwe hoka naizu di. So ona tembe ya mitani kule ni kuna ishi, kukibe ya langata, diyada saidu kuku uko juju na uksitafta do. Onazenda like a whole day wu jawuza. I need to, onafa u tembe yutuka ok nili kuna fanya, palia ya kwa pasta. So I had to work from kwa kwa pasta mpa kasi tuli kwa ni kuna ishi. So doing it for like 3-4 months wasn't really good. Ikuna ni saidi a bit kiki chakula tu rent na kwa piya ishu. So from there I had to kwen liya kumek friends with people, talking to people, telling them. Kwa most of the guys kwa kwen liya ziki ya na kwa na nga tukipita na bitua. Kwa are you? What are you doing? So nanda na ufungule yo karatasi by them before zikwe band na peleka na moneisha this is what I'm doing. Na wuzei na hee na hee. And with that masi hat kwen yo na to uruma na hibe oh, let me buy this And I buy for that day But now what about the day after. So there is a certain lady kwa karo ka登i guy told lady ale nyo na how hard working I was, so she felt like she can help me. Ngnapi mene kompromis, nga mambe ya al bi very serious with what you tell me. So alikwa na wuzei ezu mitu ma. kNewsisha iti kibela pale kwa desi so acha jabir. Genni p protected konditions. Na kuchleyu na hili mta trip Governo 100 NZ upaz imposeka na kusha, kwi loveographi 1,000 kwa 100.. Tunia ni majGo jufu nanfadiha, jo 1,000 kwa. Grundame ni ma nie yCERE pawe่ ek komu na mjaamasasa kwa nekaniwa na kakatsenit mulisha. Kwa? Yuli. Ok, kiwa. Sangi jece viehkatter Hazanwa. Can you imagine na karmiliki k loser? Ojibiliki kwa z Anga hani jo nisha kwachama flani, onani ita meri go around. So we were like raising money, then Kika Tami omuti wana paywa and so on. So wana mani trust, kwa mi sii anusi he na pesa kulupo chama, na heqama wunuku na 200 per day. So after waki very hard daddy kaziaka ki kai improve, it was now divided into 2 ekai pela kwa diya tata place ingina but ju w�u trust mi hi ya kani achata to the main centre. So i used to work very hard for her kwa zidi ligu wana jewa. If I get something good here, I will also be promoted. Nekulize, kutukia transitioni hote ever since you were young to selling detergents and now the Mituwa business, ni nini uli learn, ni kituga nini uli take from all that? What I learnt from it, from the start, despite what you look like a crook, wuka him to promising. We have those guys who came from Mongolia even on. He cannot make it in life because unakatum tumba. That's how you felt? Okay. No, no. But okay, I'm just saying for those people who come from Mongolia and say, eh, mihata sii zingi hako fizi nipatia job. One thing on Afofani ni, pray God, be humble before him. Ata kama hawatu ingi no wata kuangalia like, you are not the person they need. God wanna uplift him from any place. Commun Lyn nyu utaku actually? Yeah apart from thatsupport wupunguze komplenso fanya kazi kwa bidi. Ono na kakuna kituze ni umelani ni uniza implement na on the other side for music. Sachiaz? Like patient, being patient. Nini sasa ni ma TV presenters and host, sometimes mtu aneza kwa ako nangoma pwa kabisa. Kamani content kwa fiti. Video quality and audio fiti. But now, because I am mtu aneza, you don't know the person exactly who I am. I am like, sasa sumuna changa handle zendu pwale. Nini nda kwa Instagram ni tume DJ song. Saba ni juya isa nangoma ni pwa laki nana feel. How will I start? Kenyana say ma ni, just okay, be yourself when you are doing these things. And then pray. Skumuze, today we'll go data later. Skumuze, but it is a fubaboro na fanya the right thing. Na una fanya kazi kwa bidi. Now there's this first video in your mares ako tengeneza, we are about to play it. Can you tell us about the song? Okay, the video is called, the song is called Jereira. Jereira? Ya. Nene lgagani? Okay. Jereira ni, okay, after nimi mtu o song do nili, nikiangali ako. We have other tribes on yon na tume, the same Jereira, ata ina manisha. Gini na yamta dono. But from western side, kwa mimi ni kwa half-half. Mama no IUG, mze ni hapa kenya. So nili feel like, actually that is the only word ya kwe tuwe ni kwa puka song. So the reason why I did this nii, after a whole long time nimi kwa nga na jaribu kuru di kwa God, na fika mali because of issues, just sometimes we say, ah see in the church, see na fair, see na kwa po and so on. But me nili feel despite all the burdens nimi kwa naso, nimi kwa na uki kwa sadobro ideas na change. Ata kwa uli kwa to focus even anza. Anza kwa na indahivi. But me nili say ma, with all what I have, the way I am, I go back. And also the song nili relate na story, prodigal song in the Bible. Aliyenda after all those... After kupige shere na raha, yote badua karudin yon bani. He came back. Safikabisa, hope see. We wish you nothing but the best, yon ezoa. Thank you for the motivation. I'm sure uko watu wami kwa edutained the way we like to sing. Apia atu na se ma gashtak talent ni kazi. So there's a bright future ahead. Amen, amen. So what's next for you in 2019? In 2019... Okay, currently she sent me ati na tafuta manegi. But I'm working on my own as an artist. Ni kona audio so far that install good quality and even content. Some of the songs ni miandika bought my life because I grew up as an orphan in itwakazana. The song it will be coming lakini kwa video. So 2019 ni mi sifani audio kwa uredi ni kona audios. So 2019 is just the videos for your audios. Tuna zazi pata wapia exactly. Where are you on social media and on YouTube? Ni kwa YouTube na itwa hope ctv. Hope underscore lafu ctv. Na pia... Iza zinginezote, we hope to see you in barikiyo. Barikiyo ikona sababu zake pia. Ibu tula zia sababu. In barikiyo ni ni storyangu, we are many when you have to make the same stories. Same problems, same being often, na get. But some of us na fika ngamali we give up. After giving up what do we do? Joining is bad companies. Deciding that when they do smoking and all those stuffs. But for me I feel, ni si seimi ni kwa huwazu wangu domani ni jita tum barikiyo, blessed. God dali ni shikam, kwa na sinisi yotai mpaka sayi. Honestly sii jawai to me, any of these drugs. Na sii jakwa ina group, yo yote like, wone zahenda uski atia li kwa nga hapa hapa laiku, picham beze police station yoi zuka pata jina yangu. Yo su ni, God dami ni kip. Na, the reason why ni na seima am blessed, ni blessing ya ke kwangu. So ni kwa sayi, let me just call myself bari kiyo. We appreciate you. Ushaskia, ushaskia. Hobsi imbari kiyo on every social media platform. Hobsi underscore CTV on YouTube. Make sure you subscribe vila mesama 2019. Video, video, video. Ya, sure. Yo, yo, ya kazana nandio na taka kusikia sana sana. Mesama umetaka kusikia story. Ya kukua stockte. Ya, neskia. I know, resizo me to liya father of one and all that, but what do you think about that situation? Once you live a relationship, should you stalk your ex? No, no. Firstly, we are told that we were created in the image of God and in both of us we are like God. So the moment you do separate kabisa, it's like me machana in peace kusakuna maya me gongamugina ama me tukana. So for me, I feel like saying hi to your ex. Eh, just checking on her. Because it's like your sister. Boy child. Boy child, boy child. See how many bombards there are. Apu no... Ah, metu anguusha. Nmekana ya klata. Ah, me, me, me, me. Atta ule muli pigana. Onembu kini, kutokonji unipigia kofi. Kwa ziti na yo wezo aku reply. So sana next time ni kujiya papa na stalk salimiya kue. Atta before ni kujiya, pa se lazima asa. Ah, onedokuna hi liya kupatanam na salimiya na. Yana, obviously, kupatanam na tuna jua. Na umata desakamsen senyemu liya chana na. Umkupatanakwa street, ni haze na ekelau zito. Munanda hize.


Welcome to another episode of Domains 21, The Track. I'm here by a very kind of cool, unique group that I saw percent just last month at the University API conference that's hosted and held by BYU. And I'll let everybody introduce themselves, but I was intrigued by the notion of this team and the work you're doing, obviously, and the team goes by the name of the Digital Transformation Team. And I was hoping you all could talk a little bit about that. So welcome to Domains 21, and thanks for coming. Glad to be here. Did you want to do introductions first, I guess? I'm JD Mills. I manage Davidson College's Digital Transformation Team. And we're just a very small project team that is kind of free from most operational responsibility so that we can focus on strategic technology initiatives that the college has designated as important. So among some of the things we've worked on recently are things like low code, a Davidson API potentially, ways that students and employees communicate with each other and all kinds of interesting things. So I will pass the mic to Tessa. Yeah, I'm Tessa Jones. I'm a Davidson College alum wandered into Charlotte and worked there briefly and then came back to Davidson. So I'm a Digital Transformation Analyst, part of the DX team. And like Armado says, we do a little bit of everything. I'm Luke Ashleman. I've been on the DX team as their second analyst for a little over a year and a half now. My background is primarily full stack web development. So I'm typically the, tend to be the programmer of the group but we all, like everyone has said, we all do a little bit of everything. So that's the team. Great, well, welcome all. I guess I did wanna talk a little bit about like a Digital Transformation Team, as you all said, seems like a novel concept. Like what was Davidson College thinking about and why is your team like in existence? What particular issues and problems around campus are you trying to solve, if that makes sense? So the story starts a little bit with the history behind the team and it's sort of ancestor team that existed prior to the Digital Transformation Team being founded. We had something called a Digital Innovation Team, which was, I guess, if you think about IT in the bimodal sense where you have the keep the lights on mode and then you have the innovate and try new things and fail a lot mode, it was in the latter. And it worked okay for a while. We had a very small team of myself as the Digital Innovation Systems Administrator or Systems Engineer and we had a fellow position and we also had a full stack web developer position. But because we were focused on basically pure exploration and trying new things and trying to innovate, which was good for the org at the time, because we needed some new blood, we needed some new ideas, the longer that went on, the less connected to college strategy we felt we actually were. We found that our colleagues didn't really understand the value of having a team that worked largely on experimental stuff, developing custom software. And it just, you know, we had a leadership retreat at some point and decided we need to figure out what the future of this team is going to be. And the Digital Transformation Team is kind of what was born out of that conversation. We realized we needed to take, you know, some of this innovation skill set, but make sure that the work that we were doing was always connected to the college's strategic priorities. And so in setting up the team, you know, we kind of wrote this charter and wrote a mission statement and basically committed ourselves to being a small group of IT generalists who would be free from operational responsibility that could work on strategic projects and, you know, using our general skill set and our lack of operational load alleviate stress elsewhere in the org, whether that's optimizing some process that's used only internal to IT, whether that's joining a project that another group was managing just as a way to like infuse some extra labor into it or push an initiative over the edge that was otherwise teetering on the brink. And so, yeah, that's kind of how we got started. And over time, over the lifespan of the team, we found there's not only the technical angle and like the extra boost of labor angle, we've also developed this kind of business analyst skill set that because we come from a bunch of different backgrounds, because several of us are Davidson alumni and because we all sort of are of a certain mindset, we spend probably just as much time analyzing process and revising business process as we do implementing new technology. So what does that look like? It looks like, you know, collecting user stories about what a given set of requirements might be. It looks like, you know, any number of things basically around the analysis of a given solution and what we need to change to make technology a component of making that future state successful. It's interesting, because one of the things you brought up earlier, and feel free, Luke and Tessa to jump in at any time, but you mentioned earlier this idea of low code and then you pointed to the idea of, you know, generalists and working. I love the idea, frankly, of you all working, not as this esoteric innovation group somewhere out there doing something that has no concrete relation to the daily work. That's really a nice kind of frame, but also the idea that you're generalist, but yet you're thinking about specific user stories and how you can rethink some of the kind of relationships between business and how it gets done and how to make that more automated and efficient. So I'd love to hear more about your approach on the ground in terms of low code and what that looks like. Sure, Tessa or Luke, do you wanna take this story? Yeah, I think in terms of related to low code, you know, your traditional IT dev shop, and I've worked in higher ed for going on eight years now, you know, you have a group of application developers, and as with any development shop, you start to get a lot of technical debt, you start to get bit rot, and there's just the maintenance load prevents you from innovating. And not only is Davidson a lot, not only is Davidson much smaller, so they can't have this giant development team, but it also, because of Davidson size, we also wanna use the people who know how to code maybe just a little bit that can understand programmatic processes. We wanna be able to empower them and give them agency to maintain their own applications. So, you know, Davidson has a set of campus IT partners who are, you know, the major technologists stationed in various departments like the registrar or HR. And so our approach to low code is to make sure that we find tools that they can use and they can understand without requiring them to say become, to learn, you know, PHP or Ruby or JavaScript. Which typically involves, you know, some sort of GUI interface. It involves getting them integrations to our source systems so that they can use Davidson data, so to our HR systems and our student data systems. And then it involves training them and then supporting them with their needs. So if the low code solution doesn't support what they wanna do, we might get involved again and figure out, well, what are you trying to accomplish? What's the best solution to move forward? So again, this all stems from the idea that instead of hiring 20 developers to just custom code everything, we wanna find a generalist product and train our users on how to use it really well. It's interesting, and I don't think it's by mistake that when I met JD and Tessa, I think, for the first time, it was at the university API conference where you were going there to kind of, I think, figure out some ways to actually do what you're talking about, Luke, on the ground at Davidson. And I'd love to hear just like some of what you learned in your journey towards figuring out, A, what tools make it easy for your users to do it and maybe some stories around how basically you're introducing, you know, an API-driven approach to various universities. And I think I wanna be clear, like maybe we should define how you are thinking and imagining API. Maybe it is about forms. Maybe that's a better way to say it. But it is about, you know, comfortably giving people places to kind of deliver data in a clean way that can be used across the institution. So I know that's not really, it's more of a comment than a question there. I don't know what that is. So I'm sorry to leave you with that spaghetti and then jump out. But here I go. Good luck. Thanks, thanks. So I guess at the time that we were taking on the low code project, we had this, you know, these legacy web forms that we were trying to get rid of this technical debt that Luke is alluding to. And, you know, we ended up going the route that we did for several reasons. But again, we wanted to be an easy product. We knew that at Davidson, after having done that user research, that it had to be that type of solution. It couldn't be the type of solution that was so complicated that we, the IT department would be stuck with the maintenance and development of every single future product that a user might request for their departmental use. So that started us on the journey to find QualiBuild. And where APIs fit into the picture is, I think we've known since we started looking at low code solutions that we wanted to tie in institutional data through APIs. And we've had an integration platform available to us in the form of SnapLogic for some time that has helped us do that. But in the low code world, what that looks like to our users is, you know, us the admins configuring an integration that pulls from the integration platform or pulls from an API that we've written and presents it as a simple gadget that they can drop in to look up data or to send form data to another system. What else, what am I missing, Tessa, on the, on that story? I mean, I think we, yeah, we started low code really wanting to make so much of like what we do as accessible as possible to our kind of average users. And we spent a lot of time talking about like citizen development and student programmers. And I think that that was a group that on one hand was kind of hard to untangle like what they needed at first, but we kind of kept circling back to being a valuable case study. And that's where like really focusing in on the user stories that we had for our low code transition I think helped us make sure that our first step, which kind of had some clear goals wrapped into it into low code was very like user friendly. And we're just seeing that expand like because we started with that position of being very, very accessible to as many of our on-campus users as possible, we've seen them really like pick up that ball and run with it. So now we have a need to have even more kind of resources and features that allow them to keep moving forward with those low code options we've given them. It's interesting. So one of the things I'm hearing is, you know, you all had to do the groundwork to like go out, meet with people, say, here's what we're providing you, here are the tools you have been using, whether it's a gravity form to WordPress or whatever contact form or whatever thing they're using to collect data. This is what we're doing. This is why I'd be interested just hearing like what is that cell like? Cause as an ad tech, I would go out and proselytize WordPress back in the day. That very thing that is causing the technical debt you're trying to escape. But like, how do you go about communicating to a community in higher ed about digital transformation? Cause it's what you're doing, right? About APIs, but maybe never saying API, right?  I bet you it's a very different discussion. What is that discussion? What does it look like? So there were two phases of discussion, I would say. And the first is in the product selection, there was no presupposition as to which low code tool that we would choose going into the project. Instead, it was really important for us to gather user requirements and figure out of the web apps they were already using, you know, what did that actually look like? What was their business process that was underpinning that application? And it's because we were able to have those conversations and do a detailed interview and analysis of each one that we were able to confidently say, okay, 80 to 90% of our user stories that we've collected over the course of this project can be solved by this one product right here. And it made us feel more confident in our selection of that product. As for the conversation that we had after the fact, once we had selected KualiBuild, I'll let Luke answer, you know, what some of that sell was like, those conversations during the, you know, the web app transition phase. Yeah, the answer is it depends. It depends on who you're selling to. There, I'd say, I've been on a bunch of projects that are refactoring old code bases and there's always a selling. There's always, at some point, you have to sell the fact that a feature is going away or somebody is gonna have to, their workflow is going to change. I'd say at Davidson, at least, the sales were a little easier. But it's, you have to go in with the approach of you are empowering them. That's kind of the salesman speak, is now you can make this update when you need to. You don't have to submit a ticket. You can do it and it will happen immediately. You don't have to wait for somebody to be available to edit your form for you. So you have to, I've at least approached the sales tactic of, you know, we're empowering you, we're giving you agency. You can change the text on this form.  Rather than, you know, and it's your removing barriers for them, rather than putting barriers in place. The hidden side of that is, well now you own this form and, you know, we don't wanna, you know, when you need a text change, please don't contact us. But I think when people are hesitant to accept that responsibility and accept the maintenance of their forms, you just have to be willing to help them along the way. You have to say, we will be here to support you for as long as you need. And for some of our people, we're gonna have to support them for every change until they're no longer at Davidson. And then maybe their replacement is feels more comfortable with the form. Some people just take what we've given them and run and they build their own, they build new forms with a start new processes. So it really depends, but I think the message is now you have the power and we've removed barriers for you. Yeah, and there's definitely some technical components as well that right out of the box with a modern SAS slow code solution are just streets ahead of a legacy ASP.net web app. You know, you're getting Azure AD single sign on out of the box. You're getting mobile friendly out of the box. You're getting accessible out of the box. You're getting a single unified Davidson brand out of the box. There, you know, other features we've leveraged are like group and role based assignment. So for example, hey, all those tickets used to submit to the IT department when someone would change jobs that you need this form to move from person A to person B because they left or have changed roles. Well, guess what? You could make that change if you wanted to yourself, but now you don't even have to because the software knows that the person in the manager of digital transformation role at Davidson as per our HR information system is me. So that's just a reference to that workflow item. It is not hard coded. So it's making people's lives a lot easier both on the empowerment front and just out of the box technical features front for sure. Can I ask a question? How ubiquitous is it? Like, is it just like the registrar in business orientated groups to use a term? Is it academic and is it sports and academics? And like, is it across the university? Do you have a specific slice of the university that you're really kind of working on and then spreading out? Like, it'd be interesting to see like just how ubiquitous the work you're doing is and where are those stories coming from? And what are the stories that you use to go to other groups and say, look at what they did. How could this work for you? Yeah, so the nice thing is that the web apps replacement which is kind of where we were starting was already spread across campus. We had departments that were academic. We had departments that were, you know more kind of service oriented. We had really high tech departments and low tech departments who all had these historic web apps that needed to be replaced by our low code solution. So they were kind of our starter seeds for creating that like widespread familiarity. And then what we've seen is that with those departments a lot of people who either interact with that form or hear from their coworker about that form that they start attending our training. And then that's led to like a relatively even distribution of engagement. I wouldn't say that we really have like any one area that has like taken it up more strongly than others other than us and we kind of have an obvious bias. One of the things that struck me when I was watching your discussion at UAPI and that kind of, I don't know.  And like I'm still kind of like I can identify with faculty and a lot of other folks because I'm like, what is an API? Exactly, right? Like what exactly is that? And what hit for me so cleanly when I was listening to you all talk about your journey and what you did is, well, it's not just web forms but web forms are really great use case around the campus to frame how data gets processed and then how it's used and then how you can kind of think through that more broadly and understand the API in relationship to a web form. And I think that does speak to pretty much everyone now who uses the web. So I really love that about your talk. And I wonder if you have some specific examples that you've been working on maybe related to the craziness that was the previous year where you can talk a little bit about this API journey in action and how you maybe as a group matured to the point where you weren't just R and D out there like there were on the ground missions that you could accomplish. Sure. So I can talk a little bit about the API journey broadly speaking and you were absolutely right that low code and web forms are a fantastic proving ground for API strategy. So as I mentioned, we had this integration platform SnapLogic that has allowed us to very quickly and easily generate all these integrations to retrieve data out of banner whether it be employee or student records EMS like our event management system or for buildings all kinds of different SaaS applications that have just sprawled over the last couple of years. If you thought the IT ecosystem was fragmented before the age of SaaS, I mean, you can see it now these platforms really help stitch that all together and present those integrations as little microservices that you can call from something like quality build or another low code platform. So, you know, we were really getting in deep with these microservices and creating dozens of them to serve these low code needs. But what quickly becomes apparent and one of the reasons that I think going to UAPI is so valuable is that that ad-infinitum create an integration for every single purpose and it only works for that one use case is unsustainable. And so what we've been working on lately is attempting to pull off some semblance of what BYU has done. And that is to create something like a college API that has endpoints for courses, persons, buildings, events, et cetera, et cetera. And now that we've spent so much time building in Kuali, we know all of the pitfalls of using an integration platform versus building our own properly managed, properly, you know, configured API platform. And even though we're still learning how to do that, it's become clear that like having proven this and having tested different versions of API strategy over the last couple of years, we now have a much clearer sense of the right direction to go compared to, you know, what we understood about this problem when we first started. As for things that we've been working on for the last year, Tessa and Luke can tell a little bit of the COVID story and how that ties into all things, all this stuff. Yeah, I'll take the initial part and then Tessa, do you wanna do the reporting aspect? Sure. Yeah, so I think JD tells the story better, but we were told 10 days before students were supposed to return to campus that we had 10 days to create an application to check in and track weekly student COVID testing. And we, I think we all cried for a little bit. And then after we were done mourning for the lack of sleep we were gonna have, we got to work. And it ended up being, and this is interesting because this was kind of the evolution of where we are with the API. It started out, we built a form in Kuali, very simple form to just student walks up to the check-in station, they tap their contact list ID on a reader. It reads that ID and then it hits this bespoke endpoint that retrieves student information. And that was done in SnapLogic. But we quickly realized the issue with utilizing SnapLogic is every single one of those calls is takes two to three to four seconds because with SnapLogic when you're running a pipeline like that it has to boot that pipeline and then run it. And so we began working towards optimizing that call by using SnapLogic to create a redis cache of all the student information and then using an Azure serverless function to be the endpoint that our form was calling. And after a couple of trial and errors, and I think JD did most of this work, but after a couple of iterations of that this response time is now down to 30 or 40 milliseconds. So those check-ins are really speeding along. And because of the success of that approach and how we realized why couldn't we use that approach for a true API, why can't we use SnapLogic to do a slow load of our data into a place that is not behind the campus firewall. And then use an API middleware to expose that to the campus. Yeah, and then capturing attendance was really just the first part of a significantly larger process. So a big part of what the institution needed was the ability to reconcile the daily attendance that was captured in that Kuali form with expected attendance. So all of our students were broken up into groups and they had required days to receive their COVID test on the results of them being tested once a week. So the university was looking for the ability to track compliance over time. And this started with the poor site coordinators, the people who were managing the actual testing site, like taking these two Excel spreadsheets, putting them side by side and like doing this manual comparison that took anywhere from like two to seven hours. And that was just not a very effective way to go about that process. So I designed another Kuali form that was called the COVID testing admin form and that was used to take in what group they expected to test that day. And that kicked off a process that we designed in SnapLogic, our kind of base-level middleware system that pulled in all of the information for students and groups that was stored in a smart sheet and reconciled that with the attendance for the day. And then that exported a data set that essentially said whether a student had tested that day and if they were supposed to or not supposed to and updated some compliance columns that we had in that original smart sheet. So a bit of a contankerous process, but it cut seven hours down to about 15 minutes from beginning to end of runtime. And that very final step actually circles back to the original Kuali form, updates it and uses some of the built-in workflow features to send out emails to a lot of our leadership members so that they get the summary sense of compliance for the day. It's interesting too, because I mean, what an interesting use case for a very particular moment in time, right? Historically, but that idea of seven hours to 15 minutes and the mission of digital transformation as a team, it kind of like it's a very brilliant example of what your team is working towards more broadly. And I think as I was doing this and why I invited you to speak is, I think more universities possibly are, but maybe aren't thinking through what it means to build a team like yours, to try and think through some of these issues across systems on campus. And I was really thrilled JD to hear that, after a process like this of low code and using other tools like SnapLogic or Kuali, that you're thinking, okay, it's time for us as a group to come together and start exercising a broader vision for a Davidson API that you start to build. That's super exciting. Yeah, we think it's about time. Again, SnapLogic has served us well, but we've found that if we had not gone through this Kuali build journey, we would not have realized the extent to which Davidson really needs something like a real time or a highly responsive standard Davidson API. It's not like the need for consuming APIs is going to diminish over time. It's only going to increase. And there are some areas technologically where Davidson continues to lag behind. For example, we have a mobile app, but it's a student administered and we definitely under-invested in it. So, okay, well, we wanna, Davidson wants to do a new modern portal, a new mobile app experience. How is it gonna get its institutional data? It's gonna get it from APIs. And if it doesn't get it from a modern API, it's gonna have to go to the integration platform and get it there and it's gonna be a suboptimal experience. So we really need to do this work now so that future projects, their integrations are enabled and made a lot easier than they otherwise would be. I wanna circle back to another thing Tessa said about that process. So there are other things that just going through the process of doing the reconciliation exposes to and being involved with the COVID process exposes to. So for the COVID check-in endpoint, the one that actually looks at the student information when they tap their card, that infrastructure would occasionally go down. So now we've started to experiment with how to set up postman monitors. And that's another thing that we picked up on by attending UAPI, the 2020 version. So Ken Lane, I guess the chief evangelist at postman was there and he talked a lot about monitors. He talked a lot about mocking APIs and we took that back and we drew on it when it came time to actually monitor this new real-time endpoint that we needed for the COVID process to be successful. For the reconciliation, we're now looking at the possibility of doing asynchronous integrations with Kuali because that reconciliation process even, it's a lot shorter than seven hours but even if it still takes 15 minutes to run, Kuali is sitting there waiting while the process runs in the background and sometimes it gets kind of upset that the web call that it made hasn't returned a result 15 minutes later. And that's because SnapLogic is doing all this processing in the background, but that's another thing we would not had to have explore if it were not for our involvement in COVID.  We were volunteering on site fairly often and saw that students were taking forever to write their name and date of birth on the labels that would get adhered to the COVID test kits. So Luke and Tessa helped me set up this template that would, this template and this script that would get the list of students who were supposed to be tested, get their names and birthdays.  And I know Luke and I sat there for literally hours on end, printing and stuffing COVID test labels into envelopes. So it was both the technology component of that and the process component and just the hands-on to actually pull it off. So that's the power of a generalist team who doesn't have to be on ticket duty all the time or worry about computer replacements is when the institution has a need for something like this, we can be there even if it means stuffing labels. Yeah, and I love that idea that, you spoke about dutying now for the future because not only is that one of my favorite divo sayings, I think it's also a good, almost should be like the subheading of your team, right? We're dutying now for the future of data, Davidson. Because it's a cool project and I'm really fascinated by the formation of your team. I don't know if a team like yours existed at least in this incarnation. That I've come across, right? There's been a lot of focus at least in my field around ed tech and innovation and R&D, but I really am fascinated and intrigued by the way you all are marrying that with on the ground, proselytizing for business processes across campus that need to be rethought. So it's a super cool one. I really appreciate you all being here with me. Yeah, glad to be here. Thank you. Right? Thanks again. All right, thanks, everyone. Mm-hmm, mm-hmm, mm-hmm. Om nom nom.


Kubla Khan by Samuel Taylor Coleridge Read for LibriVox.org by Alan Clare In Zanadu did Kubla Khan a stately pleasure-dome decree, where Alph, the sacred river, ran through caverns, measureless to man down to a sunless sea. So twice five miles of fertile ground with walls and towers were girdled round, and there were gardens, bright with sinuous rills, where blossomed many an incense-bearing tree, and here were forests, ancient as the hills, enfolding sunny spots of greenery. But o' that deep romantic chasm which slanted down the green hill, a thwart, a sedum cover, a savage place, as holy and enchanted as air beneath the waning moon, was haunted by a woman wailing for her demon lover. And from this chasm, with senseless turmoil seething, as if this earth in fast-thick pants were breathing, a mighty fountain momentally was forced, a mid-who's swift, half-intermitted burst, huge fragments vaulted like rebounding hail, or chaffy grain beneath the thresh's flail. And amid these dancing rocks, at once and ever, it flung up momentally the sacred river. Five miles, meandering, with amazing motion, through wood and dale, the sacred river ran, then reached the caverns, measureless to man, and sank in tumult to a lifeless ocean. And amid this tumult, Kubla heard from far ancestral voices prophesying war. The shadow of the dome of pleasure floated midway on the waves, where was heard the mingled measure from the fountain and the caves. It was a miracle of rare device, a sunny pleasure-dome, with caves of ice. A damsel with a dulcimer in a vision, once I saw. It was an Abyssinian maid, and on her dulcimer she played, singing of Mount Abora. Could I revive within me her symphony and song, to such a deep delight would with me, that with music, loud and long, I would build that dome in air, that sunny dome, those caves of ice. And all who heard should see them there, and all should cry, beware, beware, his flashing eyes, his floating hair. Weave a circle round him, thrice, and close your eyes with holy dread, for he on honey dew hath fed, and drunk the milk of paradise. End of Poet This recording is in the Public Dome. In Xanadu did Kubla Khan a stately pleasure-dome decree, where off the sacred river ran through Caverland's measureless demand down to a sunless sea. So twice five miles of fertile ground, with walls and towers were girdled round, and there were gardens bright, with sinuous rills where blossomed many an incense-bearing tree, and here were forests as ancient as the hills, and folding sunny spots of greenery. But oh, that deep romantic chasm which slanted down the green hill athwart a cedar-encover, a savage place, as holy and enchanted as air beneath a waning moon was haunted by a woman wailing for her demon-lover. And from this chasm, with ceaseless turmoil seething, as if this earth in fast-thick pants were breathing, a mighty fountain momentaly was forced amid whose swift half-intermended burst huge fragrance vaulted like rebounding hail, or chaffy grain beneath the thresher's flail, and amid these dancing rocks at once and ever it flung up momentaly the sacred river. Five miles meandering with a mazy motion, through wood and dale the sacred river ran, then reached the caverns measureless to man and sank in tumult to a lifeless ocean, and amid this tumult Kubla heard from far ancestral voices prophesying war. The shadow of the dome of pleasure floated midway on the waves, where was heard the mingled measure of the fountain and the caves. It was a miracle of rare device, a sunny pleasure dome with caves of ice. A damsel with a dulcimer, in a vision once I saw, it was an Abyssinian maid, and on her dulcimer she played singing of Mount Taborah. Could I revive within me her symphony and song, to such a deep delight would win me, that with music loud and long I would build that dome and air, that sunny dome, those caves of ice, and all who heard should see them there, and all should cry, beware, beware. His flashing eyes, his floating hair, weave a circle round him thrice, and close your eyes with holy dread, for he on honey-dew hath fed, and drunk the milk of paradise. In Zanadu did Kubla Khan a stately pleasure dome decree, where Alph the Sacred River ran through caverns measureless to man, down to a sunless sea, so twice five miles of fertile ground with walls and towers were girdled round, and there were gardens bright with sinuous rills where blossomed many an incense-bearing tree, and here were forests ancient as the hills and folding sunny spots of greenery. But oh, that deep romantic chasm which slanted down the green hill a thwart a cedern cover, a savage place as holy and enchanted as air beneath a waning moon was haunted by woman wailing for her demon lover, and from this chasm with ceaseless turmoil seething, as if this earth in fast thick pants were breathing, a mighty fountain momently was forced, a mid whose swift half-intermitted burst huge fragments vaulted like rebounding hail, or chaffy grain beneath the thresher's flail, and mid these dancing rocks at once and ever it flung up momently the Sacred River, five miles meandering with a mazy motion through wood and dale the Sacred River ran, then reached the caverns measureless to man, and sank in tumult to a lifeless ocean, and mid this tumult Kubla heard from far ancestral voices prophesying war. The shadow of the dome of pleasure floated midway on the waves, where was heard the mingled measure from the fountain and the caves. It was a miracle of rare device, a sunny pleasure dome with caves of ice. A damsel with a dulcimer in a vision once I saw, it was an Abyssinian maid, and on her dulcimer she played singing of Mount Abora. Could I revive within me her symphony and song, to such a deep delight twid win me that with music, loud and long, I would build that dome in air, that sunny dome, those caves of ice, and all who heard should see them there, and all should cry, beware, beware, his flashing eyes, his floating hair, weave a circle round him thrice, and close your eyes with holy dread, for he on honey-doe hath fed, and drunk the milk of paradise. In Zanadu did Kubla Khan a stately pleasure-dome decree, where Alph the Sacred River ran through caverns, measureless to man, down to a sunless sea. So twice five miles of fertile ground, with walls and towers were girdled round, and there were gardens bright with sinuous rills, where blossomed many an incense-bearing tree, and here were forests ancient as the hills, enfolding sunny spots of greenery. But oh, that deep romantic chasm which slanted down the green hill a thwarted seed and cover, a savage place as holy and enchanted as air beneath a waning moon was haunted by woman wailing for her demon lover. And from this chasm, with ceaseless turmoil seething, as if this earth in fast thick pants were breathing, a mighty fountain momentally was forced, amid whose swift half-intermitted burst, huge fragments vaulted like rebounding hail, or chaffy grain beneath the thresh's rail, and amid these dancing rocks at once and ever it flung up momently the Sacred River. Five miles meandering with amaze emotion through wood and dale the Sacred River ran, then reached the caverns measureless to man, and sank in tumult to a lifeless ocean, and amid this tumult Kubler heard from far ancestral voices prophesying war. The shadow of the dome of pleasure floated midway on the waves, where was heard the mingling measure from the fountain and the caves. It was a miracle of rare device, a sunny pleasure-dome with caves of ice, a damsel with a dulcimer, in a vision once I saw. It was an Abyssinian maid, and on her dulcimer she played, singing of Mount Abora. Could I revive within me her symphony and song, to such a deep delight would win me, that with music loud and long I would build that dome in air, that sunny dome, those caves of ice, and all who heard should see them there, and all should cry, beware, beware, his flashing eyes, his floating hair, weave a circle round him thrice, and close your eyes with holy dread, for he, on honey-dew hath fed, and drunk the milk of paradise. This recording is in the public domain. So, twice five miles of fertile ground, with walls and towers were girdled round, and there were gardens bright with sinuous rills, where blossomed many an incense-bearing tree, and here were forests ancient of the hills, enfolding sunny spots of greenery. But oh, that deep romantic chasm which slanted down the green hill a thwarted cedar and cover, a savage place, as holy and enchanted as air between a waning moon was haunted by women wailing for her demon lover. And from this chasm was ceaseless turmoil seething, as if this earth in fast thick pants were breathing, a mighty mountain momently was formed, a mid-who's swift half-intermittent burst, huge fragments vaulted like rebounding hail, or chaffy grain beneath the threshold flail. And amid these dancing rocks at once and ever, it flung up momently the sacred river. Five miles meandering with a mazy motion, through wood and dale the sacred river ran, then reached the cavern's measureless demand, and sank in tumult to a lifeless ocean, and amid this tumult Kubla heard from far ancestral voices prophesying war. The shadow of the dome of pleasure floated midway on the waves, where was heard the mingled measure from the fountain and the caves. It was a miracle of rare device, a sunny pleasure dome with caves of ice. A damsel with a dulcimer, in a vision once I saw, it was an Abyssinian maid, and on her dulcimer she played, singing of Mount Abara. How could I revive within me her symphony and song? To such a deep delight would win me, that with music allowed and long, I would build that dominaire, that sunny dome, those caves of ice, and all who heard should see them there, and all should cry, Beware, beware, his flashing eyes, his floating hair. Weave a circle round him thrice, and close your eyes with holy dread, for he on a honeydew hath fed, and drunk the milk of paradise. End of poem. This recording is in the public demand. Kublaqon. By Samuel Talek, Olridge. Red for Librivox.org. By Gemma Blythe. In Xanadu did Kublaqon a stately Pleasuredome Decree. Where Elf, the Sacred River, ran, through caverns, measureless to man, down to a sunless sea. So twice five miles of fertile ground with walls and towers were girdled round, and there were gardens bright with sinuous reels, where blossomed many an incense-bearing tree, and here were far as ancient as the hills, in folding sunny spots of greenery. But oh, that depromantic chasm which slanted down the green hill, as water set in cover, a savage place, as holy and enchanted, as air beneath a waning moon was haunted by woman welling for her demon lover. And from this chasm, with ceaseless turmoil seething, as if this earth in vast thick bounce were breathing, a mighty fountain momentaly was forced, amid whose swift half intermitted burst, huge fragments vaulted like rebounding ale, or chaffy grain beneath the thresher's flail, and mid these down-thing rocks that once and ever had flung up momentaly the sacred river, five miles meandering with amazing motion. Through Woodendale the sacred river ran, then reached the caverns, measureless to man, and sank in Dumult to a lifeless ocean. And amid this Dumult, Kubler heard from far, ancestral voices prophesying war. The shadow of the dome of pleasure floated midway on the waves, where was heard the mingled measure from the fountain on the caves. It was a miracle of rare device, a sunny pleasure dome with caves of ice. A damsel with a dulcimer, and a vision once I saw, it was an Abyssinian maid, and on her dulcimer she played singing of Mount De Borda. Could I revive within me her symphony and song, to such a deep delight would win me that with music loud and long? I would build that dominaire, that sunny dome those caves of ice, and all her heard should see them there, and all should cry, Beware, beware his flashing eyes, his floating air. With a circle round him thrice, and close your eyes with holy dread, for he on unidue hath fed, and drunk the milk of paradise. End of poem, this recording is in the public domain. Kubla Khan by Samuel Taylor Coleridge, read for LibriVox.org by J. C. Guan, Shenyang, June 2007. In Zanadu did Kubla Khan a stately pleasure dome decree, where alph the sacred river ran through caverns measureless to man, down to a sunless sea. So twice five miles of fertile ground, with walls and towers were girdled round, and there were gardens bright with sinuous rills, where blossomed many an incense-bearing tree, and here were forests ancient as the hills, and folding sunny spots of greenery. But oh, that deep romantic chasm, which slanted down the green hill toward the seed and cover, a savage place, as holy and enchanted as ever beneath a waning moon was haunted, by woman wailing for her demon lover, and from this chasm with ceaseless turmoil seething. As if this earth's infastic pants were breathing, a mighty fountain momentally was forced amid whose swift half-intermitted burst, huge fragments vaulted like rebounding hail, worked happy grain beneath the thresher's flail, and amid this dancing rocks, at once and ever. It flung up momentally the sacred river, five miles meandering with mazy motion, through wood and dill the sacred river ran, then reached the caverns measureless to man, and sank in tumult to a lifeless ocean. Admit this tumult Kubla heard from far, ancestral voices prophesying war. The shadow of the dome of pleasure floated midway on the waves, where was heard the mingled measure from the fountain in the caves? It was a miracle of rare device, a sunny pleasure-dome with caves of ice, a damsel with a dulcimer, in a vision I once saw. It was an Abyssinian maid, and on her dulcimer she played, singing of Mount Aborah. Could I revive within me her symphony and song, to such a deep delight would win me? That with music loud and long I would build that dome in air, that sunny dome, those caves of ice, and all who heard should see them there, and all should cry, beware, beware, his flashing eyes, his floating hair.  And of poem, this recording is in the public domain. Kublikon by Samuel Taylor Coleridge, read for LibriVox.org by John Scott Jones In Zanadu did Kublikon a stately pleasure-dome decree, where Alph the Sacred River ran through Cavern's measureless demand down to a sunless sea. So twice five miles of fertile ground with walls and towers were girdled round, and there were gardens bright with sinuous rills where blossomed many an incense-bearing tree, and here were forests, ancient as the hills, enfolding sunny spots of greenery. But, oh, that deep romantic chasm which slanted down the green hill a thwart a cedar and cover, a savage place, as holy and enchanted as air beneath a waning moon was haunted by a woman wailing for her demon lover. And from this chasm, with ceaseless turmoil seething as if this earth in fast thick pants were breathing, a mighty fountain momentally was forced, a mid-who's swift half-intermitted burst, huge fragments vaulted, like rebounding hail or chaffy grain beneath the thresher's flail, amid these dancing rocks at once and ever it flung up momentally the Sacred River. Five miles meandering with a mazy motion through wood and dale, the Sacred River ran, then reached the Cavern's measureless demand and sank in tumult to a lifeless ocean. At mid this tumult Kubla heard from far ancestral voices prophesying war. The shadow of the dome of pleasure floated midway on the waves, where was heard the mingled measure from the fountain and the caves. It was a miracle of rare device, a sunny pleasure dome with caves of ice. A damsel with a dulcimer, in a vision once I saw, it was an Abyssinian maid and on her dulcimer she played, singing of Mount Abora. Could I revive within me her symphony and song to such a deep delight twid with me that with music loud and long I would build that dome in air, that sunny dome, those caves of ice, and all who heard should see them there, and all should cry beware, beware, his flashing eyes, his floating hair. Weave a circle round him, thrice, and close your eyes with holy dread, for he on honey-dew half fed, and drunk the milk of paradise. A stately pleasure dome decree, where alph the sacred river ran through caverns, measureless to man, down to a sunless sea. So twice five miles of fertile ground, with walls and towers regurgitled round, and there were gardens bright with sinuous rills, where blossomed many an incense-bearing tree, and here were forests ancient as the hills, enfolding sunny spots of greenery. But, oh, that deep romantic chasm which slanted down the green hill, a thwart, a cedern cover, a savage place, as holy and enchanted, as air beneath the waning moon was haunted by a woman wailing for her demon lover. And from this chasm, with ceaseless turmoil seething, as if this earth in fast, thick pants were breathing, a mighty fountain momently was forth, amid whose swift half-intermitted burst huge fragments vaulted like rebounding hail, or chaffy grain beneath the thresher's flail. And, amid these dancing rocks at once and ever, it flung up momently the sacred river. Five miles meandering with a mazy motion, through wood and dale the sacred river ran, then reached the caverns measureless to man, and sank in tumult to a lifeless ocean, amid this tumult Kubla heard from far, ancestral voices prophesying war. The shadow of the dome of pleasure floated midway on the waves, where was heard the mingled measure from the fountain and the caves? It was a miracle of rare device, a sunny pleasure dome with caves of ice. A damsel with a dulcimer, in a vision once I saw, it was an ambicinian maid, and on her dulcimer she played, singing of Mount Avarah. Could I revive within me her symphony in song, to such a deep delight would win me, that with music loud and long I would build that dome in air, that sunny dome, those caves of ice, and all who heard should see them there, and all who should cry, beware, beware, his flashing eyes, his floating hair.  In Zanadu did Kubla Khan a stately pleasure-dome decree, where Elf, the sacred river, ran through caverns measureless to man, down to a sunless sea. So twice five miles of fertile ground, with walls and towers were girdled round, and there were gardens bright with sinuous reels, were blossomed many an incense-bearing tree, and here were forests ancient as the hills, enfolding sunny spots of greenery. But oh, that deep romantic chasm which slanted down the green hill, a thwarted seed and cover, a savage place, as holy and enchanted as air beneath a waning moon, was haunted by woman wailing for her demon lover. And from this chasm with ceaseless turmoil seething, as if this earth and fast thick pants were breathing, a mighty fountain momentally was forced, amid whose swift half-intermittent burst huge fragments vaulted like rebounding hail, or chaffy grain beneath the thresher's flail, and amid these dancing rocks at once and ever it flung up momentally the sacred river, five miles meandering with a mazy motion, through wooden dale the sacred river ran, then reached the caverns measureless to man, and sank in tumult to a lifeless ocean, and amid this tumult Kubla heard from far ancestral voices prophesying war. The shadow of the dome of pleasure floated midway on the waves, where was heard the mingled measure from the fountain and the caves. It was a miracle of rare device, a sunny pleasure dome with caves of ice, a damsel with a dulcimer in a vision once I saw. It was an Abyssinian maid, and on her dulcimer she played, singing of Mount Abora, could I revive within me her symphony and song, to such a deep delight would win me, that with music loud and long I would build that dominaire, that sunny dome those caves of ice, and all who heard should see them there, and all should cry beware, beware, his flashing eyes, his floating hair, weave a circle round him thrice, and close your eyes with holy dread, for he, on a honeydew hath fed, and drunk the milk of paradise. End of poem. This recording is in the public domain. The sacred river ran through caverns measureless to man, down to a sunless sea. So twice five miles of fertile ground with walls and towers were girdled round, and there were gardens bright with sinuous rills, where blossomed many an incense-bearing tree, and here were forests ancient as the hills, enfolding sunny spots of greenery. But oh, that deep romantic chasm which slanted down the green hill of thwart a seeding cover, a savage place, as holy and enchanted as air beneath a waning moon was haunted by woman wailing for her demon lover. And from this chasm with ceaseless turmoil seething, as if this earth in fast thick pants were breathing, a mighty fountain momentally was forced, a mid-who's swift half-intermitted burst huge fragments vaulted like rebounding hail, or chaffy grain beneath a thresher's flail. And mid these dancing rocks at once and ever it flung up momentally the sacred river. Five miles meandering with a mazy motion through word and dale the sacred river ran, then reached the caverns, measureless to man, and sunk in tumult to a lifeless ocean, and mid this tumult Kubla heard from far ancestral voices prophesying war. The shadow of the dome of pleasure floated midway on the waves, where was heard the mingled measure from the fountain and the caves. It was a miracle of rare device, a sunny pleasure-dome with caves of ice. A damsel with a dulcimer in a vision once I saw, it was an Abyssinian maid, and on her dulcimer she played, singing of Mount Aborah. Could I revive within me her symphony and song, to such a deep delight would win me, that with music loud and long I would build that dome in air, that sunny dome, those caves of ice, and all who heard should see them there, and all should cry beware, beware, his flashing eyes, his floating hair, weave a circle round him thrice, and close your eyes with holy dread, for he on honeydew hath fed, and drunk the milk of paradise. End of poem. This recording is in the public domain. Sacred River ran through Cavern's measureless demand down to a sunless sea, so twice five miles of fertile ground with walls and towers were girdled round, and there were gardens bright with sinuous rills, where blossomed many an incense-bearing tree, and here were forests ancient as the hills, enfolding sunny spots of greenery. But, oh, that deprimantic chasm which slanted down the green hill, lathwart a cedar and cover, a savage place as holy and enchanted as air beneath a waning moon was haunted by women wailing for her demon lover, and from this chasm with ceaseless turmoil seething as if this earth in fast thick pants were breathing, a mighty fountain momently was forced amid whose swift half-intermitted burst huge fragments belted like rebounding hail or chaffy grain beneath the thresher's flail, and amid these dancing rocks at once and ever it flung up momently the Sacred River. Five miles meandering with a mazy motion through Woodendale the Sacred River ran, then reached the Cavern's measureless demand and sank in tumult to a lifeless ocean, and amid this tumult Kubla heard from far ancestral voices prophesying war. The shadow of the dome of pleasure floated midway on the waves, where it was heard the mingled measure from the fountain and the caves. It was a miracle of rare device, a sunny pleasure dome with caves of ice. A damsel with a dulcimer and a vision once I saw, it was an Abyssinian maid and on her dulcimer she played singing of Mount Abora. Could I revive within me her symphony and song to such a deep delight to it win me that with music loud and long I would build that dome in air, that sunny dome, those caves of ice. And all who hurried should see them there and all should cry, beware, beware, his flashing eyes, his floating hair.  End of poem. This recording is in the public domain. Kubla Khan by Samuel Taylor Coleridge, read for LibriVox.org by Mary Mack. In Xanadu did Kubla Khan a stately pleasure dome decree, where alf the sacred river ran through caverns, measureless to man, down to a sunless sea. So twice five miles of fertile ground with walls and towers were girdled round, and there were gardens bright with sinuous rills, where blossomed many an incense-bearing tree. And here were forests, ancient as the hills, enfolding sunny spots of greenery. But, oh, that deep romantic chasm which slanted down the green hill, a thwar to cedar and cover, a savage place, as holy and enchanted as air beneath a waning moon was haunted by woman wailing for her demon lover. And from this chasm, with ceaseless turmoil seething, as if this earth in fast thick pants were breathing, a mighty fountain momently was forced, amid whose swift half-intermitted burst huge fragments vaulted like rebounding hail, or chaffy grain beneath the thresher's flail, and amid these dancing rocks at once and ever it flung up momently the sacred river. Five miles meandering with amazing motion through wooden dale, the sacred river ran, then reached the caverns measureless to man, and sank in tumult to a lifeless ocean, and amid this tumult Kubla heard from far, ancestral voices prophesying war. The shadow of the dome of pleasure floated midway on the waves, where was heard the mingled measure from the fountain and the caves? It was a miracle of rare device, a sunny pleasure dome with caves of ice. A damsel with a dulcimer, in a vision once I saw, it was an abyssinian maid, and on her dulcimer she played, singing of Mount Abora. Could I revive within me, her symphony and song, to such a deep delight twidwin me, that with music loud and long, I would build that dome in air, that sunny dome, those caves of ice, and all who heard should see them there, and all should cry, beware, beware, his flashing eyes, his floating hair. Weave a circle round him thrice, and close your eyes with holy dread, for he on honeydew hath fed, and drunk the milk of paradise. In Zanadu de Kublikon, a stately pleasure-dome decree, where alf the Sacred River ran through Cavern's measureless demand, down to a sunless sea. So twice five miles of fertile ground, with walls and towers were girdled round, and there were gardens bright with sinuous reels where blossomed many an incense-bearing tree, and here were forests ancient as the hills enfolding sunny spots of greenery. But, oh, that deep romantic chasm which slanted down the green hill, a thwart a cedern cover, a savage place, as holy and enchanted as air beneath the waning moon was haunted by woman wailing for her demon lover. And from this chasm, with ceaseless turmoil seething, as if this earth in fast thick pants were breathing, a mighty fountain momentally was forced, amid whose swift half-intermitted burst huge fragments faulted like rebounding hail or chaffy grain beneath the thresher's flail, and amid these dancing rocks at once and ever it flung up momentally the Sacred River. Five miles meandering with mazy motion through Woodendale the Sacred River ran, then reached the cavern's measureless demand, and sank in tumult to a lifeless ocean, and amid this tumult Kubla heard from far ancestral voices prophesying war. The shadow of the dome of pleasure floated midway on the waves, where was heard the mingled measure from the fountain and the caves. It was a miracle of rare device, a sunny pleasure-dome with caves of ice. A damsel with a dulcimer and a vision once I saw, it was an abyssinian maid, and on her dulcimer she played singing of Mount Ebera. Could I revive within me her symphony and song, to such a deep delight would win me, that with music loud and long I would build that dome in air, that sunny dome, those caves of ice, and all who heard should see them there, and all should cry, beware, beware his flashing eyes, his floating hair.  And of poem this recording is in the public domain. Kubla Khan, by Samuel Taylor Coleridge, read for LibriVox.org by Peter Yersley. In Zanadu did Kubla Khan a stately pleasure-dome decree, where Alph the Sacred River ran through caverns, measureless to man, down to a sunless sea. So twice five miles of fertile ground with walls and towers were girdled round, and there were gardens bright with sinuous rills, where blossomed many an incense-bearing tree, and here were forests ancient as the hills, enfolding sunny spots of greenery. But, oh, that deep romantic chasm which slanted down the green hill, a thwart, a seed and cover, a savage place, as holy and enchanted as air beneath a waning moon, was haunted by woman wailing for her demon lover, and from this chasm, with ceaseless turmoil seething, as if this earth in fast thick pants were breathing, a mighty fountain momentally was forced, amid whose swift half-intermitted burst huge fragments vaulted like rebounding hail, or chaffy grain beneath the thresh's flail, and amid these dancing rocks, at once and ever, it flung up momentally the sacred river. Five miles, meandering with a mazy motion through wood and dale, the sacred river ran, then reached the caverns measureless to man, and sank in tumult to a lifeless ocean, and amid this tumult, Kubla heard from far ancestral voices prophesying war. The shadow of the dome of pleasure floated midway on the waves, where was heard the mingled measure from the fountain and the caves. It was a miracle of rare device, a sunny pleasure dome with caves of ice. A damsel with a dulcimer, in a vision once I saw, it was an Abyssinian maid, and on her dulcimer she played, singing of Mount Abora. Could I revive within me her symphony and song, to such a deep delight would win me, that with music loud and long I would build that dome in air, that sunny dome, those caves of ice, and all who heard should see them there, and all should cry beware, beware, his flashing eyes, his floating hair. Weave a circle round him thrice, and close your eyes with holy dread, for he on honeydew hath fed, and drunk the milk of paradise. End of poem. This recording is in the public domain. So twice five miles of fertile ground, where the walls and towers were girdled round, and there were gardens bright with the sinew's reels, where blossomed many an incense-bearing tree, and here were forest-singed as the hills, and folding sunny spots of greenery. But oh, that deep romantic chasm which slanted down the green hill hath words a cedar cover. A savage place, as holy and enchanted as air beneath a waning moon, was haunted by woman wailing for her demon lover. And, from this chasm, with ceaseless turmoil seething as if earth in fast thick pants were breathing, a mighty fount him momentary was forced, amid whose swift half-intermitted burst huge fragments vaulted like rebounding hail or chaff of grain beneath the thresher's flail. And, amid these dancing rocks set once and ever, it flung up momently the sacred river. Five miles meandering with amazing motion through wood and dale the sacred river ran, then reached the caverns measureless to man, and sank in tumult to a lifeless ocean. Amid this tumult, Kubla heard from far ancestral voices prophesying war. The shadow of the dome of pleasure floated midway on the waves, where was heard the mingled measure from the founting and the caves. It was a miracle of rare device, a sunny pleasure dome with caves of eyes. A densil with a dulcimer in a vision once I saw, it was an abyssinian maid, and, on her dulcimer she played, singing of Mount Abura, could I revive within me her symphony and song, to such a deep delight would win me, that with music loud and long I would build that dome in air, that sunny dome, those caves of eyes. And all who heard should see them there, and all should cry, beware, beware! His fleshing eyes, his floating air, weave a circle round him thrice, and close your eyes with holy dread, for he unhoneyed you hath fed, and drank the milk of paradise. And of poem this recording is in the public domain. In Xanadu did Kubla Khan a stately pleasure dome decree, where Alph, the sacred river, ran through caverns measureless to man, down to a sunless sea. So twice five miles of fertile ground, with walls and towers were girdled round, and there were gardens bright with sinuous rills, where blossomed many an incense-bearing tree, and here were forests ancient as the hills, in folding sunny spots of greenery. But, oh, that deep romantic chasm which slanted down the green hill, a thwart, a cedern cover, a savage place, as holy and enchanted as air beneath a waning moon was haunted by woman wailing for her demon lover. And from this chasm, with ceaseless turmoil seething, as if this earth in fast thick pants were breathing, a mighty fountain momently was forced, amid whose swift half-intermitted burst huge fragments faulted like rebounding hail, or chaffy grain beneath the thresher's flail, and amid these dancing rocks at once and ever it flung up, momently the sacred river. Five miles meandering with amazing motion, through wood and dale the sacred river ran, then reached the caverns measureless to man, and sank in tumult to a lifeless ocean, and amid this tumult Kubla heard from far ancestral voices prophesying war. The shadow of the dome of pleasure floated midway on the waves, where was heard the mingled measure from the fountain and the caves? It was a miracle of rare device, a sunny pleasure dome with caves of ice. A damsel with a dulcimer and a vision once I saw, it was an Abyssinian maid, and her dulcimer she played. Singing of Mount Ebora, could I revive within me her symphony and song to such a deep delight, twid wind me, that with music loud and long I would build that dome in air, that sunny dome, those caves of ice, and all who heard should see them there, and all should cry, beware, beware. His flashing eyes, his floating hair, weave a circle round him thrice, and close your eyes with holy dread, for he on honeydew hath fed and drunk the milk of paradise. End of poem. This recording is in the public domain. Where Alph, the sacred river, ran through caverns measureless to man, down to a sunless sea. So twice five miles of fertile ground, with walls and towers were girdled round, and there were gardens bright with sinuous rills, where blossomed many an incense-bearing tree, and here were forests ancient as the hills, in folding sunny spots of greenery. But, oh, that deep romantic chasm which slanted down the green hill, a thwart, a cedar, and cover, a savage place, as holy and enchanted as ever beneath a waning moon was haunted by a woman wailing for her demon lover. And from this chasm, with ceaseless turmoil seething, as if this earth and fast thick pants were breathing, a mighty fountain momently was forced. Amid whose swift half-in-a-minute burst, huge fragments vaulted like rebounding hail, or chaffy grain beneath the thresher's flail, and amid these dancing rocks, at once and ever it flown up momentally the sacred river, five miles meandering with a mazy motion, through wood and dale the sacred river ran. Then reached the caverns measureless to man, and sank in tumult to a lifeless ocean. Amid this tumult, Kubla heard from far ancestral voices prophesying war. The shadow of the dome of pleasure floated midway on the waves, where was heard the mingled measure from the fountain and the caves. It was a miracle of rare device, a sunny pleasure dome with caves of ice. A damsel with a dulcimer won the vision once I saw. It was an Abyssinian maid, and on her dulcimer she played, singing of Mount Abora. Could I revive within me her symphony and song, to such a deep delight would win me, that with music loud and long I would build that dome in air, that sunny dome, those caves of ice, and all who heard should see them there, and all should cry, beware, beware. His flashing eyes, his floating hair, weave a circle round him thrice, and close your eyes with holy dread, for he on honeydew hath fed, and drunk the milk of paradise. End of poem. This recording is in the public domain. In Xanadu did Kubla Khan a stately pleasure dome decree, where Alf, the sacred river, ran through caverns measureless to man, down to a sudden the sea. So twice five miles of fertile ground, with walls and towers were girdled round, and there were gardens bright, with sinuous rills where blossomed many an incense-bearing tree, and here were forests, ancient as the hills, enfolding sunny spots of greenery. But oh, that deep romantic chasm, which slanted down the green hill a thwarted cedar and cover, a savage place, as holy and enchanted as there beneath the waning moon was haunted by woman wailing for her demon lover, and from this chasm, with ceaseless turmoil seething, as if this earth in fast thick pants were breathing, a mighty fountain momently was forced, amid whose swift half-intermitted burst huge fragments vaulted, like rebounding hail, or chaffy grain beneath a thresher's flail, and amid these dancing rocks, at once and ever, it flung up momently the sacred river, five miles meandering, with a mazy motion through Woodendale, the sacred river ran, then reached the caverns measureless to man, and sank in tumult to a lifeless ocean, and amid this tumult, Kubelkon heard from far ancestral voices, prophesying war. The shadow of the dome of pleasure floated midway on the waves, where was heard the mingled measure, from the fountain and the caves. It was a miracle of rare device, a sunny pleasure dome with caves of ice. A damsel with a dulcimer in a vision once I saw, it was an abyssion made, and on her dulcimer she played, singing of Mount Abura, could I revive within me her symphony and song, to such a deep delight would win me, that with the music loud and long I would build that dominaire, that sunny dome, those caves of ice, and all who heard should see them there, and all should cry, beware, beware, his flashing eyes, his floating hair, weave a circle around him with rice and close your eyes with holy dread, for he on honeydew hath fed, and drunk the milk of paradise.


We'll lose all the subscribers.   And he falls on Instagram. We're into it. Wow, you launched off of it. Take a moment. Wow. It's so juicy. Think you're going to be so much on Patreon? We what? Follow us on Instagram. You are slowly but surely becoming Jack Sparrow. And his is doing today love. Let me tell you. Today. I'm quailess. We are breaking to a song.    It's called this. Wow, that's a weird name for something. It's called this. Oh, I know what. Come on. You can do the title. Hushualan ko kabar kai. That's not enough to carbonize it. It's all right. You asked. Hushualan kon kabar kia. From Sarv. Amir Khan. Yes. Sinali Bendra. I believe it's a romantic. It is a 90s song. The 90s say romantic. This is a song from the 90s. But Amir Khan. I don't think it's like a silly. I think it's romantic. Roll up your mustache. Let's do it. Come on. I don't know. Romantics, fine. But I need it to be cheese. This better be drippin' in cheese. Well, this isn't one of our 90s thing. Maybe that's a new thing. We're juicy content. 90s music videos is cheesy content. It's so cheesy. That's Alexis's one. When we do a cheesy one, we should have Alexis say it's so cheesy. We'll see. She doesn't talk. If she'll do it. Yeah, she might not do it. It's 90s. I'm excited. That's romantic. It's not gonna be like a... We've seen... Okay. Akshay Kumar thing. It's gonna be more romantic. 90s. Let's see. Here we go. 90s. Is that a Wednesday? Is that... Is there a drop? Yeah, is that a Xerath? No, it's not. Oh, I think it is. It is. It is. That looks like Tonka Tonka. It did. You're right. Great tie-in with the lyrics. Still young. Just chiseled jawline, I'm here. Beautiful song, I'm here. Her open locks. Great tie-in with the song. She's doing it on purpose. No cheese in that one. But it made up for it with the adorability. There was one cheese. God, it was all a throw it up in the... Yes. I come down on my nostrils so I can sniff her. Yes, yes, yes. Little creepy. That was just like when it hit him. He wanted to relive that moment. Oh, I was... I loved it! The song's beautiful. One of the most beautiful songs I think we've reacted to. Everything about it. The lyrics. Thank you for... I'm done once again. I'm sure it doesn't do justice to what the... Again, yeah. I was thinking I want an Ohindi because it did do justice. The way the person subbed one of the other romantic songs for us as well. She said she got some help as well for this one. Yeah. And they were very beautiful lyrics. So if those were even close, it was... Very pretty. And the tie-in all the time of the lyric that said the scent of her. And that's when her scarf hits him and he can smell her. And her locks of hair and it shows her hair. And then her subdued lowered eyes and her faces down into the thing. Loved it. Yeah, that was very good. Also just the music behind it, the soft... I know it's not a drum, but the soft percussion. Yeah. Just beautiful. Really nice. I loved that whole part of it. And I might add this to the playlist. Yeah, I was just going to say it right now. You could replay that right now and I would just do this and enjoy watching that video and listening to that again. Because that's one of the songs that... Different from most of the songs on our playlist. We have different plays, but most of them are obviously a beat. There's a few. Yeah, I got a few that aren't upbeat. I got a few of the love songs. This is one of the ones you could just sit back and listen to. Have a cocktail, of course, while you're driving. While you're driving? Well, in this scenario. That's injurious to your health. And others. But it's from... Sharoof? Corbinized! Sarfarash! It's almost like Sarfarash. Okay. After his brother is killed and father severely injured by terrorists, a young med student quits his studies to join the Indian police service to wipe out the terrorists. Where is the love story that's clearly central to this? Well, I'm sure it's in there, but the central part of it is... I guess his story. This is his story. This made me want to watch the movie. Yeah, 100%. I mean, it's Amir Khan. We love Amir Khan. Yeah, we do. It's directed by John Matthew... John Matthew Motham. Or Matan. John Matthew? Wait a minute. How was he connected to Gandhi? He's not the director. He must have been second unit or assistant director. Yeah, that's Gandhi. That is 1982. Is he American? I'm just wondering... American... I'm just wondering because of the name. John Matthew is not an Indian name. No, that's his middle name, I think. John Matthew Motham. Motham is his last name, right? Correct. So, John Matthew, that's a decisively... Sure. Why is the middle name? Very, very much so. Very, very much so. So, I'm just wondering what his origin is. But what was he? He had to have been like second unit director. Yeah, he was a director. I just looked. He wasn't a director. Okay. Well, I know he wasn't that. That was Richard Attenborough. Uh, yeah. It isn't a Saturday in Shaw. It was. A couple of other people you've seen, too. This guy, we've seen him in a couple of... Oh, I'm Barfi. That's great. I wasn't watching anybody, but the two of those... Yeah. The main girl, I believe, is this girl. I don't know if we've seen her in anything else. The main girl. Yeah, I'm sure we have. And I'm sure you guys are going to say, Yeah, you've seen her in this and that and this and that. But that really surprised me. I was rooting for cheese. Ali Khan. Yeah, I was rooting for cheese. But love always wins over cheese. There's one cheese. Not two cheese. Two cheese. Huh. You don't know what two cheese is? No. It was like the original 90's song we were reacting to. Two cheese, two cheese, a mouse to mouse. Two cheese, two cheese. It was that? Two cheese? It's called two cheese. Wow. Look at you pulling back out of the closet of our memories. It's called... That's... No, I don't know if it's the one that we... It's either... No, two cheese is the plumber one, where everything's raining everywhere. Okay, well still. That you pulled that out of the cheese factory. When he's in the warehouse. Well, the king of cheese is still... But like I said, this is not a submission into our 90's ones. This doesn't work in that house. It happens to be in the 90's. This is just a great love song video. That was great. Let us know what are the love songs because you guys seem to like them a lot. The love songs that we haven't... I love them. We haven't delved into them as much as we have the cheesy ones. So I think some of you like them a lot. Yeah, the ones that don't like the cringiness. You know what I love?   You remember that? It's like, he doesn't seem like he wants to be near her. Yeah, she's undead.