Hey everyone, welcome back to another episode of prime comments and We've really shortened down the comments to speak in fact. I'm only looking at three different videos So three to four of your comments I'm trying to condense it this week one because I have a really tight schedule here on Sunday because I'm heading to a movie today I'm not sure if I'm going to go to the new Justice League movie or if I am heading out to see the new Thor movie I knew that off like the new Thor movie is Higher reviewed higher rated than the Justice League movie, but I kind of want to see him both I have time to go to one and so the rest of the time I am spending with you guys because earlier today. I watched the the Packard game Yes, I'm aware of the Packard's laws got shut out at Lambo first time since 2006 blah blah blah You guys don't care about that. Let's get into your comments this week So this comment comes from the black Friday switch sales third parties and 2018 lineup which ended up being our Nintendo Prime podcast episode 39 and this comment comes from David Brown 20 bucks to get on the podcast that's lame. Please give us money. Please. Please. Please I'll let you put it in my arse for 50 bucks. Please. Please money. Please for the love of all that is holy money 20 bucks you get three seconds on our podcast. I Responded to David Brown and I said we're not begging anyone and We aren't requiring anyone give anything at all the tier exists by request. It's not even our idea Also, do you know any other podcast that just lets their fans come on the actual podcast because I don't and David Brown responded you're begging whether you think so or not so obviously I wanted to bring this up because It's not a common thought process, right? There's not a lot of people out there that are complaining about our patreon. It's really weird We used to get early complaints about our patreon like six months ago But yeah, I don't really understand why people have complaints about things like patreon or the 20 bucks to get on the podcast Or like like like this. Please give us money money. Please. Please. I've never like begged like literally beg for money All I've ever done or at least all I ever tried to do is mention that we have a patreon and that we have tears at the patreon And it's a way you could show us support. I've never said hey if you don't support us on patreon We're going away our channels canceled if you don't support us on patreon. There is no Nintendo Prime podcast I just mentioned it as a way of supporting us and if you support us you we give you rewards for supporting us So one of those rewards is being on our podcast and it's really weird like when he says 20 bucks It's you three seconds our average podcast is two to three hours long and If you look at the two podcasts we've got two podcasts so far that have had our $20 to your guests on and They got to talk a lot Like a lot a lot a lot it wasn't I know you know some of this is a criticism of me cutting people off But that didn't happen in those podcasts. I literally those people I mean I was getting cut off the last person person we had on well was another guy named Nathan and He happens to also be kind of an independent developer and he he was cutting me off Which I said hey, no he like even apologized during the palm of don't apologize That's what I'm guilty of doing all the time cut me off and get your words in and he had a lot to say and So did our prior guest before that so yeah, it's it's definitely not something that I don't know I guess I don't view it as begging I don't Telling people that there's a way to support us and people choosing to support us is nice But it's not a requirement, and I'm not I don't know. I don't know I guess when I view begging, you know I even looked up the definition of begging that to see if that's actually what I'm doing and so my literal definition You're correct, and you're not because I'm not asking for charity I'm asking for People who would like to support us monetarily to do so and here's a method that gives you something in return In fact, I promote our patreon as a better way to do that versus people giving like super chats or subscribing to our channel because If you go to our patreon you're you're not It's not charity at our patreon. It's premium content You are paying for access to content that you wouldn't get otherwise as an example For five dollars a month on our patreon you get early access to our podcast You are paying a premium to have early access to our podcast. You're paying to get something in return That's why I don't really view this begging begging would be like if you don't support us We are going away. That is not that's not even remotely true Patreon is a supplementary Income that obviously helps keep what we do here going and helps us launch new shows, but it's not necessarily The driving factor like most of our primary source of income is YouTube ads And we'll probably always be YouTube ads, but patreon is just a nice way to supplement that because hey What I don't know about the whole apocalypse thing because we weren't really making money before apocalypse anyways So I don't really understand any of that like all the channels that lost making money But what I what I understand it as is it allows us to do things that don't rely on ad revenue as much as an example One podcast per week could take up to 12 to 15 hours worth of research Gathering people recording transferring files and editing for just one video and that one video is not going to make remotely enough money through just ads to really Support doing that kind of video every single week now We've been doing that kind of video every other week anyways, but now thanks to patreon support it is weekly So yeah, I don't know I guess I just don't view it as begging And I'm sorry that you feel 20 bucks is too much But we have to limit how many people can be on our podcast every single Month because otherwise we end up with a podcast where it's just a slew of fans And I'm not able to bring in special guests and other youtubers in And you always have to worry about you don't bring fans in they might not be as good at communicating So they might just sit there and not talk the whole podcast because they're too nervous Yeah, it's weird even at the $20 tier we limited to just 10 people and as of the recording of this this prime comments segment We already have six of those 10 slots gone in just like three months Which is amazing I never thought we'd even get one $20 backer let alone six in fact it is our second most popular Backer tier behind the $5 early access tier We have a couple $3 backers and some $10 backers as well But again people are paying to get something in return. So yeah, I I guess I don't I Don't really understand The begging aspect. We're not a charity We're not Acting like we're not going to exist without this money It's just supplementary income. It's a premium service people are paying for so I don't get it anyways Let's move on. I'm sure you guys you know if you guys have any feedback too as well to improve our patreon I don't know. So let me know in the comments below Because I obviously want to constantly improve it and make it something you guys actually care about in fact as I mentioned To the guy the $20 tier was actually suggested by people As something that they wanted and clearly with six people supporting it. It was something that was desired. So I Don't know. I like listening to your feedback. I will give you what you want on the patreon Like say you want to support us if there's a tier that does this Let me know and I will try to implement that in some way moving on The next comment we're going to talk about Comes from the Nintendo bites back against releasing games before street date video from this past week and You said wing like a bird swing or when like a bird's wing I I'm not sure which way he meant that to be read He said this this is nothing honorable from the Nintendo indie game shops are struggling and who cares if the game is sold Early Nintendo should just simply force an online authorization system So no one but approved special previewers can play the game prior to release day one Think about what you're asking You're asking Nintendo to put DRM on their system You're telling Nintendo That you want to make the switch and always online system Which it can't be because the switch is an on-the-go system in the first place and you're asking for DRM Which actually hurts people who legitimately buy copies of games and the internet goes out when the connection drops to the Nintendo online system and kicks them out of you know, say they're playing a nice You know, they're in their 350th hour breath of the wild and they're just having to blast all of a sudden Hiccup happens in the connection and it kicks you out and you might not have got a save-in when you wanted to get a save-in Yeah, it's not It's not a good. It's not good There are companies that do this to try to combat piracy on PC and it ends up really really hurting legit customers heck of a lot more than it actually stops piracy because piracy it always finds a way so Yeah, um as for the hurting indie game shops the revenue that game shops make off brand new games is like razor thin They really do not make much revenue. They really rely on people Coming in to buy and other stuff. So the reason that an indie shop would Release a game early isn't to make money off that game. It's to get people to come into their shop and hopefully buy other things This is a gas station effect gas stations make very little money off the actual gas Their goal is that you will come into the store and buy some stuff in the store and that's where they make their big bank Same as true a game stop thing when they do those midnight releases It's not really to their benefit in terms of the games because their their margins on those games are razor thin It's when you come in they're hoping that you pick up some swag and some other items of guidebooks and all this stuff Along with the game at midnight and that's gonna make game stop additional revenue. So yeah, that's it's really weird It's also really weird to say like who cares if a game is sold early a Lot of people care because it's unfair And I know I know life isn't fair. I get that but in the case of game releases It should be because if Nintendo says Super Mario Odyssey is coming out on October 27th and an indie game shop gets their shipment on October 20th And they're like, hey, we got the game. Let's put it on store shelves. That's not fair to anybody else And on top of that all that content is gonna get leaked the the game itself could get leaked online in the form of a rom The game is gonna get dumped and all this stuff might happen anyways from the media But at least then the Nintendo can narrow it down to the media all Nintendo is really doing here is Doing the logical thing. They are in Europe Making sure the shipments don't get sent out to retailers until closer to actual street date So you don't end up with a retailer that gets a game a week or two early And has to hold on to it and gets rid of the temptation to put it out early in order to entice people to come To the store and hopefully buy other products besides that game Yeah, it as for indie shops, you know struggling Obviously mom and pop shops have always struggled even like way back in the 80s and 90s, you know, it was never a for sure thing But there's several that thrive and at least in the United States And they thrive because they find a way to attract customers in that isn't necessarily built around always having the new games Now do they have some of the new games? Sure, but that's not really their demographic Their system repairs for cheap that they often do There's undercutting places like GameStop on pricing and games that helps attract people in there's running game tournaments That's a big one. I know one local mom and pop shop here. That's been around for almost 15 years Because they are one of the few places around here that run game tournaments with cash prizes And that gets people in that gets people spending money. They have a little snack bar You buy the snacks they make money off of that while you're at the tournament You got to be really smart about this stuff And yeah, mom and pop shops just need to evolve if that's it's the same one of the comic book stores Started like dabbling in like D&D and video games and stuff like because they realize the physical media of buying comics is kind of dwindling And so they are evolving to have some certain stores stay around and stay relevant Same with music stores that started expanded into general electronics You got to change with the times So if mom and pop shops aren't changing with the times and the only way they can get customers in is to illegally release games early I'm sorry. I'm not going to feel bad for them that Nintendo is cracking down on that In fact, the people I'm going to feel bad for are the customers that don't get their copies on release day Now because they ordered it from an online place And now the online isn't getting the shipments in time to send it out for you to get a day one because it's good What it was this is really gonna hurt are the people that want it day one But now the shipment might not be there on day one because it might be a day late Because that happens so That's why Nintendo was sending out the shipments as early as they were in the first place So stores could have all the games day one But if they're gonna abuse that then Nintendo is just not gonna let that happen anymore. I Mean it you have to understand both sides of the corner understand the mom and pop side I understand Nintendo side There's a better way for both companies to handle it, but really games just shouldn't be releasing early You are risking legal action by doing that Obviously Nintendo instead of in lieu of legal action. They are just saying look We're just not gonna send your copies out until way closer to release. So you can't release it early I don't know. I guess I don't have a problem with that the last comment. We're gonna talk about this week Comes from the switch has been hacked again this time For full homebrew support, this is by far our most popular video from this past week well over 7,000 views And this comes from real one gaming. He said this is bad Very bad even it's too early in the system's life They will probably find a way to circumvent the OS requirements to just a matter of time until you can play pirated switch games And if that happens too early it could potentially kill the switch like it did the Dreamcast and PSP I responded to this comment and it kind of went on this really long chain of comments I I wasn't I didn't really say more beyond my one little response, but for starters The Dreamcast didn't die because of piracy The Dreamcast was basically dead before it launched not because the system was bad The system actually sold very well very well and the games sold very very well What killed the system was that Sega was so in debt when they launched the Dreamcast that it didn't matter How well the Dreamcast performed because factually the Dreamcast actually performed very very well for the nine months It was on the market. It's that Sega was so in debt that it was too late Dreamcast was too late If they had not released all these other prior systems just wrote out the Genesis and Saturn Until the Dreamcast they would have been fine, but they didn't they released so many consoles in between that it just tanked Their their stock and tanked their profits It got to the point where they felt the only way they could recover is to stop investing in hardware and just go third-party And that saved them and they did well and ended up being the right choice for them But yeah, the Dreamcast itself wasn't even a failure It's a common misconception that the Dreamcast killed Sega the Dreamcast didn't kill Sega Dreamcast was Amazing not just like from a personal opinion standpoint because I love the Dreamcast Just from a factual standpoint. It was selling well the games are selling well It had a lot of really really good games, but it didn't matter because it was it was too late too little too late the PSP that's very interesting when people talk about how You know you say here that it that piracy and something that killed the PSP Did it kill the PSP? The PSP sold 80 million units Sony made profit on most of those 80 million units worth of sales So Sony made a profit off of off of piracy if you're saying that piracy is why it sold 80 million And it sold so well that they released a sequel to it in the Vita So if it killed the PSP, then why did the Vita exist? It didn't really kill the PSP what you can say it did it's hurt game sales for some games But there's a lot of evidence that shows that game sales actually grew from piracy I know there's evidence as well You can point to that say that the game sales sank from piracy reality is no one really knows How impactful piracy is on the industry? We do know that Nintendo's biggest issue with piracy They say it's like the greatest threat facing modern technology today Maybe it's a gross exaggeration there, but I feel like Nintendo's more worried about games leaking on the internet And having all the stories and all the characters and all that stuff end up leaking than they are about people actually playing the game early and pirating it but piracy ultimately helps lead to these leaks and Obviously Nintendo fought like a big court case over flashcards because that was a popular way people were pirating DS games And it's gonna happen on switch people are gonna pirate switch game someday and homebrew is like the first step to pirating switch games Now homebrew I you know as people noted I kept talking a lot about piracy and emulation and blah blah Homebrew Does more than that like homebrew itself isn't technically illegal. It's a modification to your switch It does void your warranty because it violates the terms of service, but violating the terms of service in this way Isn't actually illegal. It's just it voids any potential warranty Possibility both from the retailer and from Nintendo themselves And that's on you if you want to do that just like if you open up your system Like if you take and I fix a cake and you open up your switch you avoided your warranty In fact, there's a seal little seal sticker You're gonna have to break in order to void your order to avoid your warranty And that's going to ensure that your warranty is voided now Some people have used little heat gun tricks to take the sticker off and then reapply it and try to trick people I don't know why you would even want to do that Unless you're just curious about what it looks like inside your system But then like there's a lot of places like spawn wave out there that will break down the system anyways So you're you don't need to actually do that if you're just curious what it looks like But yeah, anyways, the point being here in all of this is that I don't This isn't gonna kill switch right especially since this only works the firmware 3.0.0 and even once everything gets hacked And they're able to Play, you know pirate games there There's still Nintendo kind of still has a form of DRM in that a lot of games require certain system updates and As long as Nintendo keys patch in the holes that are allowing homebrew in every single version like as soon as people are able to get Homebrew working in version 4.0.1 Nintendo's probably have version 5.0 plus out there And that's not gonna that's gonna close that loophole and all new switch games from that point forward are gonna require 5.0 whatever So Nintendo's already combating all this. I don't really think that it It's different today because what Nintendo I think learned from the past with the we and DS and even the 3ds All being platforms that were easily hackable is that Nintendo lacks the Competency to patch up these holes on their own faster than people are able to hack them So instead what Nintendo has done and it's very interesting and it's already worked As they now offer ten thousand dollars to hackers who Help Nintendo Discover the exploits so if a hacker say someone like oh I got homebrew working on 3.0 But then I'm gonna turn around and tell Nintendo how I did it So Nintendo patches it in the future update, which it's already been patched That's why it doesn't work in 4.0.1 But that's the point hackers are now being paid by Nintendo to basically hack the system and find the exploits And through that because hackers would rather get money than not make money I think we all would rather make money like oh man. I hacked the switch sweet. Nintendo will pay me for doing that Yeah, I feel like Nintendo Because of that is always now going to stay ahead of the game Obviously, this isn't gonna stop people from using homebrew that really really want to use it You know they'll buy specific systems that has specifics, you know OS versions to use it and that's fine You know you can change your backgrounds and back up your game saves Which is a big deal right now since game saves have no other way to be backed up at the moment, but yeah, I It's it's just a very interesting situation I'm personally not someone who uses homebrew anymore. I did use it on the Wii Then I decided against using it because I found myself doing things with it that I wasn't okay with morally But you know, I'm not gonna judge you if you decide to use it that way I know in the comments on this video it might felt like I was extremely judgmental But I was just stating facts of how I feel about things I'm not gonna judge anybody if you want to pirate games on your switch.  I'm not gonna judge you for it Whether or not you own these games or you don't own these games You created these versions of the games yourself or you downloaded them the facts are you know That there is like a strict line that this is illegal and pretty much everything else falls in the gray area and I personally just don't believe in That those kind of modifications to systems anymore There are specific hardware out there like raspberry pi's that are specifically built for this kind of stuff Switch is not meant as a platform to be modified and hacked in this way So I just don't believe in it especially since a lot of people are gonna use it for questionable activities But again, Nintendo is already ahead of the game on homebrew even though it works on a specific version But it let's say that you have that specific version of the OS Guess what you can't play Super Mario Odyssey because it requires a newer version So I'm gonna guess that that's going to deter a lot of people from using homebrew in the first place Yeah, and really for people who want to use the system just for homebrew and don't care about the switch games This is gonna help sales of the switch not hurt it So Yeah anyways See why I was like three questions. I meant to condense this video and it got longer than I planned This is what happens when there's a lot of passionate comments out there passionate videos We didn't have as many videos this week, but we had a lot of well-performing videos I want to thank all you guys for tuning in and caring about the topics talked about I feel like it's more important for me to choose topics that I care about and that I think you guys are gonna care about to talk about and report on at our channel than necessarily Busting out three to four videos a day, although I would like to break out three to four videos a day If there's enough topics I want to cover Anyways folks I am Nathaniel of a chance from Nintendo Prime if you like this video You know what to do and if you dislike the video hit that dislike button subscribe for more content and I will catch you guys in the next one


Welcome back folks. Dow. Dow Industrial has finished flat, Nasdaq up 105, S&Ps up 14, Gold contract up $34, trading at $17.93 an ounce. We had Silver up 56 cents, $23.07 an ounce, Light's recruit flat, $80.54 a barrel, notes and bonds. The 10-year note up 5 ticks, trading at $131.10, the 30-year up a full point plus 9 ticks at $159.27. King dollar down 481 ticks, trading 9403, Euro out here at 115, the yen at 113.27, the British pound at 136 to 1 US dollar. We get over and we take a look at the S&P, you get a flat, well you get an S&P it's up $1.59, really you get a sideways move out here. I suspect what we're going to do, we're going to try to get into this lower end of the consolidation. Lower than the consolidation is 426, right now you're at 435. We go take a look at the NBX100, NBX100 traded up 286, you're at 360, same type of setup, bottom line, not a lot of juice, sideways move out here, NBX had a little bit more juice but that's sideways move, you're building cause to get down into the high volume low, that is established out here at 350, 350. Gold contract was already in an ABC structure in the way up, it was a complex ABC structure in the way up, excuse me folks, bottom line, followed through today, 290,000 contracts, that's monster contract volume, you hit your ABC structure, we hit 1797, 1795 was the number, gold contract does want to go to the top of the consolidation which is that 1837, my take now though is that we're going all the way up to the highs of the last six months was 1922, that's how this baby's lined up, and good old King Dollar, now this is going to be interesting with King Dollar, so King Dollar folks has held the bid, held the nice bid, you pull back today but it's not a big pullback, you're still at highs out here and what King Dollar did not do, it didn't get to that swing high out here of 94, 742, so it's going to be interesting to see if you get any follow through to the downside on King Dollar, it certainly has been high, it's been high for a long period of time, gold has continued to go higher which is pretty wild, bottom line, metals want to go higher, oil's already higher, notes and bonds want to go higher, looks to me like Marker wants to go lower, have a great one folks, have a safe one, come back and visit Tommy tomorrow morning, kicks us off 9 a.m., have a great one folks, have a safe one.


My fellow Americans, yesterday we marked the 15th anniversary of the first manned landing on the moon. We all remember that great moment when Neil Armstrong said, Tranquility base here, the eagle has landed. But that wasn't our last great moment in space. In fact, it's become increasingly clear that most of our great moments are ahead of us. For 25 years, we approached space with a certain amount of daring due. It was the last frontier, and we would be its first pioneers. Space seemed like a vast black desert, but now we're ready to make the desert bloom. I'm talking about opening space up to business, to private enterprise, opening space up to commerce and experimentation and development. Why? To improve the quality of life on Earth. We've learned in the past few years that in the zero gravity of space, it's possible to manufacture drugs and pharmaceuticals of a purity much greater than is possible on Earth and in much greater quantities. The zero gravity of space is allowing us in the space shuttle and soon in a manned space station to experiment with new drugs and new cures for diseases. You have a friend or relative with diabetes? Some scientists believe that in space it's possible they may be able to produce a cure for diabetes within the next decade. In space, we also find new opportunities for important breakthroughs in cancer research. Now, cancer research is one of those phrases that to some people means we're still thinking and getting nowhere. But a number of scientists now believe that a cure for some types of cancer might be produced in space sometime in the not too distant future. That's not all. In space, we can manufacture crystals that have many times the yield and purity of those made on Earth. These will help maintain America's leadership in the computer industry. We can also develop new metals that are lighter and stronger than any we've ever known. So the promise and the potential are there. And private industry, private research groups, medical groups, and all sorts of businesses want to get up into space and invest. But it's very costly. It'll involve long-term investment, commitment, and imagination. For the past year now, our administration has been studying ways to encourage private investment and development. And we've come up with a number of new initiatives to achieve that goal. These initiatives don't involve a special interest treatment of any sort. What they come down to is a policy designed to do away with laws that inadvertently discriminate against companies that do business in space rather than on the ground. We also want to make sure these companies are not stymied by needless regulation. For example, the way the law is written now, products made in space might be subject to import tariffs because they weren't made in America. Well, we're going to change that. Another example, businesses which operate at home receive various kinds of tax incentives. But again, as the laws are written now, space products, companies would not receive those incentives. We'll be looking at that, too. Also to encourage research and development, we've been working in partnership with industry and academia to expand basic research opportunities, achieve new breakthroughs and give U.S. companies making space age products a boost on the way to the marketplace. As our country moves into high-tech industries, space will be a big part of the future. As space-related businesses take off, the economy will benefit. Ultimately, it could well mean tens of thousands of jobs, billions of dollars in new foreign trade, and tens of billions of dollars added to the gross national product. Some of our new initiatives will be accomplished through executive order. Others will require congressional action. We're confident that these measures will win considerable support. I'm proud of our work in this area, of our ability to recognize what private companies have recognized, that we have cultivated space for the past 25 years, and now is the harvest time. Now is the time to reap the practical fruits of all that daring. You know, we've been hearing a lot lately from politicians who keep talking about how dark the future is. Well, I think the narrowness of their vision stems from a kind of blindness to the adventure that technology continues to offer us. Those folks have such a strangled sense of possibilities. But in space, the possibilities are endless. It's good news for all mankind and for our country. Until next week, thanks for listening. God bless you.


This study examined the utilization of radiation therapy in Syrian refugees with prostate cancer who were living in Turkey. Most of the patients had advanced disease and received radiation therapy with a median number of 44 fractions. Additionally, non-compliance rates were high, suggesting the need for improved screening and increased access to standard of care treatments such as hypofractionated radiation therapy and androgen deprivation therapy. This article was authored by Mehmet Fyodorin, Sara Eskilek, Afer Iyeran, and others.


Well, a very good afternoon to you and of course it's now time for Gospel Trends and Gospel Artists, Mbuvi ame join the likes of Kinadani Gift and the rest so Mbuvi has officially opened his record label it's a gospel music kind of a record label Ine itua ikonajine ingine apu oni kama ni ngumungumu ki dogo but pa na shiplume interactive ya if I got it right so amesha sign amesha sign his first artist na amesha sign artist ako 15 years old so the artist is called Nikol Bet whom Mbuvi describes as a mentor to the youth na in an exclusive interview mahali Mbuvi said we have signed a number of artists and are looking forward to signing many more as we stretch out gospel tentacles there has been too many people saying there is lack of good gospel content and we want to address that totally by producing more good content gospel music na Mbuvi has opened this record label to mark two decades in the music industry he has been in the game for 20 years and this is what he said again I started the record label on my 20th year anniversary of being in the gospel industry I felt like I need to leave a legacy for other gospel artists and widen the scope of God's ministry with the ability, experience and wisdom that God has granted me over the years and at the same time offering great quality music I believe success is inspiring others to excel also in their talents so congratulations are in order to Mbuvi I have been in the record label for the past 20 years so at least I will be coming to record my album Paale Hiwiki in Akuja congratulations are in order to Mbuvi and moving on to the next story founders of Jubilee Christian Church on ito Bishop Alan Kuna na Reverend Cathy Kuna have added another member into their family they were so excited so their daughter has put to bed I'm a baby boy so they have a grandson and Bishop Alan was super excited he took to social media and said I'm just in tears of gratitude to God as we welcome the most handsome grandson in the universe Ethan Alan to God be all the glory great things he has done please thank God together with me and Reverend Cathy Kuna and our family as we welcome the most incredible addition to our family God has done us so well we have no words thank you very much for those who continue to pray and love us may God's best be on the Wulna family we love you so much and gosh I can say I used to look like you at that age tiku shu asana kama ilikona kaa hivyo alikoma upe hivyo at that age but congratulations are in order welcome to the world baby Ethan Alan karibu sanasana and we kutoka pa J.C. Circle family we are so happy for the QNAS and congratulations are in order before I sign out I would like on a very sad note to pass our message of condolences to the family of Zion Jerry so Zion Jerry we hosted her a while back she is an artist and she has lost her mum so it's a very difficult time for her it's a very difficult time for her family it's a tough time indeed it's a tough time and our prayers are with you Zion our prayers are with you and your entire family may the Lord comfort you may He strengthen you any e-time difficult but we are sending you lots and lots of hugs from J.C. Circle family may the Lord strengthen you that is all that I had for you today and of course I've been your host Lynn the Brand handing it over to Miriam Masawa with Inspirational Vibes


The basic topic is kind of what 10 buildings say about the San Francisco of 2015. And it's very interesting writing about architecture right now in San Francisco because it can almost feel as if architecture is irrelevant. That the way a building looks, the quality with which it's built, doesn't matter. What matters is the amount of affordable housing in it. What matters is the amount of transportation fees it generates. What matters is whether it is a contributor to gentrification or not. What matters is whether it is going into an area that should be protected historically if it is replacing what could be considered a historic resource. In other words, it's almost as if the buildings that get, the quality of the building is less important than the symbology and the politics and the tensions of the city. And in fact, as important as all those issues are, and we'll hit against a number of those issues as I talk, buildings are hugely important.  So that's one reason that the second cityscapes book of mine is called Cityscapes II with the subtitle, Reading the Architecture of San Francisco. The fact is that not only do buildings reveal the talents of the designer or the quality of the construction or the passions of the past, they really do offer a lens into how we live now and our aspirations for the future. So that's what I want to do is look at how certain buildings around us, new and old both, embody the San Francisco of 2015. As I said, some are from the book, but not all of them. Some of the buildings I'll go into in depth, but not all of them. And the first stop, we'll start with a very familiar scene, certainly imagistically. But the first building that I want to start with is a landmark you all know. And that is the Ferry Building, which looks pretty small here, but once upon a time looked much bigger. It was built in 1898. The design is by A. Page Brown. The history is palpable. I'm not going to go back to the present. You all know that. But some of the ambitions of the building, I mean, this was intended from day one to be a portal into the city. It's not just where the developed city meets the water. It is essentially the junction of the most important street in the city and the great beyond. This is where people came into San Francisco from the mainland. This is where people departed from San Francisco to points beyond. But it's not just a historic landmark. What's so fascinating about the Ferry Building is that it isn't simply a relic. After decades of neglect, and I could give a whole lecture on the Ferry Building, including all the weird things that were done to it between 1939 and 1989, after decades of neglect it reopened in 2002 as a microcosm of the 21st century city. It is, again, I'm going to assume you've all been there. It's all about small retailers, makers tied to the land, locally sourced, organic, free range, ethically farmed. It is very much a personification of how San Francisco wants to see itself as part of a nurturing culture. And it is a sustainable culture. And it's very much a building that has been on the roll since the day it reopened. And we're kind of taking it for granted now. But those of you who have been in San Francisco long enough to know Gear Deli Square and its heyday or the cannery and its heyday, that period of time was actually pretty short. I mean, within a decade, Gear Deli Square was kind of seen as part of the tourist realm. Not that a zillion people didn't go there for the first 20 or 25 years, but it was kind of seen as off the map. Because the ferry building, it reopened in 2002. It's still a place that tourists love, but Bay Area residents feel at home. And instead of bringing in big chains, it's almost like a little showcase of cool little neighborhood places getting bigger, like Blue Bottle Coffee and now Humphrey Sloka Mice Cream. But it's not simply preservation. It's not simply a retail shop and it's not simply restoration. This is the current view from the water. And the fact is none of this really, none of this that you see existed when the ferry building was the major entry into San Francisco. Back then, the ferries pulled straight up to the boat, straight up to the ferry building. I should add an aerial shot that, you know, the slips came out. It was like an airplane hangar.  Now though, public access to the bay is required by the Bay Conservation and Development Commission. So when the building was rehabbed, they had to add on all this public walkway. As part of the restoration cost, they were allowed to add the upper to the eastern extension on the upper two stories, which increases the amount of office space inside that is leased to very profitable tenants and very big firms and things like that, big in terms of prestige and the amount of money they charge their clients, not so much in square footage. And so it, you know, and it's also still a place that the ferries don't pull right up, but they pull up on either side, and a lot of the people choose to walk through the building. They can pick up pastry on the way through, they can stop at Pete's Coffee or I mentioned Blue Bottle. I mean, it is part of the ongoing life of the city and the region, you know, a building that it exerts a gravitational pull, but it's also strong enough in and of itself to kind of fit into the changing urban scene. And I want to show you a current installation unless it's moved on in the last week or two. But this is, there are about a dozen or so sculptures that are in the teardrop-shaped plaza in the middle of the Embarcadero outside the ferry building. And so let's look at this photograph. We've got the restored ferry building, we've got a plaza that was done around 2000. The Campanile on the ferry building is adorned with 1915 as a gesture toward the Panama Pacific International Expedition. We've got a historic streetcar that probably didn't really come from San Francisco, but blessed the volunteers who have restored it and painted everything, running on streetcar lines that were restored in the 1990s or 2000, all these different pieces. But again, so here is an artwork that is all about silences and the tension of free speech and the importance of not succumbing to self-censorship and things. And it'll probably, it'll come, it'll go, there's artwork that comes and goes just south of the agricultural building. I mean, the ferry building in a very real way, it's like the larger city. It's seen it all before and it shrugs off distractions that the rest of us might dwell on and that might stick in our craw. Now for the next building, I want to move down Market Street a lot closer to where we are now. And this, if you are an architecture buff, this is 1355 Market Street, built in 1937 as the Western Furniture Exchange. The architects were the capital company. How's that? Not exactly Frank Lloyd Wright. But the rest of us know it now as the Twitter building. And what's interesting about the Twitter building, we'll just kind of call it that from there on, is that the program is pretty much the same as the ferry building. And for those of you who haven't been in, I'm just going to give you a real quick tour. But from the outside, the building looks pretty much as it did a decade or so ago before the renovation was done by the Shorenstein company that has brought in Twitter and other tech firms there. This photograph shows a top floor that was partially removed. There's now a roof deck for the Twitter employees, thank goodness. So basically the building looks like it did from the outside as it did back in the 30s. If you go inside though, what you see is the imposing bones, the concrete structure, the original building have been cut back to make the ground floor a much more dramatic space than it was when this was a wholesale building for furniture vendors or other types of manufacturers. And inside, so instead of the light on the inside of the ferry building, we've got this kind of shadowy drama. But what you do have, you have a large market that has lots of different food in it. It was intended as a bunch of small stalls, instead it's one tenant but trying to keep up the kind of small stall atmosphere. And then there are three restaurants that offer eating and drinking options with enticements. This is from one of the restaurants, Dirty Water, and I'm not having this to show the misspelling of Napa because for all I know there's a super cool Napa cabbage that is spoiled with two peas. But in other words, it's very much saying, this is of the moment. And then like the ferry building, you can walk through, but when you come out at the back, you're not at the bay. You're at a former alley, this is a block of Stevenson Street, that has been turned into kind of a pedestrian way, complete with artificial turf and a nice, you know, raised seating area for people at the restaurant, well, the restaurant and the market, and then a communal fire pit. Again, this is 2015, so you want to have a communal fire pit. But again, it's interesting, it's pretty much the same formula that we saw at the ferry building. This time though, the idea isn't simply to inhabit the past but to give it kind of an artisanal twist. And I want to go back into the lobby. This shot does not show quite what you think it might show. It's not simply a stripped down wall with an artsy installation. This is a collage by an artist named Chris Edmonds. It consists of 18 rows of bronze boxes that were the mail boxes for the original building. These were all taken from the merchandise mart's mail room. And then kind of arranged randomly, I kept looking, there's no pattern I could figure out, with dichroic glass where the numbers would have been on a lot of them, just to add a little bit of color and reflectivity and unexpected twists. As for the wooden walls around it, again, these are not just exposed wood walls. But here's a plaque that explains where the wood came from within the building and how it was put to use and why it was put to use and things like that. So it's kind of every generation of San Francisco restores things and then shows it off in their own way. But this one has a little bit of the DIY ethos. It's not just exposed wood, but we found it on the rooftop and things like that. Beyond the building itself, the reason that 1355 that I see this as a defining building is that no building in the city shows so powerfully the role of tech as a catalyst to today's economy and how it's just reshaping our physical landscape. I mean, whatever you think about that, whatever you think about the merits or drawbacks of the so-called Twitter tax break, this is an area of Market Street that was dormant or worse for decades. This is a little beyond the best known part of mid-market. I'll put it that journalistically detached. And it's essentially this building is surrounded by several other large buildings that were built in the early 70s as back office space for the financial district. They were pretty much empty or just rented by government agencies and things by the time this century rolled around. Now you've got Twitter in the Twitter building, but you've also got Uber in one of the buildings. You've got Dolby Laboratories bought a building. I mean, it's not just that the old buildings are filling up, but there's been a construction of more than 1,500 housing units nearby. I mean, right behind the Twitter building on 10th Street is NEMA. This is one of the three towers within it or two towers within it, 750 apartments are in it. And then at the back of the block, there is 150 units of kind of higher affordable housing being purchased. And then on 9th Street, here's another building. This is Avalon Bay as an apartment firm. For those of you who really know the area, that block was empty with three different approved towers in like the last 15 years. Twitter signed up and a new developer swung in, bought it, turned it into how, you know, built an apartment building just as quickly as they could. And of course, the other thing that all these have in common is there's a lot of glass. And the abundance of glass in the new buildings going up around the Twitter building kind of brings me to my third defining building in San Francisco. This one heading back that way, but not all the way to the water. And that building is 560 Mission Street designed by Pelley Clark Pelley. Now 560 Mission is the one in the middle. It's not the one on the right. It's not the one on the left. And it's not one of the glass buildings I could show you further down the block or in the next block with more coming up. And when I say more coming up, I'm not just using hyperbole. This is four of the towers. These are the Lumina and Infinity complexes on Folsom Street. And then just south of them, a little southwest, you get the glass towers that are rising up toward the Bay Bridge approach on Rencon Hill. And what's taking shape is a new district that in a certain light makes the San Francisco the fairy buildings seem very, very far away. I mean, these are buildings by global architects working for global developers, designed and marketed with the idea that people with resources want things that look as new and contemporary as can be. So I'm going to go back here. 560 is the one in the middle. So why do I pull out 560 Mission? In part, it's because it's the first of the wave of glass towers that continues. It opened in 2002. To me, it's also the best. I mentioned the firm. I mean, the architect was Cesar Pelle, who has a long lineage of high-rise buildings in modern style and post-modern style and post-modern style. That firm is doing what's now being called the Salesforce Tower back to tech. But the thing about Pelle and a very quick digression, every large architecture firm has kind of their A buildings and their B buildings. The buildings that are kind of like aimed at the monograph and the feature project on the website and the hope for reviews and awards, and then the buildings that kind of pay the bills. Whenever Pelle has an A building, there's always this meticulous attention to detail and style, a genuine love of craft. And this building, to me, and I'm going to get to that in a sec, really does have this kind of precision that works on the skyline and then also on the ground. I mean, it's very modern, but there's a real clean Christmas to it. And when the building opened, I had just started in like the prior year as the architecture critic at the Chronicle and talked to Pelle for it. And he told me his inspiration, one of his inspirations for this tower, which is 31 stories, is the Hallity Building on Sutter Street, which is by Willis Polk and it dates back to 1918. It is considered by most scholars to be the first glass curtain wall building in the United States. Now, it might be that Pelle was using a little bit of hyperbole to market the building in terms of his reputation, but it's a real intriguing connection to make. And again, this building, it's definitely an emblem of kind of today's global culture and global urban trends and fashion. But to me, part of the defining thing is it shows that international trends can look at home in this city, that they can work on the local scene, that San Francisco can kind of absorb them. And the reason I was using the to me is that the first time I gave this talk, I had two people afterwards tell me they thought it was a great talk, they loved my work, they didn't buy the thing about 560 Mission Street. That said, I'm the one giving the lecture. So you can join in on the question section. The next stop I want to make, and we've got two more at length and then a few quicker, is not just a single building, but an entire part of town. One that reminds us that the physical changes of 2015 San Francisco aren't simply the rebirth of old buildings or the erection of new ones, but we're seeing entire new neighborhoods in places that once seemed off the map over the horizon. And that brings us to 1184th Street. It's a 149 unit affordable complex that was developed by Mercy Housing in Mission Bay. And I'm guessing that when a lot of you think of Mission Bay, you think of scenes like this or scenes like this, just very kind of dreary mundane boxes kind of stamped out, you know, planted so it's not to this, so it's not to that, and then it gets done and everyone says, boy, it's not too good. It's really, really boring. What's interesting to me before getting back to this building, or not this, we're not going to stay on this building long, 1184th Street is that no matter how boxy and bland a lot of Mission Bay might be, it has begun to breed life. If you go to Mission Bay now, there are dog walkers. You do, you have a Phil's Coffee and you have a morning scene at the Phil's Coffee, which incidentally is in the first affordable housing building that was built in the neighborhood. It's on the south side of the creek, north side of the creek on 4th Street, and it's also where the city's branch library is.  You've got the guy on the scooter. What could be more San Francisco than that right now? In other words, if you erect a neighborhood in today's San Francisco, it starts to feel a lot like today's San Francisco. And, you know, that said, the goal of this city and the goal of planners and developers and architects in this city should not simply be to develop something that people can fill up, but it should be to add some sort of architectural drama and just kind of distinctiveness to the emerging landscapes. And so in terms of 1184th Street, I'll get back to that. It's the building at the end of this walkway. This is 4th Street on Mission Creek. The way that it looks is not an accident. Back when the neighborhood was planned in the late 1980s and middle 1990s, care was taken. 30% of all housing units were to be affordable. This is about 6,000 housing units being developed. One third were to be affordable. Not only that, they were to be on site. Most of them were to be on sites provided by the developer to the city at no cost. Sprinkled throughout the neighborhood physically, so there wasn't like the low-rent area and the market rate area, but blocks mixed within. And also they had to be built in tandem with the market rate construction, be it housing or offices. Parks had to be done the same way. So what you have is that you have 4th Street as kind of the main road in and out of Mission Bay. And on each side of it, you've got affordable housing sites. And by the time that 1180 was being planned, it opened up earlier this year or late last year, the city realized that it wanted more than just good stuff, that it wanted good architecture. You know, I kind of saw the first wave of things that came through and wanted to try and up the game. So mercy housing was kind of encouraged to hire two good local architects, Methune Solomon, which is led by Daniel Solomon, and then Owen Kennerly. And the team responded with a really interesting assertive building. I mean, this is the view from abroad and you can read the height limit and how it's kind of straining to be prominent, you know, using glass to emphasize the tower and all. But then here's the view along the creek, along the road that parallels the creek. You know, this isn't just the kind of, we'll do the bays in slightly different colors, like you saw earlier in Mission Bay, or you saw you in too many infill projects in San Francisco. This is a real assertive shift in rhythm and scale. And it really does begin to read as different buildings or it just reads as a really interesting building responding to a lot of different situations. This is the view on the south end of the building where you've got a kind of diagonal corner leading down. So that it shifts almost to kind of like a streamlined Miami modern, you know, and whether you see that as kind of beguiling or brash, it is not bland. I mean, I personally, I like it. But so again, so how does a building like this help us give us insight in today's San Francisco? And I would say that it's as a reminder that this city is still adding to the map and that as it does it, there also are social and architectural desires beyond simply filling in the blanks. The last building that I wanna look at at length is it also bears testimony to civic ambitions, albeit ambitions of a much different sort. And of course, I'm talking about the Trans Bay Terminal to be.  You all know the tales of the city. I'm sure enough to know the parameters of the story, how the idea was not simply to rebuild the Trans Bay Terminal but make it into the grand central of the West and bring high speed rail to it, bring Caltrain straight downtown, every conceivable bus line into it. And while we're at it, create a quarter mile long rooftop park that the neighborhood could share. I was skeptical of this when it came out since then the high line is open in New York. So I hope I'm wrong. We'll just put it that way. But you know, so the winning, this was a competition back I believe in 2006. And the idea was very much, we're not simply putting in this huge train station or bus station, we're going to make it into a integral part of the pedestrian fabric, not just with the rooftop, but also along Natoma Street, along the alleyways, you know, kind of perish the thought it would be the concrete hulk of the old Trans Bay Terminal. Again, we'll see how well it works out, but it's interesting that the new SF MoMA edition designed by Snow Heta, a lot of the talk from Snow Heta is we want to tie into the alleys. There's this whole new network emerging. We want to plug into that. So if you know the ambitions, I'm going to assume that you also know the financial travails of the project, how the cost is more than doubled now. It's at about $2.1 billion. And that's just for the first phase. That doesn't include the rail extension, which will probably cost a lot more money, but that'll all work itself out. So we'll see. But one of the things that I just enjoy about watching this project is that it's one thing to see a tower get built or see an empty lot get filled in with a five-story building or something like that. It's fascinating after spending three years in the ground and below grade to see how fast this thing is growing and changing. How many of you kind of are down by the trans-bay terminal area every now and then? Okay, not a whole lot of you. I would say this is how the scene looks now, but this shot is like months out of date. That shot, it hasn't even jumped first street yet, whereas now this shot shows it coming to Fremont Street that the big cone on top is kind of, the architects have some fancy name for it. It's a dramatic skylight to try and pull light down into the concourse, but since I took this, the buildings now jumped Fremont Street. It'll go up to Beale Street. I took some pictures last week, but they were awful, so they're not on the slideshow. Meanwhile, the entire skin you saw will be this undulating thing. It started out as light glass, then it was fritted glass, now it's metal. The white mica-flect paint that will go on the panels has been selected. This is from a few months ago, the approved test panel, and now that that's been all agreed on by the architects and the contractors and the Trans-bay Joint Power Authority, it's gonna start something like 5,000 units are going to be made in beautiful Gary, Indiana. And so in other words, it's just, it is really rolling along and the target opening date for the buses, and so far it stayed on schedule the whole time is 2017. Not only does the building get built, not only does it plug into the existing neighborhood, one of the financing mechanisms was to raise the height on all the publicly owned land around Trans-bay Terminal so as to capture tax money and land sale revenue that would help pay for the terminal's construction. So this building here, which has received almost no attention, is a very thin office condo building going up on Fremont between Mission and Howard Street. It will plug into the rooftop deck, several other buildings will be doing the same thing, and it will be taller than the Bank of America building at 5,5,5 California. It will be almost as tall as the Trans-America Pyramid. Meanwhile, just in the last month, construction began on this building, which is at Beale and Howard, and it will not connect in, you'll notice it's all glass, that one got by me, but it's being called Park Tower. So even when they don't connect to the rooftop park, they're emphasizing the idea of the rooftop park. And so not only does the Trans-bay Transit Center define the San Francisco at 2015, but it also in a very real way is kind of defining the city of tomorrow, certainly the downtown. Now, just to wrap up so we can get to questions, real quick I wanna show you a few other buildings that to me kind of capture the changing city, and today's city. One is the Embarcadero substation on Folsom Street at Fremont. One of my favorite buildings in the book, I can tell I just lost a sale with whoever hissed, but what fascinates me about the building, you know, it was built in like the late 60s, early 70s, and think about it, what was it Fremont and Folsom in we'll say 1972? Nothing. It was a dying warehouse area across the street where I'm standing to take this photograph where the off ramps from the Bay Bridge leading to the Embarcadero freeway. You know, everyone talks about the Embarcadero freeway, but there was the spaghetti plate of ramps leading to and from it and onto it and onto the Bay Bridge. So this, so where, you know, you gotta build a big concrete substation, put it down there. The catch is then the freeway comes down, Rencon Hill is zoned for high-rise housing. This photograph I think I took in 2011 when I did the item for my Sunday column where the cityscapes come from. When it came time to rewrite the chapter, or the chapter, the squib and put it into the book is an example of a clue where you can look at a building and see something about the city and how it came to be. I had to reshoot it because by then there were more condo towers going up. And this photograph is in the book, but it's outdated as well because now that building that's a concrete frame, people are moving into it even as we speak. To shift gears in a variety of ways, a much different manifestation of the way we live now is the Parklet at Columbus and Kearney Street outside Reveley Coffee. In a building that was painted pitch black, which is another San Francisco of today thing, but I don't include that in here. But I could give a whole talk on Parklets. I could give an equally long talk, or I could devote an equally long amount of time answering questions from people who don't like them. But the point of including this one is partly just I like as an act of construction, I like how this example of very small scale contemporary place making matches the underlying topography of the city. But what's important about things like Parklets and some of the other innovations that were kind of spawned during the recession and continue is that they're homegrown proof of today's, of the love that many residents have for small nooks of street life. It's kind of an ad hoc urbanism. I mean, Parklets are something born here. There are now more than 50 of them with more in construction. I've given up trying to see them all. And one you can look at, this is Dreamforce from last month. Now you've got Oracle World on Howard Street, the same block. And you could almost argue, well, what is this if not kind of pop up urbanism at a full block scale? It's there one week, go on the next. Also at a small scale and almost reflecting back to the Twitter building is the sight glass coffee shop on 7th Street near Folsom, not for the exterior, but the interior, which just took an old mechanical shop and kind of turned it into a bespoke artisanal wonder of exposed wood and railings and things. And this wood is where it started out. When I wrote about, I very rarely do interiors, but I wrote about sight glass in 2012 because I was so struck at kind of what the design by Boar Bridges said about the Maker City. This is kind of before everything got out of control. Then it was like, oh, there are these cool things south of market, as opposed to, oh my God, Uber's everywhere. I just wrote about how it was kind of yesterday's city repurposed to enrich tomorrow's potential. Obviously this whole thing has only grown more diverse, more intense. We looked at the Twitter building, but it still kind of comes down to the idea that it's like this experiential space. I want to wrap up with two old buildings and two new buildings and one old one. The first old building is 8 Octavia Street at Octavian Market by Stanley Sedowitz. And I mentioned this not just for the design, but it's an example of how some neighborhoods in the city do wish to make San Francisco hospitable to very contemporary architecture, very cutting edge architecture, if you want to almost use a pun you could use in connection with this building. It only opened last winter, but it was born back in like 2006 in a design competition that was held by the city with the blessing of the Hayes Valley Neighborhood Group. The city selected architects for four or five of the sites and encouraged developers to work with them when the sites were put up for bids. So guess what? A lot of the architects are getting work from that. But it's interesting too. So it's not just that the Hayes Valley folks wanted fresh looking buildings. They also wanted to preserve the best they could to the housing mix within the neighborhood. So a full 50% of the 1,000 or so housing units that are being constructed on the path of the former central freeway, which goes beyond Hayes, it goes several more blocks to the north, must more than 50% of the units must be reserved for low income residents. So whereas this building has an inclusionary component like 17%, there's also a building like the Richardson apartments at Fulton and Goff by David Baker. And this one is 120 units. And they are all, it is supportive housing for formerly homeless people. But at the same time, the ground floor is high ceiling. It's very approachable and it's got retail along the street. I mean, there are places where big dramatic buildings are great and there are places where integrating to the street is great. And this is kind of a gesture to extend Hayes Valley beyond Hay Street. And the last building I wanna wrap up with and then we'll have questions. It has received an abundance of attention this year, deservedly so. And this is the Palace of Fine Arts, which I'm sure you've all been to, the lagoon in the marina. It is the one large physical remnant onsite of the 1915 Panama Pacific Exposition. And so partly it shows how the San Francisco of 19, of 2015, venerates the city of yesterday, whether it's architecture of a century ago or the cool bar or the old storefront or something like that. It's treasured by tourists. They come to see Bernard Maybeck's Melancholy Wonder. It's also treasured by locals. And it also shows how much of our veneration of the past is kind of a make-believe thing. For those of you who know the history of the Palace of Fine Arts, it was built of paper mache. It was essentially taken down in the mid 1960s and rebuilt, paid for by philanthropists. Ada Louise Huxtable of the New York Times said it was absurd to do such a thing. Not to save it, it's just you saying this wasn't built to be saved.  Mimicry that works so well that the building or the place a few years ago was not torn down, but it was hollowed out and seismically upgraded along with new paint, new fixtures, new everything under the sun to make it feel like it had always been there. And so you kind of say, okay, well this is a lot of San Francisco. San Francisco venerates and pays homage to a past that doesn't necessarily exist the way we want to think it exists. To which I as a history major would say every dominant culture always does that. And if it's something like the Palace of Fine Arts or 1355 Market or the Ferry Building, who really cares. So I wanna just end with a photograph I took from Diamond Heights just cause I like it and it's a view of the city. You don't see it on postcards, but it captures how much of the city exists beyond what we talked about tonight. And I now wanna throw the floor open to questions for anyone who has them. And it looks like there is a microphone being walked around. So if you raise your hands all there, that woman there has one. I totally agree with you about 560 Mission. I think it's one of the most elegant buildings I have ever seen. And I have the pleasure of seeing it every day. It doesn't photograph that well. You have to see it in person. Oh, it's beautiful. But what do you think of something like Linnea? Which is the building on Market Street diagonally across from Whole Foods. I Safeway that is Black Glass and a Hulk. Yeah, Linnea is kind of due east of the New Mint built in the 1930s or whatever. We use the word new pretty freely around here since I'm talking in the New Main. I don't think it's very good. And it's interesting. It's an architecture firm, Architectonica who does a lot of stuff around the world, a global firm. They did the Infinity Towers and the Lumina Towers that I showed earlier, working with a local firm. They're pretty erratic and that one feels like kind of a B-list. It's like an interesting idea that really went astray and the thing about it, it's not big in absolute terms but it's so visually prominent that it's very jarring. That's my critique. I can't review every building that goes up. That's the thing. Other questions? As a library user advocate, the library as you must know has put up renovated or built new most of its 27 branches over about 15 year period ending fairly recently. And I know that you did some reviews of some individually as they came out, but I'm wondering whether you would and why you haven't considered the overall project, which was about a $200 million cost over the time and with interest in everything else. And whether you're just silent because you don't like to say anything not so enthusiastic or what. Well, I'm happy to say bad things about things. So that's not a problem. I'd give two answers to the question like, why haven't I done a big wrap up at the library program? Part of it is there is so much going on the last few years. One reason I wrote about Parklitz so much when they were starting was, because what else do you write about? It's pretty quiet. Oh, look, someone just turned two parking spaces into a Parklitz, stopped the presses. These days, there are just so many breaking, just kind of like new trends, things like that, that I try to step back and do larger pieces, but it's difficult to do. I'm just constantly not getting to things I want to do. And then the other thing, honestly, a trick about being a critic.  And I kind of feel like the library rebuild was pretty good and it could have been better. And some are better than others, but it's kind of these things. If I had a 3,000 word piece, I could explore all those things, but there's not a real, this is a cautionary tale like the Bay Bridge of things going wrong. It's also not a, my God, this is a model for other cities to emulate. So it's kind of hard to fall in. Who knows? There'll be a recession, there'll be a new bond, and then I'll write about it again. Other questions? Yes, I work at Southern Montgomery and I could see 560 Mission. And I'm not the biggest fan of contemporary architecture, but there's something graceful about it. It catches my eye and it's kind of like your definition as an amateur critic. It just appeals. I like it, actually, now that you've brought up the history of it. Shifting to something completely different. And I know this is a very predictable question, but in Golden Gate Park, the creators of it, like William Hammond Hall and John McLaren, would have turned over in their graves that this natural respite from the urbanity of the city was turned into a monument for the rich who built the De Young Museum for the exposition in 1894, I believe. What do you think of the New De Young? I think the New De Young is great. I mean, I really do. I know plenty of people who 10 years later still hate the way it looks or hate the idea of the part of that being there. The flip side is the thing it replaced was built by a rich guy, the chronicle publisher, in 1894. It was kind of like a vanity fair, where he trotted everything out of his attic and stuck it in Golden Gate Park. I mean, that rich thread has always been there. I really like it because I think it's a terrific space inside and outside if you just stare at the building, it's kind of awkward in things, but it almost, to me, works as an element within the landscape. I was really struck how when the Academy of Science was opened, when I was at the Academy of Sciences, I wasn't reading the De Young across the way. I was almost just reading like kind of a geomorphic form or something. In other words, from any one angle, maybe the tower is overly bulky, except from every angle it looks completely different and it's just fascinating how it becomes this gravitational, not gravitational, but like this kind of marker within the park. So I understand why people don't like it because it is very unapologetic, but I do. But that's just me. One or two other questions before books? Yes, in the back. Can you give this guy a workout? In fact, I wanted to know what would be your top three unsung heroes, if you will, that are buildings in the city that really capture the most, if you will. Questions like top three unsung heroes? That's actually one reason I started the cityscape column back in 2008 or so and have had it pretty much on an every week basis since then. It is a way to write about the unsung heroes, to just look at the landscape. The first collection I did was in 2011. There's a whole section on icons because why is the pyramid an icon? Why is the sentinel building an icon one block away? Why are they photographed together? But a lot is the whole notion of just the buildings that are part of the fabric. So if I had to do three off the top of my head, one is not in the book and it is the Sharon building on New Montgomery Street across from the Palace Hotel. House of Shields is in the bottom. It's just this great building from about 1909. Just pow, pop it in. I would say another one that is not in the book. I better come up with one in the book so you guys buy it. One that is not in the book is there's a terrific little kind of art deco, not really deco, kind of later than that in the inner sunset on Judah Street. Henry Doldger built it as his marketing center and it's just this, you know, I mean, I lived in the inner sunset. I love the neighborhood, but you don't expect to see this little bit of streamlined white plaster shimmy in along the middle of the block, but there it is. Where are Judah? Judah between 8th and 9th on the north side of the street. And just to conclude, with a building that is in the book, I'm quickly riffling through everything. I would say the unsung hero is actually not a building but a bridge that I did not know existed till I stumbled across it and was flattered to have an architect in his 70s say, I never even knew that thing was there. That's Dragonfly Bridge. It's a WPA bridge in the Presidio. So that would be another vote of mine. So there are three. We'll toss in the Merced Reservoir building down on Slote in the Parkside and call it a talk. Okay. Sure.


Role of cardiac hemorrhage in dilated cardiomyopathy Myself, Dr. B. Spandana, co-authors are Dr. Manjuri M. Joshi and Dr. M. Kiran Kumar. Dilated cardiomyopathy is characterized by dilatation of cardiac chambers coupled with impaired contractility. Resulting in systolic dysfunction, left ventricle is always involved. Right ventricle may or may not be involved. DCM is the most common type of cardiomyopathy. Clinical manifestations are orthopnea, dyspnea, synchrocardiac arrhythmias which may result in sudden cardiac death. Classification of DCM, they are classified into primary DCM and secondary due to LV dysfunction. Primary DCM is due to primarily abnormality in the myocardium, strong genetic inheritance, autosomal dominant disorders, diagnosis of exclusion and idiopathic DCM. Secondary LV dilatation is characterized again by ischemic and non ischemic. Non ischemic is primarily due to infiltrative cardiomyopathies like amylidosis, sarcoidosis, post myocarditis, drug induced, peripartum and valvular heart diseases. Coming to the general morphological abnormalities, dilatation of left ventricle is seen with increased end systolic volume and end diastolic volume. Right ventricle may also be dilated in few cases. Atrial dilatation can also be seen secondary to valvular regurgitation. Left ventricle wall thinning is seen in ischemic dilated cardiomyopathy whereas wall thickness is maintained or mildly reduced in non ischemic DCM. Functional abnormalities there will be decreased left ventricle contractility which is nothing but called hypokinesia resulting in systolic dysfunction, decreased stroke volume will be present, ejection fraction and cardiac output. Thrombus formation may occur in left ventricle epics due to decreased contractility and stasis. Late gadolinium enhancement imaging, it distinguishes ischemic from non ischemic DCM. Ischemic DCM shows areas of subendocardial enhancement with varying degrees of transpirality corresponding to specific vascular territory whereas non ischemic DCM shows mild myocardial or epicardial or diffuse subendocardial enhancement not corresponding to any vascular territory as such. Late gadolinium enhancement patterns subepicardial or transmural if it involves then it is ischemic DCM whereas no enhancement or subtle or mild myocardial enhancement that can be due to drug induced peripartum alcoholic idiopathic mid myocardial or subepicardial myocarditis or sarcoidosis happens in this one whereas diffuse subendocardial lg pattern is seen in myloidosis. Now coming to the aims and objectives to analyze the demographic profile of dilated cardiomyopathy in a tertiary care center. Cardiac MRA findings in various ischemic and non ischemic dilated cardiomyopathies distinguishing ischemic from non ischemic DCM and differentiating various forms of NIDCM based on lg pattern. Risk stratification of sudden cardiac death based on late gadolinium enhancement and guiding the clinician in patient selection for ICD implantation. Now meticules and methods this is a prospective done study done on 1.5 tesla MRA in MNR medical college in hospital Sangareti over the span of last two years 28 cases of dilated cardiomyopathy were analyzed. Coming to the patient preparation detailed history is elicited from all the patients anthropometric measures measurements like height and weight are taken chest wall preparation is done by shaving of the hair and cleaning with spirit to reduce electrical impedance. MR compatible electrocardiographic leads are placed in the anterior chest wall before imaging and attached to the MR imaging unit for electrocardiographic gating. Respiratory gating device is also attached to monitor breath hole. MRI protocol the following sequences were acquired in evaluation of dilated cardiomyopathy GRE three-plane localizer frequency scout to detect optimal resonance frequency study state free precision cinematic two chamber four chamber short axis three chamber and left ventricle routal cracked images were taken T2 still short axis images to detect edema significantly and we went face contrast sequence to determine the flow quantification was taken post-contrast gedobinid diamiglumine 0.1 millimolch per kg pymol per second is given first pass perfusion imaging dynamic imaging immediately after contrast injection TI scout is taken to calculate the myocardial nulling time LG PSIR sequence is done eight minutes after contrast injection optional sequences like myocardial tagging grid sequence and high resolution PSIR is also been taken now coming to the six distribution eight are males whereas three are females in case of ischemic dilated cardiomyopathy whereas non-ischemic dilated cardiomyopathy 11 are males and six are females coming to the age distribution ischemic DCM out of 11 cases of ischemic DCM the median age is 58 idiopathic number of cases are six in the median age group of 40 years post myocarditis four cases in the age group of 39 alcoholic DCM two cases in the age group of 30 douche nees muscular dystrophy one case in the age group of 12 sarcoidosis two cases in the age group of 35 postpartum DCM one case in the age group of 25 and LVNC one case in the age group of 12 years now ischemic sapendocardial to transmural enhancement is seen in 11 cases idiopathic may there is no late gadolinium enhancement and that is six and alcoholic also there is one case with no LG and there is one case with patchy mild mid myocardial enhancement and in myocarditis there is subepicardial and mid myocardial involvement one case with subepicardial and one more case with mid myocardial sarcoidosis also like one case is with mid myocardial and one more case is with mid myocardial and transmural involvement is seen whereas in case of postpartum and postpartum and LVNC there is no late gadolinium enhancement in each of their cases and there is and there is also no late gadolinium enhancement in muscular dystrophy in one case now coming to our first case number one idiopathic dilated cardiomyopathy it was diagnosed in six cases it it was the most common type of non ischemic DCM encountered in our study this is a case of 65 year old female patient presented with shortness of breath and atrial fibrillation cardiac MRI showed dilated ventricular and atrial chambers with moderately depressed LV and RV systolic function no evidence of any late gadolinium enhancement is noted you can see the SSFP 2 channel view showing dilated left ventricle and left atrium whereas this is a cinematic four chambered view showing dilated both atria and ventricles and moderate global hypokinesia and you can see the short axis imaging showing similar findings now this is a case number two which is alcoholic DCM alcoholic DCM was diagnosed in two cases this is a case of 30 year old male chronic alcoholic presenting with grade 3 SOV cardiac MRI showed severe global hypokinesia dilated ventricular and atrial chambers with severely depressed left ventricular and right ventricular systolic dysfunction systolic function patchy mid myocardial late gadolinium enhancement of left ventricular scene left and right ventricular thrombi is noted you can see the thrombi over here now this is a study state free position two chain two channel view showing dilated left atrium and left ventricle hypo intense thrombus is seen in the left ventricular apex okay this is a SSFP four four chambered cinematic view showing severe global hypokinesia and these two images depict the PSIR late gadolinium enhancement imaging showing mid myocardial enhancement in septum and in the in the septum and in the lateral walls of mid and basal third of the left ventricle now this is a case number three which is a case of post myocarditis DCM it was diagnosed in four of our cases this is a case of our DCM in a patient with a history of viral myocarditis cardiac MRI showed global hypokinesia with moderate bioventricular dilatation and severely impaired left ventricular ejection traction which is about 24 percent epi intramiocardial pattern of late gadolinium enhancement along the lateral wall in mid basal and epica third segments SSFP image short axis are showing dilatation of the left ventricle and this is SSFP four chambered view showing bioventricular dilatation with global hypokinesia whereas these two sequences demonstrate sub epicardial and mid myocardial enhancement along the lateral wall in mid and basal third segments this is a case of sarcoidosis diagnosed in a 35 year old male patient presenting with complete heart block moderately dilated left ventricle with no evidence of any regional wall motion abnormality and with preserved systolic function with ejection traction about 60 percent moderately dilated right ventricle with mildly depressed right ventricle systolic function by atrial dilatation noted linear mid myocardial late gadolinium enhancement is seen in the inferior wall in mid third of left ventricle now this is a SSFP two channel two chambered view showing moderately dilated left ventricle and mildly dilated left atrium cinematic four chambered view showing bi atrial and ventricular dilatation normal left ventricular systolic function and mild right ventricular hypokinesia these two sequences depict PSIR short short axis imaging linear mid myocardial late gas pedolinium enhancement is seen in the inferior wall in mid third of left ventricle this is case number five postpartum dcm 25 year old female presented with dilated cardiomyopathy three months postpartum um cardiac MR showed moderately dilated left ventricle with severe left ventricle systolic dysfunction with ejection fraction of about being about 14 percent moderately dilated left atrium and moderate mild MR is also there and no evidence of any delayed contrast enhancement is seen as such this is SSFP so showing cinematic two chambered view and this is four chambered view showing dilated left ventricle global left ventricular hypokinesia and mitral regurgitation and short axis imaging showing similar findings now this is a case of douchey's muscular dystrophy 12 year old male patient who is a genetically proven douchey's muscular dystrophy he presented with DCM cardiac MR showed moderately dilated left ventricle with severe left ventricle systolic dysfunction lvf to be about ejection fraction just to be about 20 percent and moderate my moderate to moderate MR mitral regurgitation is present late gadolinium enhancement images show no significant enhancement as such two chambered view four chambered view showing dilated left ventricle global left ventricular hypokinesia and mitral regurgitation and short axis image showing the same findings now coming to the summary and conclusion of it cardiac MR has become the gold standard method for quantification of cardiac volumes and function in dilated cardiomyopathy now cardiac MR has an advantage it is not limited by poor acoustic windows which can often limit ecocardiographic studies thereby enabling diagnosis of pathologies which are otherwise not readily recognized by ecocardiography now it helps in differentiating ischemic from non ischemic forms of DCM it has also the ability to differentiate and diagnose various forms of NIDCM the Cine SSF image can accurately assess regional and global by ventricular function ventricular volumes ventricular mass and wall thickness T2 weighted still sequence helps to detect myocardial edema so just to any active inflammation like in case of myocarditis cardiac MR helps in risk stratification and selection of patients for icity implantation based on the presence of plate gadolinium enhancement presence of this has been LGE has been a marker for increased risk of arrhythmias and sudden cardiac death these are the differences for the same CT and MR of the whole body hugger and granger analysis diagnostic radiology danbert radiology review lippencote williams and wilkins and radiopedia acknowledgments are i thank dr yaksit and our HOD ma'am dr manjari m joshi and dr m kiran kumar sir thank you so much


You have lots of fun analogies, but I like this like thinking of of a person almost as like a as a light particle that can sort of choose its own path. Because it reduces the weight reduces the mass of our choices to some, some extent. I want to, I want to share a little story that came up for me that I was reminded of when I was starting to think about the story of inter being. And also in Bali we were talking earlier about about being in Bali I went up to the to the highlands there in the. It's actually right at the edge of the Botanic Garden where the sort of place where nobody can get to because the jungle so dense. There's a tree it's 800 1000 years old, and I had my first sort of magical experience touching the tree and I was. My consciousness was projected to another part of the world. And what was expressed to me was this tree was like hey I'm worried about this forest in China that's becoming a desert. And I think you need to. You need to look at your own relationship with nature and I was almost given a mission by this magical tree to bring more people into nature that it was like, you need to remember that you are also nature and yes. The fact that a tree on this continent was worried about trees on a different continent was like I'm not worried about this jungle because we have all the water we need and like nobody comes here. But it was like, this other place has me feeling sad. And I was like first, the fact that a tree is communicating with me this way was unique to me, but then also the sense of like the time and space didn't matter to the concern expressed here. Yeah, like all this stuff where all this philosophy we're talking about interbeing separation and so forth. It's, it pales in importance, compared to the kind of experience you're talking about right now. What what you described is in a way I always call it a medicine story. It reveals just how little we know about how this world actually works. How does somebody how do you we fix it. Are they drawing on the kind of knowledge that that tree represents. Do they have that way of understanding what's happening like how does that tree. First for one thing how does it communicate with you. How does it know what's happening in China. There's like a whole other intelligence network that operates on this earth that is almost entirely invisible. To human beings, but invisible to human beings who have been acculturated to the reductionistic force based causality of modern science, and the built environment, the economic environment that goes along with it. And the technological environment, the screens, for example, all that stuff. It's very perceptive in a certain way. Our minds are cognition develops to a high degree in a certain way. And in that tunnel vision, we lose touch with so many other capacities that that we can then rediscover as a gift from other species or even from other human beings who have not been so acculturated. And we're going to maybe goes back to the Einstein quote, you know, if we're going to transform, if we're going to be part of a transfer of planetary transformation and healing, we have to access those other capacities. The things that are not valued or even acknowledged to exist in the world story that we've grown up in. We have to learn how inside and learning how to communicate with trees. We have to do it. We already actually know how you can take the, the, the, you know, most urbanized noob out into the rainforest and they can have a mystical experience like that. This is an innate human capacity. The key to it is to accept that it is possible. Once you accept that it is possible, then you're going to try. Like, I get information by, by, by watching and listening to geese. They fly, there's a lot of them, they fly over and had all the time and they're honking, you know, what now, why are they honking so much as they're flying. The Darwinian reductionistic evolutionary biologists would be like, well, okay, why are they wasting all that energy flying is pretty tiring. Are they signaling dominance or they like what are they doing, you know, other interpretations do not occur to that mind that they are channeling the joy of life and they cannot hardly even contain it. That they, that they love the sound of their voice and they love listening to each other. Like, there's so many things that we just don't think. And, and nor do we suspect that that the pattern of their calls transmits information about where they have been and what they have heard and seen that they are interwoven into the tapestry of all being. So you can listen to geese and observe geese, and you will learn something about the world that you probably could not find out on the internet. You can watch fish in a pool. I mean anything in nature, you can look at the waves on the shore, and you will know something. Now, you might not be able to put into words. But you will receive information. And it might be like your experience with that tree. You received information that made you know what to do. It transmitted this is mine to do it may not. Now in this case maybe your rational mind could have made sense of it well for us are important carbons, sinks and we gotta you know whatever like your mind can make sense but come on. That's not what was happening. That was your mind's justification of it, but that's not where the information came from. That's what we have to listen to. Why, because we have no freaking clue about how this world actually works or how to fix it. We cannot rely on the legacy knowledge systems that we're operating in mostly right now. We have to go to to to those other places. And it doesn't mean that you all of a sudden become inactive and you're spending all your time watching geese. It's the contrary. You become more decisive and you can't even explain it to anybody else. Why am I now going to China. Why am I now doing this thing. You can't necessarily explain it because the terms of explanation are foreign to that way of thinking. It could be like, you could say, go spend a couple hours watching geese and you'll understand. That's not an explanation. It's induction into a field of knowledge.