Awesome. So we just put the post on the business page, wrote out of the text. And this part is so important too because now that we're going to go run the ad, we're not going to be able to change the text anymore. Okay. That's why I always try to focus on this part first, making sure there's no grammar errors, making sure we wrote exactly what we wanted because we're not going to be able to change it once we jump into the ad part. So we're good there. We're good there. We got the video title. We got the edit. We're good. So now let's open up another tab and let's go to the ads manager. We can go to your folder or we can just go to the folder. Yes, the folder comes in handy. Okay, perfect. So we'll go to as manager. So step one is putting the post on the business page. That's step one. And then step two is coming over here and setting up the ad. And then step three is setting up the custom audience. So we can track the thousands of views that are going to see the video so we can then retarget in the future with more ads. That's what it's all about. And I can't stress that part enough. And that's what I knew you were missing in the very, very beginning. I'm like, damn, let me just show her how to do these, these audiences because 99% of all of this when it comes to social media marketing in general, 99% of it is about custom audiences, whether it's LinkedIn, whether it's YouTube, whether it's TikTok, whether it's Instagram ads, people are running Instagram ads, you know, you're in your newsfeed seeing ads on whatever 99% of it is all about custom audiences. So when you see people that are crushing it with advertising, it's because they're focused on it 99% of the time they're focused on building audiences.  That's all it's about. And when you can do that multiple times and that individual in your local area keeps seeing you. That's when you win. Right, it's the omnipresence, it's the branding effect and that's why a lot of times, it's not even always about the lead. Like in our business, like your business, my business, it is right it's all about the lead it's all about the appointment I need someone on the phone I need to talk to somebody right now it's all about the lead for sure. But in this case, you have to, when it comes to when it comes to social media advertising now, you have to also calculate and you also have to take into account the branding effect. The fact that thousands of people in humble are going to now start to see your face. They might not have clicked they might not have downloaded your seller guide just yet. Right they didn't enter their information on anything just yet, but all of a sudden, thousands of people locally are now starting to see our face. Yeah, there's value to that like major right and as we stay consistent and that's what I'm trying to say like, all this takes is is is one video like this every 15 days now this is this first one's going to be brand awareness the only objective the whole objective is to capture the audience of this first video, and then retarget them with with at number two and on and it's on at number two and on when we're going for leads. So this is just our breakout this is just hey guys this is just like door knocking for the first time and to know our neighbors. Okay, all this is and I'm going to go knock these doors for three hours. I'm going to go knock this entire community. Not everyone's going to answer the door, but the few that do. I'm going to make sure that I make a great impression. Right because those people that open the door, they're going to get my business card I'm going to shake their hand I'm going to get their contact information, and I'm going to make a friend. So one of this on a grander scale, we're going to run it as an ad get thousands of people to view it, but not everyone's going to view 15 seconds of it, not everyone's going to view 30 seconds of it not everyone's going to view the whole damn thing. Right, so, so all we're doing is trying to how long is it a minute minute something. Yeah. Yeah, so, so once we set it up will go and create the audience around those who watch 25% of it. So the 25% that watch, or actually I should say let me let me rephrase that the people who watch 25% of your one minute video. Those are the people that open the door. That makes sense. Now again, they may not be planning on selling now, but they open the door. And you shook their hand and they got a good glimpse of who you are. Right that's that's this but on a grand scale. All we're going to do is just again, focus on retargeting them show them another ad show them another ad show them another ad until before you know what they're falling in love with you there they become indoctrinated, which means they they start to know you they start to feel like they know you because I keep seeing face I keep seeing you, you know, and it's not that you're just posting random stuff you're actually educating us on something. So that that's what makes it even more powerful because not like she's just posting random stuff she's actually educating me on something she's teaching me on what it takes to sell. Right, right. So, so, so there's just so much that comes in it but the consistency of it is the magic is staying consistent with it and building that brand to get people indoctrinated, which means they become, they feel like they like you they feel like they trust you and they feel like they can do business with you because they keep seeing you. And again, it's local local viewing right so that's that's what's so powerful so so this ad right here what what ad was this was this something we're just playing around with or what was this. Yeah, let's just we're playing around with it. Okay, let's just delete this one so check the box to the left and then let's just. Yeah, so you hit the more yeah the more the more will. There we go. Yeah, that should delete it. Okay, and then click on the middle tab at sets. See if it deleted there as well. Okay, cool. Perfect. And then the third tab ads. So these are the three tabs right so we're going to spend a lot of time on these three tabs campaigns, ad sets and ads. So, so now let's click the green button. So let's go in and start the ad. So, as we go through the three steps that's all this is it's taken us through these three steps. Let me confirm a few details. Okay, so go to account overview.  So if you ever see that notification it's normally because you're, you're, you're kind of running out for the first time. So you got to just confirm. Yeah, hit that confirm right there. And we're good. Okay, awesome. So now just you can click the green button for there. Perfect create. Okay, awesome. So now we're going to do the three steps those three tabs that's all it is the three tabs. The first tab campaigns is simply choosing the objective. This is where everyone drops the ball as well. There's these there's these six objectives awareness traffic engagement leads app and cells. This is where everyone drops the ball. They don't choose the correct objective now at number two and on we'll get more detailed into the objectives but here we're going to just keep it simple and we're going to awareness. This is a video, our only objective is to get thousands of people to view it. And so we're going to go awareness so it continue. So step one, the campaign tab is choosing the objective, hitting the drop down for special ad category and going housing. So right there the categories, hit that drop down go housing. And that's it that's step one of the tab campaigns hit next. And we're good. We're good with all that we don't need any of that. Next in the now we're going to the second step the second tab, which is the ad set tab in the ad set level, we're going to choose our budget we're going to choose our targeting we're going to choose our placement. We're going to choose the calendar and when it when the ad starts and when it when it ends. Okay, it's all done in the second step. So now we'll just scroll down so that's the correct Facebook page we're good there. We'll just come down to the budget so change the daily go to go to lifetime. So what you want to do here our whole thing here is we can run this for 15 days, like it doesn't need to be really longer. So over the next 30 days, you want to kind of just start to plan your budget like what's our, what's a comfortable monthly Facebook ad budget. So I was looking to do 250 for the month. Perfect. So divide that by two. So 125. So 125 here and then and then go 15 days so that's what I've seen earlier is I truly believe Rachel like I like I swear like I truly believe if you were to focus on this 125 every 15 days.  Okay, right. So just do it to the 14 it's only a few more days extra and then do another ad. Perfect, perfect. Yes, perfect. And then and then 6am so 6am. And you're going to go actually you're going to go 27 to because today's the 26. So you're going to start at the next day. Okay. Yeah, so that that might push it to the 15th. Or does it I don't know does it actually. It was a couple of days that I put in next I want to make sure that from here going on we can like, perfect. Run to the fortune leave it to the fourth let it end on the 14th. Okay. Yeah, that's fine and then and then the 15th we run run from 15 to 30th. Perfect so 6am 6am. Start time and time. No, but what what I was saying though is that this this one every 15 days can literally literally replace all the organic posting that you're doing.  All that so you'll you'll see you'll see so we're good there on the day we're good. Okay now we're going to scroll down. We don't have any custom audiences that we're going to retarget now. So we're fine there but the locations go back up to the US United States. So hover over the United States click on edit. Let's simply, and we're going people living in. So hit the drop down the drop down right above the United States. Yeah, that drop down. So we're going to always be going with people living in this location. Since we're focused on homeowners. Okay, and that that's a huge different watch look at all of them hit the drop down again. I just want you to be familiar with everything in here. So you can see the difference is people living in this location people recently in people traveling. People living in or recently in. Right so a lot of times as people are running ads they don't even look at this part. Right so it's like there's a huge difference between all of them. Yeah, right so if I'm going after homeowners, then yeah for sure people living in this location. So this is the United States hover over United States and just hit the X to the right. Okay so this is when it starts right this is this is it so whatever, whatever location you put here is the is the is the location you're going to focus on from this point on. Okay. Now you could, you could, there's two ways you can do this part you could put in the city or the town just like just like that. You can put in an actual address and and build a 15 because 15 miles is the minimum. So building a 15 mile radius around your actual physical address is pretty powerful as well, or you can just target the whole town it's up to you. Well I was not that big so I'd rather. Okay perfect so then just right there city. Perfect, we're good. So you can go 15 miles or you can go, you can go up to 50. Oh right here. No, a little higher. So right where the city 15 miles. Yeah, so right here. That 15 in the box. Do you want do we want to go higher or should we stay at 15. What do you think. I, I mean, um, maybe a little higher. Yeah go 20 so take away 15 hit type in 20 and then hit enter. Yeah, so that would that would take you a little further. That's good. Okay, perfect, perfect. So now let's scroll down age cannot change gender cannot change languages, you cannot change advantage placement. This is where this is where we'll do testing one ad will run advantage placement one ad will run manual placement. But the advantage placement is just letting Facebook place the ad everywhere and everywhere is click on manual placement. Where is here. So if you let, if you just leave it at advantage placement yeah click on manual. If you leave it at advantage placement, Facebook places it everywhere, Facebook, Instagram, audience network scroll down, you'll see everything right below all the different placements. Okay, so and then click on feet right there on feeds to the left a little arrow to the left of feeds of the word yeah click on that. That opens up so scroll down scroll down all these different placements is where is where Facebook would place the ad. Now you would think that's a good thing, you would think that's a good thing, but but it's not always a good thing at all. And you'll, you'll, you'll probably agree with this, because you're a consumer I'm a consumer, like where do we really spend most of our time at like when it's on when we're on Facebook for example or even on Instagram or even on LinkedIn or even on Tik Tok. Just on the feed on the feeds right like right that's that's just the bottom line we're on the feeds. So a lot of times I I just want to go feeds a lot of times will go manual placement will uncheck everything and only leave the feet. Okay, so. Wait, wait, but that's for ad number two and on. Okay, number two as I'm going for leads. I'm going to only go in the feed. Now now now my now now I'm looking for a cost per lead. I want to make sure that my cost per lead is is low so I want to make sure Facebook's not spending all my money everywhere on all these placements where there's not much attention. And Facebook to tell you the truth, they're they're very good they only spend it on where the engagement is at so even if, even if you left everything checked. And in the placement is everywhere. They're only going to force the money to where the highest engagement is at so if there's no engagement on these other platforms scroll down a little bit. So if there was no if there was not much engagement in the stories, or the in stream, or the overlay and post loop ads on reals if there's not much engagement, then they're not going to dump the money there.  So it's like man, I don't want them to spread me too thin I'd rather just have all my money go into the feed. Right, right. So, so that's the strategy for at number two and on is to really go edit placement majority of the time. In this case today we're going brand awareness we want everyone and their mother to see this video. So we're going to leave it advantage and just let Facebook just place it everywhere in in this local area right everywhere on the play on the platform in this local area. Because we're trying to get as much data we're trying to get as many views as possible on this on this on this video. So we'll leave it there so we'll scroll down and hit next. So that's it that's step two, the budget, the targeting the placement. And that's it now we kind of step three, where we actually put the ad so now scroll down a little bit. So again two ways you can do it you can come in here and go straight and create an ad upload the file from your computer put it here and run it there. But again I don't do it that way because once the ad is over it's nowhere to be seen. I want that post to live on the page forever so we will use existing post is what it's called so scroll up a little higher. We're going to add hit the drop down and we're going to come down to use existing post, use existing post. Okay cool so now scroll down, and then you'll see select post right there, and then you'll just find that post. Perfect. And then continue. And then that's it so now we'll scroll down and we don't need any call to action button on this one. We just simply want them to view it. So if you scroll down you'll see, you'll see a little lower you'll see a call to action. The call to action right there that's where you can add a button. But there's no button out for this one so we're good so we'll scroll down. We don't need any of this tracking this is the pixel tracking so we don't need any of that just yet so we'll hit publish and we're good. So now that ad is set to go live tomorrow at 6am. So, when this happens so like publishing one of three.  It needs to go three of three. So when this happens, all you're going to do is open up another tab. Go back to your bookmarks go back to ads manager and you'll just push it through over over there. So ads manager, and you'll see this blue button in the top right. That's the three campaign assets ads those that's the number three so that's what stuff is. Yeah click it. And then just force it through here so hit the publish. And then you can close out that other tab, the 20 yeah close up that one. Just hit leave that's fine. Okay, cool. So we'll work out of this one. Okay, perfect. So now they all they all published so we're good. That's step two step one post on the business page step to set up the ad to go live tomorrow at 6am and then step three going and create the custom audience right away. So let's click the three lines or we go to your bookmarks it's audiences, but you can click the three lines to the left, and then just go to audiences. And now we want to just, here's what it's all about again 99% of all this stuff is stacking these audiences. So, hit that little drop down in the top right. Not that one but the one right below it that little arrow or whatever it is. Yeah, that one. Okay, cool. So, so that was the first audience that we created around all the organic ones. Now, all I want to do from this point on is create audiences around videos that you actually running out on. Right so so this right here is where it starts so click the blue one create audience. Yeah, that one. And then custom audience. And then we'll go video and these are all the different audiences that you can you can create but in your in your case you're going to only be doing website and video 99% of time so hit next. And then right here you're going to just choose the engagement type so anything above a minute long video. You'll always want to create a custom audience around 25%. That's a good good enough number 25% and then choose videos, click the blue choose videos. And then you'll just find that video again. Perfect. And then confirm. Okay, awesome. And then the retention, bring that down the 365 bring that down to maybe bring that down to 45 days. Facebook will just keep people who watched it in the past 45 days in this audience. And then the audience name just give it intro video or yeah yeah intro video is good intro video and then in parentheses 25% perfect and then create audience. Awesome. And then done. And that's it so again, this is where it's at this we got to be by the time we're all said and done over here I want like 200. It's all about custom audiences. Okay, so, so when we go and run. So this is going to run this is going to run when we go run our second ad. We're going to retarget everyone who watched this one, we're going to continue to target our local area, but we're going to also but we're going to also retarget everyone who watched this one. Awesome. And then as we run our third one, then we retarget everyone who watched at number one and two, and we just keep going just keep going from there. That's good so let me, let me show you one last part click the three lines let's see what it looks like in the newsfeed as it goes live. And this is how you can always see a live shot of your ads. So click on go to go to as manager as manager, and then we'll just simply check the box. Yes. Yeah, and you know what why don't we do this real quick click on edit right below the title. It's always it's super super important. Yeah, edit to title title each tab. So this one new awareness campaign, take away that we're going to customize these titles so this is intro video intro video. And then in parentheses, the actual objective, which was which was awareness, we went with awareness, right intro video awareness, and then hit the green button here. Yes, publish. Yes. And then, and then, and then click on to the left new awareness ad set. Yeah, click on that one. And then over here. This is where I want to give a brief title new awareness ad set so delete that here I want to just briefly describe what we did in this step. Okay. So what we did in this step is we went we went what was it 125125125 budget 125, and then I'll put the, the, the location, the actual city we're targeting 20 miles 125 budget dash, yeah, comma, 20 miles. And then, and then, and then, and then let's go. Advantage placement. That's it. Perfect. So just a little brief description. So when you're looking at it on the dashboard, you know exactly what add that is. So hit publish. And then the, and then the third one new awareness ad, you could just put intro video on that one intro video intro video ad. That's fine. Perfect intro video ad. Okay, cool. And then publish. Okay, awesome. That way went and then hit the hit the, actually, you know, let's see if we can see it here. Click the share right above that drop down share. Yeah, click on that and then come down to Facebook desktop newsfeed. Facebook desktop newsfeed. Perfect. So let's see if it's here. So it should be down below Suzanne. So right below her. Yeah, it's not up yet, but it'd be right here. It'd be your, your ad right there. The keeping current current matters went down. It's going to purse tomorrow. Yeah, but this would give you a live view of how it looks now. Yeah, that by clicking the drop down, but it's just not there yet, but that's fine, but it will lie tomorrow. And that's it. So step one post on the business page step two. Create the ad step three set up your custom audience. And that's it. So hit the X to the left. So right there to the left, just exit this part. And you're good. So now, now you just uncheck the boxes. So you have these three steps. Checked. So just uncheck the box. Uncheck every box. Yeah, uncheck that one. And then click on the middle tab. Uncheck that box. And then, or you can X out right there. Yeah, perfect. Just hit that X. And you're good. Awesome. So let that run any questions on that whatsoever. No, that's pretty cool. Awesome.


CELCIUS CELCIUS means relating to or having a scale for measuring temperature on which the boiling point of water is at 100 degrees and the freezing point of water is at 0 degrees. CHANGE CHANGE means to become different. CHECK CHECK means to get information by looking at something, asking about something, etc. COLD COLD means having a very low temperature. DEGREE A degree is a unit for measuring temperature. FAIRENHEIGHT FAIRENHEIGHT means relating to or having a scale for measuring temperature on which the boiling point of water is at 212 degrees above zero and the freezing point is at 32 degrees above zero. FORCAST A forecast is a statement about what you think is going to happen in the future. PHONE PHONE A phone is a device that is connected to a telephone system and that you use to listen or speak to someone who is somewhere else. SNOWY SNOWY SNOWY means having falling snow or covered with snow. SUNNY SUNNY SUNNY means having plenty of bright sunlight, temperature, temperature. A temperature is a measurement that indicates how hot or cold something is. WARM WARM means somewhat hot, not cool or cold. WEATHER WEATHER WEATHER is the temperature and other outside conditions, such as rain, cloudiness, etc., at a particular time and place. WINDY Windy means having a lot of wind. Americans often make sounds, also called interjections, that have many meanings. Interjections can convey different feelings depending on the intonation of the speaker's voice. One example is O. In the video you hear Anna say O twice. The first time she says O is at the beginning of the video. Oh, hi everyone! In this case, O means that Anna is surprised by something. Notice her voice goes up when she says O. Oh, hi everyone! The second time you hear Anna use O is at the end of the video when she says... Oh, I see, Mexico! In this case, O means that Anna understands a statement and that she does not like it. Notice that her voice goes down this time. Oh, I see, Mexico! Here are two examples. Listen. Oh, hello! Now you try it.  Listen. Oh, the weather is bad today. Now make your voice go down.


Hello everybody it's Friday and that means it's F&A Friday and today we're gonna talk about part two of taking your shot to the next level. One of the classic assignments is a sit down. Character just stands and then sits down sometimes there's a variation of a character sits and gets up but a sit down assignment is something that I give to my students a lot and they usually get kind of a groan of just a sit down really it's kind of boring but to me there's so much you can do a it shows big variations in character posing from standing to sitting and the way aspect of someone getting down and sitting you can change so many aspects of that in terms of a the character in general is it a skinny person a heavy person is the character tired you can start adding layers of someone being drunk being tired being whatever or the properties of the chair or the object that the character is sitting on so there's so many ways to take that assignment and then escalate that into something more complex and that's just in terms of the body mechanics but on top of that you can add character so is the person in a hurry to get somewhere to grab the phone and call because they are missing their loved ones or it's a job application and they don't know if they're gonna get hired or not there's so many objectives that you can add to a character on top of this the general sit down assignment and sometimes you can just make something funny so in this example of this Instagram post the kid is sitting down that's technically your assignment but then what happens after that is interesting because he sits down on the luggage holds on to the handrail that then pulls him forward it's a funny character moment of a kid that is you can go either lazy or very intelligent and problem solving and how he wants to go from A to B but it shows how you can take technically just a sit down assignment and make that into a character piece to me this is more about the kid being smart and clever or whatever attribute you want to add to that and not about a sit down this just happens to show a character sitting down but it's more about what is the character doing in this situation to go from A to B because he or she doesn't want to walk and that's the main idea of the series is to what can you do in terms of how you can take a shot and make it not an exercise but make it more a character piece where the character does something and it happens to be a sit down it happens to be a jump happens to be a weight assignment the gear change all those things where it becomes secondary action it's more about the character what do we learn about the character in a great example for a sit down are these character studies from Big Hero 6 there are a lot of characters these are longer shots that might be potentially too long for students to take on but the variety of it and the complexities and the interesting aspects of how each character enters the room takes the chair sits down how to sit down do they fail in sitting down do they slip do they grab an object is there a prop that it can interact with there are so many ways where you can make this sit down interesting based on the character size the current state of mind how clumsy they are and of course you can escalate that even more words one character sitting down with all the things that we saw because they want to talk to another character there's more urgency because of some sort of relationship that forms and so on and so on you can add more and more and more to the shot to make this more complex but the overall idea to me is that you want to take an exercise and make it more about the character what does he or she feel what's their objective do they want something is there a conflict do they want to go from A to B or do they want something but there is something in their way how are they going to react to that problem that's going to be an FNA in the future all about conflict and how conflict exposes character but you can take all those elements and mix and match them into one awesome shot that goes from exercise to something advanced and something more character based and something that resembles more of a shot that you would see in the movie and not a sanitary clean shot of the character standing as always saying an empty room where it doesn't really apply to anything you would see in the movie because the hope is also that not only are you taking the shot to the next level but you're also practicing to have the character be aware and interact with the environment and other characters like in the movie like if you take a shot in a movie where the character has to be mindful of the environment and there is a before and after there is a character within a greater context with greater bigger picture so these series again are a reminder that you can make it more complicated not just to be complicated but to make it more interesting to add more character and for you to be a challenge to animate something that goes beyond just an exercise and thinking beyond that how would that apply to a company that I want to work for is that something that they do in their style what's the animation style what are you the usual characters that they use kind of the character traits and acting choices so all those things can prepare you and it's something for you to practice towards your end goal if your end goal is to work for company or if you want to make your own short movie or feature film all in all the through line is character as we are trying to be character animators you don't just want to animate you want to add character to your character and that's something that I always talk about in class and I know a lot of students are always somewhat tired of hearing that because it's something so easy for me to say and it's so hard to do for people working on the shots that someone did this and there's another meme but that is also a future FNA how to add character but for now I'm gonna leave it at that if you like this give this a like if you like to get notified about future uploads hit the subscribe button hit the bell button to get all the full notifications of all my uploads and as always if you watch the whole thing till the very end thank you very much for taking the time to do so and if you don't want to watch anything at all I do have a podcast and I'm going to upload all those lessons and ideas and topics so now it's really goodbye I will either see you next week or you can hear me through the podcast


What's good Josh will rock back again with another video. So I'm gonna check out 10 times WWE foolishly Turn great wrestlers into jobbers Unfortunately for whatever reason sometimes Vince McMahon Doesn't see what the fancy doesn't see the hype or doesn't believe in the hype So someone that you thought should have been a main event player or at least upper-card player Turns into a J.A.G. Very quickly So we're gonna check out some of these moments where we thought these guys were main eventers and they instantly for not instantly over time They turned into jobbers very quickly Appreciate all the love and support you guys have shown on the channel by WrestleMania to get right into this one man Most frustrating things about a WWE fan is seeing WWE turn a talented performer into a jobber This happens so many times throughout WWE history and someone who is a solid mid card or even a potential main eventer is reduced to an Enhancement talent meaning they lose all their matches and mainly exist put over other wrestlers join the snares WrestleMania looks at 10 times WWE turned a great talent into a jobber Be sure to subscribe and hit that notification bell for daily wrestling videos and follow us on Facebook for Exclusively is also check out our new channel WrestleMania shorts Number 10 drew McIntyre between 2009 to 2010 it looks set that drew McIntyre was gonna be the next big thing in the company Vince McMahon had even christened McIntyre as the chosen one So it seemed like WWE were set on making McIntyre a huge deal However, McIntyre didn't have what WWE wanted and although he was insanely talented WWE slowly but surely turned him into a jobber Yeah, I would pair him with Heath Slater and Jinder Mahal in 3mb and he would turn into a comedic jobber What was insane about this was that during McIntyre's time as a jobber his in-ring work vastly improved And it was evident that McIntyre had found his fire Well, this sadly wasn't enough for WWE as he would remain in the stagnant position McIntyre would even lose a match to El Torito on Raw before his premature release in 2014 Thankfully McIntyre was able to return a number of years later And since then he's firmly been presented as one of the top stars in the company And it's been made event in WrestleMania alongside Brock Lesnar Number nine, Heath Slater Speaking of 3mb one of the other members of the infamous stable Heath Slater was also mistreated in WWE Slater following the breakup of the lacklustre core stable emerged as one of the breakout stars Slater was charismatic and could truly go in the ring He would spend years in a jobber role But that was until 2016 where he was involved in a free agent storyline on Smackdown Which was universally acclaimed Slater was tremendous in this role and ww had made a solid mid-carder But after the storyline was over Slater moved back down the car to jobber status He was eventually released in 2020 which shocked fans as well as fellow WWE talent As Slater had a phenomenal reputation and was well liked by everyone backstage Number eight, Mickey James When Mickey James returned to WWE TV in 2017 fans expected big things Mickey was a certified legend and could still actively hang with anyone on the women's roster However, just a few short weeks into our return. It was evident that she was brought back Exclusively to put over new female talent. This was disappointing and over time fans simply stopped caring Why root for which which kind of sucks is a lot of people You know respect Mickey James and especially what she can do in the ring And she literally came back as a enhancement talent. I was like, uh, I don't know about that considering she can still go I think that's not the best use for her in my opinion for a legend If it's already 99% guaranteed that they're gonna lose WWE did a massive disservice with Mickey's return for hopefully if Mickey ever decides to return again She's given the treatment she deserves and isn't treated like a complete jobber Number seven, Zack Ryder Zack Ryder's influence on pro wrestling particularly in the early 2010s can never be diminished Ryder managed to get himself over by creating his own youtube show and this time Bro, we had never seen nothing like that. He got over because of social media because of youtube We had never seen anyone. He was I I think he is the very very first person that I can think of that got over despite Pretty much not being cared about on the main roster. He got over He reached the brass ring by himself without management I think he's the very first person in WWE history in wrestling to get over Through social media like that. He pioneered it That was dope because it was extremely rare at the time Meaning that Ryder certainly opened the door for other talent to find fame and fortune in this manner Whilst Ryder was vastly popular online and this was slowly transitioning to tv WWE were reluctant to use Ryder in a substantial role It was a solid hand and had an infectious personality that was badly needed on WWE TV at the time Ryder had sporadic pushes throughout his tenure including a us title win in 2011 As well as an icy championship win at WrestleMania 32 But these were extremely brief when these reigns came to a close Ryder was straight back down the card ready to put over any talent WWE saw fit WWE truly failed to understand why Ryder was popular and how they could make a huge financial gain with a prominent Sustained push for the talented star, but their stubbornness simply stopped this from happening Number six Dominik Dajakovic Upon its surfacing online that WWE were calling up NXT star Dominik Dajakovic fans were excited Yeah, someone well on paper at least that Vince McMahon should have loved WWE's bizarre idea for the NXT staple was to turn him into a character known as t bar And it would be part of the infamous retribution stable as part of his new character He would wear a mask and there would be virtually no mention of his prior NXT persona His moveset was vastly altered and his match quality suffered as a result Naturally, this didn't get over well and instead of reverting to the Dajakovic character WWE decided to punish him and turn him into a jobber He would lose every single match for what seemed like years on end This became incredibly frustrating and was such a waste of someone who could have really helped the roster depth on the main roster Eventually in 2022 they decided to have Dajakovic return to NXT Why this took so long is anyone's guess and he's been doing some pretty good work down there. It's just I don't Yeah Makes no sense. It doesn't just it doesn't number five mustafa In 2019 mustafa Ali found his groove on the main roster. He was inserted into the main event seen on smackdown And thanks to Ali's incredible in ring work as well as fantastic side characters such as Daniel Bryan and Samoa Joe Ali became universally loved by the fans Sadly an injury halted Ali's portion at one stage He was even rumored for a WWE title match with Daniel Bryan at WrestleMania 35 But this injury obviously canceled these plans when Ali eventually returned from injury It was clear that WWE still saw bright things in Ali's future And he was even rumored to win the Money in the Bank ladder match But WWE eventually decided to go with Brock Lesnar But it was after this that things began to change and WWE seemingly overnight decided that Ali was now going to be a jobber Moving forward Ali would lose match after match and even when he would lead the retribution stable in 2020 as a heel He seemed to lose more matches than he won Ali reportedly requested his release because he had enough of his WWE run But this was refused and although Ali had won a few matches on TV in recent months It's clear that WWE still sees him at a certain level and that's unlikely to ever change Earthquake during the early 90s was a reliable talent that WWE could always count on for a solid match He was safe well liked and was over with the fanbase when he returned to WWE in 1998 The landscape was vastly different as WWE were in full swing with the attitude error This meant that WWE were given a brand new character and they were clearly mocking the great wrestler with his new persona Earthquake would become Golga He would wear a mask and his entire gimmick was based on the fact that he was a huge fan of South Park's Eric Cartman He would be a part of the oddity stable and it didn't take long for WWE to give up on the stable All members of the group including Golga became jobbers He would lose endless matches and it was a massive waste of someone who could have added experience and depth to the attitude roster Number three Eric Young TNA legend Eric Young signing with WWE was a huge deal and when young debuted in NXT He was presented rather well young were great. The sanity stable and this was very popular with NXT sanity was a Cool little stable they have man, especially in NXT T fans But when the group was called up to the main roster everything just went wrong They were barely used as a faction and eventually Vince McMahon decided to split the stable up and in the process Young would turn into WWE's new resident job. This was incredibly depressing to watch as young had so much to offer He was very much an all-rounder, but McMahon just couldn't care less Young was relegated to WWE main event where he would stay for the rest of his WWE tenure He was eventually released in 2020 making WWE's treatment of young one of the biggest missed opportunities in recent memory He deserves so much better sigler a former world champion Dolph sigler has had one of the more unusual career trajectories in WWE He's been given a number of pushes, but these pushes are never long term No, when these are over ziggler falls dramatically down the card and he just seems to lose every single match He's booked in this is rather unusual as WWE only likes ziggler to start winning matches when they need him to enter into a prominent feud Yeah, that usually involves ziggler putting over another talent this booking pattern like when you just randomly won an NXT championship I was like Okay, it's just so random and has led to fans simply not caring about what ziggler brings to WWE As he loses too much to be taken seriously and it could be argued that he's WWE's permanent yet highly decorated jobber Which is wild to say so many opportunities to push him to the moon and keep him there But there's always been something holding him back from fully investing in him and number one Cody Rhodes It's hard to believe that before Cody Rhodes was one of the top baby faces in WWE He was a permanent jobber What made me feature on WWE's main event when Rhodes turned into the infamous stardust character in 2014 everything changed the character failed to take off and wwe eventually gave up on presenting Rhodes as a major player This is very true Maybe on tv to lose and it was frustrating to watch as a viewer Especially knowing that Rhodes had potential to become a main event during wwe He left in 2016 as he knew his worth and this would be a decision that would change his life Rhodes would be a pillar of the aw brand and eventually he would be in a position to return to wwe in 2022 Since then Rhodes has been presented as an absolute mega star But it was still a massive shame that wwe turned the elite talent into a jobber during his final months of his initial run in the company But they have it folks 10 times. This is very true If Cody just stayed the course and never decided to bet on himself and left or stayed in wwe We wouldn't have the Cody we have now He bet on himself He knew his worth. He left And when it was time for him to leave aw they knew He's the guy Simple as that He made himself into the guy And sometimes you have to do that especially in wrestling Vince may not see it But you may see it So you gotta go and let other people see it to the point where they are like hey, we need you back and then you Have some power over what needs to be done for your character You can demand the high dollar Because they need you they want you The show will go on without you, but they really want you and they're gonna show how much they want you It's crazy to say the top baby face right now used to be a ja g damn there We knew who carly was but they treated him like a ja g Comment down below. Let me know some other wrestlers. You feel like Definitely should been at the upper to top uh top of the wrestling card in wwe But they just decided to them decided to treat them continuously like ja g's just another guy or jobbers Let me know down below if they weren't on on this list But I appreciate all the love and support road to 150k and i'm seeing you on the speed of youtube Wrestling champ of the world. Appreciate y'all kicking with me. See y'all next one. Peace


From viewing wild horses in their natural habitat, to playing in one of nature's largest sandboxes, to getting an ice cream at Little America, Sweetwater County has something for everyone. Sweetwater County was founded on December 17, 1867 as a county within the Dakota Territory and originally named Carter County after Judge W.A. Carter of Fort Bridger. South Pass City was the county seat from 1867 to 1873 when the seat was moved to Green River. The county is the largest in Wyoming with an area of approximately 10,500 square miles. The county is home to six incorporated towns. There are also many other census designated places, unincorporated communities and ghost towns. The Great Divide Basin lies within the county and any precipitation received in the basin does not drain towards any ocean. Area attractions include the Red Desert, Kilpecker Sand Dunes, Flaming Gorge Reservoir, Seeds Kitty Wildlife Refuge and the Pilot View Wild Horses. At the junction of Interstate 80 and Highway 191, Sweetwater County is the perfect destination for some high desert adventure. From the University of Wyoming Extension, I'm Ashley Garles, Exploring the Nature of Wyoming.


Hi everyone, I'm Steele Agstaf. Welcome to the June monthly Pressbooks product update. This month I want to kind of show you some of the work that we've done over the last month and give you a preview for what's coming up. The first things I want to show you are some changes that we have made that we think are pretty exciting that impact the what we call the API. Some of this will be a little bit technical and kind of for for developers or programmers, but I will try to explain why these changes matter and how they do impact things that all of us rely on like the cloning routine or like the directory. So the first thing I want to share is that in Pressbooks we have what's called an API or an API for books in particular. The idea of an API is it's an application programming interface and it's a way that internet applications can exchange information with other internet applications or with clients that use that application. And so one of its functions is to make programming tools interoperable with other programming tools and we think this is part of our general commitment to not just supporting open publishing but using open standards ourselves and supporting technical openness all the way through the stack. We have an API for books and we expose a whole bunch of information about the public books that are published on our network that's available for anyone to read, consume and interact with. Our API supports a bunch of operations like creating, reading, updating and destroying but usually the public API is usually used for reading and we have a bunch of things that we've built that make use of this API. One of the things that we added was we added a whole bunch of new parameters and filtering capabilities to our books API endpoint. We use the API when we update the directory. So we're calling the API at every one of your Pressbooks networks and lots of other Pressbooks networks to ask for metadata information about the books published on your network so that we can collect it and display it accurately. We do that for your network catalog, we do that every time we clone a book but we also do it for the directory. And so we made a bunch of improvements so that the directory Fetcher tool that we use can be faster and more efficient and also these are API calls that any one of you or anyone else that's developing against Pressbooks can use. So we added some filtering capabilities so that you could filter your book list by license code to include or exclude any specific license or copyright license that you want. So for example, you could call the API. So here's what the book's endpoint looks like without any modifiers. You can see that I'm getting them. The first book on this network is the URL and then here's just a bunch of metadata, the title of the book, the ISBN, the keywords, the language, the copyright year. Anyone who visits this endpoint, this public endpoint can get a whole bunch of metadata about this book and then about this book and then about this book and so forth and so on. Well, now what you can do is you can add a kind of parameter to the end and this parameter is saying I want any of the books that do not have the CCBY license and do not have the public domain license. So now you'll see when I run this endpoint instead of the first results being this book, which actually does have a, let me show you the license somewhere down here. I'll find the license. This book has the CCBY license. Now the endpoint is not showing me that book because I've excluded it with this parameter. So the parameters that we've added, we have a license code parameter. We've added a title parameter, an in directory parameter. So you could see whether or not the books are listed for inclusion in the directory or no and a word count parameter. We use all of these for our fetcher and for the directory itself and you can use these or developers who are developing it. Pressbooks can now use these. So that's the first set of changes that we made and our directory is now using these filters to get faster and more performant and hopefully you'll notice that the directory is updated quickly with accurate information. I want to pause there. I know that was a little bit of a technical feature or a technical thing. Any questions that people have about the changes we made to the API and what impact it might have for you or your users? Okay, yeah. Simon commented, he's been hearing a lot about APIs lately with everything going on at Reddit. Yeah, the free access to open APIs has been a big point of concern for a lot of these big tech companies. Twitter and Reddit have both had big battles in the last couple of months about whether their APIs will be free and available for others. Our person at Pressbooks says, yes, our API is free and available and we want it to remain so. We're not charging people for access to the API. We think that's a public good that we should provide with public metadata about public books. So that's our position. Okay, so that's what I wanted to share about APIs and filtering. The next thing that I wanted to show is we made a handful of changes to the network manager dashboard. So I'm going to share my screen and show you if you're a network manager on a hosted Pressbooks network, you'll see something that looks like this and you'll notice that you have a welcome message and now there's a link now that will take you to, you can quickly view your network home page and clicking that link will then just show you what the home page of your network looks like. That is kind of an expected feature since if you go to a book dashboard, the book dashboard has a very comparable structure where you visit the book dashboard and you have a link that lets you visit the book. We now at the network level have a link that lets you visit the home page of your network. This feature has been there before, but one thing that we're adding is we want to focus particularly on the new network manager onboarding experience. We know from talking with lots of you that becoming a network manager is sometimes adopting in a new experience and it can be hard to know. We give you an onboarding packet that includes a network manager guide and another user guide and you're thinking, oh, there's 40, 50 things I need to focus on. Well, what should I do first? How do I know that I'm ready? What choices should I make or how should I make them? Our big focus has been on saying, let's try to simplify that experience and make it easier and faster for you to get to a place where you feel like your network is ready to launch, meaning you know the configurations and settings you want to have in place and you're ready to start inviting people at your institution to create and publish books. The faster we can get you there, the happier we think you'll be and the sooner you'll be able to actually get press books into the hands of the people who want to use it. So to that end, we've developed what we call a ready to launch checklist for new network managers. This will look slightly different if you're on an open source network versus if you're hosting with us because there's a few things that we do for our clients that obviously open source users may or may not want, but in general it's going to look like this. If your network is under say six months old and it's hosted by us, we'll display this ready to launch checklist. The first thing it will display for you is an option that says you want to brand your network and it tells you what to do here. And then if you were to click this link, it would take you directly to the page where you can do the branding of your network. So that's here where you can add your logo site title tagline. You can adjust your colors, etc. Let's say I've already done that in this case. Then I can say, okay, great, I did that. I'm ready to check that off my checklist. The next thing they want me to do is, oh, customize your homepage. So let's click that link. I'll open it in any tab to make it a little easier. And then here's my homepage. I can click edit here, customize the text or the the messaging here that I have on my homepage. Let's say I've done that and I'm finished with that. I then say, okay, great, check that one off. The next thing I want to do is adjust the default settings for new books and user permissions. So if you open this in a new tab, you can see here my default book theme. I may want to change this to Donham and I may want to make the default page size of exports on my network a larger page size, for example. These are just a couple of the many different settings and options that are available to you. You can see there's network defaults. There's also registration and user defaults here that you can customize and modify. But let's say I've changed those and I made them just the way that I wanted to. I could then say, okay, great, I did that. The next thing on my checklist, if you're using single sign on, it will ask you to go ahead and configure single sign on. In this case, I have the SAML SSO plugin active. So I'll click this link. And it will take me to the SAML configuration page. And this is where you and your identity provider on campus exchange the needed information to configure SAML. So I've already populated this, this is ready to go. And so I'll say, great, that's done. It's ready. These last two options are for our clients only, but we have a community forum and a private group for network managers. So clicking on this link will take you to an invitation page where you get an invitation to join this private group. And then I'll just show you on the end what it would look like. You'll see this really nice forum. And here's this group for pressbooks clients. And you can see that there's quite a lot of conversations in here between and among network managers and pressbook support staff. So if you want to ask questions of peers like, hey, how are you doing this at your campus? How are you advertising pressbooks? Or what kind of training sessions are you offering around the use of H5P? I heard that earlier in the, this would be a great place to have that conversation with peers and or pressbook staff. So let's say I've done that in the forum. The last thing that we do is for our clients, we say, great, you've done all these things. Book a short meeting with your customer success representative. We'll be Amy or maybe Mitch or someone at pressbooks. We'd love to take a 15, 30 minute meeting and just talk with you about how you feel.  Any other questions you have or things that were confusing or hard for you? So this would take you to a link that allows you to book time with our pressbook staff. I'm not going to show that on the recording because they probably don't want me to send everybody in the world on the YouTube to go to that link, but let's say that I've done that. Once I've done that, you'll say, okay, I've done through my checklist and we get this congratulations message.  You can start inviting people to do your books. And we will be conducting a brief user experience survey so that we can understand what went well for you and what can be improved about that onboarding new network manager flow. If you said, oh, I accidentally completed that survey too early, you can always click the return to checklist and uncheck something until it's actually done. But that's something that's coming. It's going to be built into the network manager interface with the real emphasis on helping network managers, new network managers especially, feel confident and ready to share the power of pressbooks with users on your campus. So that's coming pretty soon. I wanted to pause there and take any questions about that feature or things that you might want to ask or see with that. I believe we mentioned this last month, but I just wanted to remind people I mentioned earlier the pressbooks directory and how the API feeds into the directory. But here, if you haven't been recently, this is the pressbooks directory. It includes around almost 5500 open access books. And we are using this Fetcher tool and the pressbooks API for 153 different pressbooks networks every hour. We check in with those networks and we update the metadata. Those filters and queries that we've built in the API allow us to do this faster and better. And down here you'll see here's all of the results and how to use them. We made a handful of changes recently that improve the overall performance and the speed and the accessibility of the directory. I can't show you all of them efficiently, but what I want to show is that one of the big changes we made was just an overhaul of this book card. The book card looks a lot more like it does on the network catalog now. You'll notice that we moved the cover images over to the left side of the book card. We kind of cleaned up and compressed the information that's being displayed here. So this is the license. This is how many H5P activities. Here's the word count. We removed the storage size because people told us that wasn't something they actually cared about and it was too much clutter. And we improved the display of information about the details about the book. So if there's bold or italics, it'll now be displayed. If there's links here, it'll be displayed. If it's very long, there's a read more button that lets you read more. And I just want to show very quickly that this is meant to kind of degrade gracefully as you move into a responsive design. At this point here, the site's going to refresh and resize automatically, and then you'll see this is built for mobile display and mobile view where the cover's here at top and the information is displayed, we think, in a clean way. You'll also notice on the mobile view now, we no longer display the curated featured collections. Those got really big and they were taking up so much space that people were getting lost and not able to find the search on mobile. So we removed that so that there's a better experience for mobile users. But the curated collections are still, of course, available on the desktop view. Those were the big things I think I wanted to focus on there. Behind the scenes, we did a full accessibility audit of this site and found a couple of things that we could do to improve accessibility and performance. So we're now including default alt tags for every one of these cover images. We're reading that and displaying that naturally. Before they were just treated as decorative images, but we think it's better to say title of the book cover for users of assistive technology. And we also restructured each part of this site. We use what are called ARIA labels to clearly describe and define each region of the page for users of assistive technology. And we made sure that the headings were used in a more consistent and logical manner so that if you're flowing with the screen reader, you're more able to navigate this page. So those were some changes we made under the hood to make this site more accessible and more performant no matter what kind of device or what kind of technology you're using to access this site. I think that's important to be included everyone. So those are some things that we did with the directory. The next thing that I wanted to share is a little bit smaller, but it's still kind of helpful for those of you who have been using the book editor. There was a change that we made at user request, actually, to help with the visual editor when you're using a certain kind of text box. So here I'm going to come into a chapter. Here's my, when you're using the visual editor in press books, you can add a bunch of pre-built components. Like for example, oh, okay, I've got more. I've got an exercises text box here. These text boxes come from this drop down menu. When you make an examples text box, you can see it's populated here. I type my examples here. I can make a third example. I can even turn the list off and make a new paragraph. It just, it works really nicely in the visual editor. However, when people were inserting the previous shaded text box, and they started typing before, when you enter to make, when people were pressing enter before, they were expecting it would be a new paragraph inside the text box, but press books was jumping you out of the text box. And down here, you weren't able to make multi paragraph text boxes without going into the text editor. We realized that was because it was complicated, but it was because WordPress has this feature called auto P, and we weren't wrapping these in paragraphs by default. So we've changed the markup now so that when you're in a text box and you click enter, it will stay inside the text box until you want to leave. And then you can click out. So if you're using both the text box or the standard text box, and you're typing within it and tap enter, it'll now just wrap it in a new paragraph. So that's a minor change, but hopefully it will be appreciated by those users who are frustrated by having to switch back and forth between the visual and the text editor when you're in a text box. Okay, next, I wanted to show, we also made some changes to the network catalog, some minor improvements here. If you haven't yet begun using this feature, we hope that you do and you consider it, but every network now comes with the ability to display an improved network catalog. It's kind of like a miniature directory for your network. And you can see you have all the faceting filtering options, you have all the search options, and you can customize the text to describe more about your what you publish and the kinds of books in your catalog. Well, there was two issues that we were having before. One was in the institution list or other lists, there were occasionally institutions or characters that had an apostrophe in their title. And when you were applying filters, the filtering tool would break because basically the parameter reader that we were using wasn't recognizing the apostrophe, it was breaking the query. So we fixed the query and the routing URL. So now when you filter or facet filter with values that have apostrophes, everything works as expected. And you can see that it's been filtered successfully. So that was one bug we fixed. Another bug is we now have given people the ability to set the catalog as their network homepage. So for example, Oregon State, when you visit their homepage, instead of displaying the landing page, they choose just to display their catalog as their network homepage. But we had a problem before because when you had set the home page, the catalog is the home page, we weren't allowing people to search as expected. So if I were to type the search query, you will now see that searching and filtering works like it does normally, even when you set the catalog to the home page, there was a little conflict that was preventing that from working as expected. We fixed that bug. And now if you set the catalog to your home page, you can use all of the faceting search filters as expected. So those are a couple of fixes and changes we made to the network catalog to make it work a bit more smoothly for some of the edge cases we saw. Amy, do you need to do something special to turn on the new catalog? No, I don't think you do. In fact, let me double check and make sure that Open Oregon is using it. But this was one of those things we wanted to make a catalog that gives you your book covers. That was a long time wish list item for Open Oregon. And I'm sorry if we didn't circle back with you, but let me take a look. In fact, Amy, do you mind if I share your network on the live demo? Sure. Okay, great. This is one of my favorite press books networks. I'm going to say look at this beautiful landing page. Here, your home page is actually displaying a little teaser preview of your new catalog. Looks good. Let's view your complete catalog. Here is Open Oregon's catalog coming up as soon as I click the link. Okay. There you go. You're using it and you have 95 gorgeous, beautiful looking books. Wow, that cover especially. Teaching my difference of power. I want to read it just from the cover. Gorgeous. Okay. So yeah, you're using it and it's already in place. So good job. Network manager, whoever is taking care of things where you're there at Amy. Hey, Steel. Yes, please. This is related to that kind of a follow up. And it was hard to tell from the screenshots there if the Oregon network was impacted. But we previously discussed the press book directory having low res version of the covers. Yeah. A few weeks ago, I noticed that even though that was fixed on the directory network catalogs, at least our network catalog and others I had looked at were still showing low res covers using whatever the old query was to pull an image file. Thanks for mentioning that. Okay. So I looked at a few others and they all seem to be impacted. But yeah, those Oregon ones look nice on my screen anyway. Okay. So you're saying the directory is looking good, but not your network catalog. Is that a good? Yeah, the network catalog is still showing just, you know, those slightly pixelated off covers. Yeah, that probably has to do with the default resolution size we set for that. That should be a pretty quick fix. I wasn't aware of that. Thank you for bringing that to my attention. Yeah, I'm guessing it's the same fix that was deployed to the directory and just okay, impacting some, maybe all works. Thanks for bringing that up, Michael or Mike. That's for Squares. Okay. Anybody else have questions or things they wanted to bring up about the catalog or any of the other things you've seen or heard so far? Okay. The last thing I want to mention, I'm just, I'm not going to show anything or mention this, but I will mention it in case it's of interest or importance for people. So we have an open source single sign-on plugin that uses the SAML 2 protocol. This is like a pretty commonly used authentication and authorization protocol in higher education. Up until very recently, we required all of the default setting was when you send us claims and assertions, we require that you sign them and that you encrypt them. The encryption step was extra security, but it wasn't strictly necessary and us requiring it rather than recommending or accepting it was really tripping up a lot of users, especially those who are new to configuring identity claim to management. So what happens is when you send a SAML claim, it's always going to be sent over SSL or secure layers. So it's very hard to intercept and steal and it will usually include, from press book side, we include, we require you to include a unique identifier and an email address. Neither of those are particularly sensitive pieces of information. The email address is generally director information and you don't strictly have to send it if you don't want it. Sending those claims with a signature across an encrypted connection, SSL connection, is definitely sufficient security for nearly every case and every instance and every case that we support. And so what we did was we changed our default setting for the SAML thing so that we no longer require claims to be encrypted. But mainly, if you've already set up SAML, it's not going to affect you at all. But if you're setting it for the first time and your IDP people were really struggling because they didn't know how to encrypt claims, well, we hope that this will save them time because they don't have to encrypt a claim if they don't want to. So this is probably just going to affect people who are setting up SAML for the first time in the future.  And coordinating that can be kind of messy. So we hope that that's a change that will make things smoother and faster. Does anyone have any questions about SAML or identity management or security claims? All right, awesome. So that's what I wanted to share and show in terms of things that we've delivered and shipped. I want to next talk about what's coming soon. And I also want to open up the conversation a little bit to your needs and interests and desires. So the first thing that's coming soon is that ready to launch checklist that I downloaded and showed. That's really close. We think that will be ready to ship in early July and that will be available on all of our hosted networks, particularly for new networks and new network managers. You'll also get some emails from our customer success team and people that are helping you to get ready to launch if you're in that boat or in that kind of age of networks. The second thing that we're working on that's really important for us is we have heard from the people who participated in the early pilots of the results for LMS product. So results for LMS is the tool that you can connect your press books books and your learning activities to your learning management system and send grades back and forth. Almost all of the pilot participants said, hey, we love this. This is great. It helps us understand activity completion, but we really want more insight into what students are learning. I want to see more than just the aggregate grade. And so we're trying to do research with past current perspective potential users of this product to understand what is it that you most want to know about learning? What kind of visualizations or what kind of questions or insights do you as an instructor want to have with a press books and H5P activity? And we want to know similar kinds of questions from the students or the learners themselves. So what we really are trying to do is over the next month or two recruit as many prospective users, ideally faculty users to tell us what they most want to know and learn. So we're designing a survey and we'd really like your help identifying people, either it's you or maybe faculty or potential users on your campus to help give us real insight into what they would most want to see, what would be most valuable to them. The topic that I'm really interested in hearing your opinions and needs about is print copies and print on demand as a service. We in the past have had lots of different approaches to print on demand and print. Right now our approach has been press books will let you generate print ready PDFs, but it's very much up to you to take it to your print on demand service and print copies of your books. We've heard from lots of your people, lots of opinions on this, but I'm really curious to know for those of you who are making books, what has been your approach to print and print on demand and what would make your lives easier when it comes to printing books or print on demand? What do you do? What do you want? I would say we haven't had much expressed interest in it. I mean that doesn't necessarily mean that the interest isn't there, but there's nothing coming from the ground up organically that I've heard in terms of requesting that as a function or feature. Have you ever made print editions for any of the books that you published, Michael published a time? Maybe like almost a decade ago we had a book that was simultaneously, not a press book, but like an OER thing that was a kind of a course pack that was simultaneously digital and printed through the university's print service, but eventually like no one cared enough about the print anymore. It just didn't become a worthwhile endeavor. It was like it was cost prohibitive essentially was what it boiled down to. I mean that's always been our observation here is that even if people prefer print, and I'll be honest, I prefer print. I've never read a single ebook from start to finish, but if it's free, they prefer free even more. They prefer free to a cost no matter what that is. Interesting. Okay. Amy, I know that you've done a lot at Open Oregon with print. You've done the petting zoo and other things. What's what's been your current approach to print and print? Yeah. Well, we feel like print is an important option for accessibility or digital divide issues, preferences, you know, whatever. There's a lot of reasons that people might want print. And so when somebody says, ta-da, I'm done, I'll say, do you want us to set up a print copy in Lulu? And Lulu is sort of like the good enough solution for us right now because they're the lowest cost and they know what open licenses are and we can set the revenue to zero so that person buying the print copy is just paying for the print service. We're not, you know, adding anything onto that. So you use Lulu. When you've set up a book for print on demand for Lulu, how do you make people, how do you let people know that there's a Lulu copy available? Do you list it? I put the link in the short and long description of the press book metadata. The thing about Lulu is that, you know, I've had some pushback like, you know, hey, they're underselling our print shop, which has staff who are union members and that's why our labor costs are higher. I haven't been able to find anything out about Lulu's model and why they are the cheapest. And, you know, I even like heard that you knows the person who founded Lulu and tried to like reach out to you for a connection, you know, like I just can't get a person at Lulu to explain why they're cheap. So that's the thing.  Like it's not, like I said, it's kind of like the solution that's working the best for us for right now. But if something better came along, that would be nice too. So, and then the one other thing that I will mention is that we are working with a book designer and a theme developer because we want to have a two column layout for our eight and a half by 11 books. And that, I mean, that's really exciting, this book designer, like she's amazing. Her work is beautiful. So I'm excited to be able to share that theme. I'm not quite sure when that'll be. Yeah. Sorry, we weren't able to take that work on, but I'm glad we were able to connect to someone and I've been following those emails with interest. I think it's going to look really nice when it's done. So cool. Thanks. Okay. Others that have thought about print or done things with print Lauren or Kate, have either of you been working with print or thinking about print on demand? Yeah, I just shared in chat that I also don't see many people request it. Like instructors, when they ask me about print options, I just send them to lulu.com. But I think that's only been two people in the many years of supporting the network. And the only thing I could think of that may exist and I don't know about it as some kind of checklist for folks to make sure that the copy that they have is print ready. That's such a great idea. We've talked about that a little bit and our customer success team. Right now, I think the best thing available is that what's in that Rebus book, there's a Rebus checklist. And I think BC campus has a similar one, but we don't provide anything, but definitely could if there was enough need or interest for that, like, how do you know if your book's ready for print distribution, there could be a simple kind of checklist, kind of like what we're doing with the network managers. Mitch, I don't know if you have any ideas about that or that's something that's come up with you or Thomas or Amy before, but you do love to hear you speak to that. I haven't like we haven't discussed it lately, but I think it's a really like good idea to have, you know, like I'm sure there is that that is one of the key questions, right, that people are confronted with. So like I'm definitely taking that back to our conversations about what material we can documentation can provide on that. Thanks. Kate or Allison, anything you want to add to the conversation about print? Yeah, I was just going to add that our experience has been the same as Lauren's. There's not been very many faculty who have been very interested in it, but a few have gone to Lulu. My understanding is that there is a way that they can also have students who are interested in print send it to the bookstore and purchase it through the bookstore at cost, but I've not really been around long enough to know like how that process works and who organizes that. So that is another option I think, you know, is available, but maybe isn't very well publicized. Yeah, thank you. Allison, Alia, Tracy, anything you want to add? I think we've had a similar experience at U of O with we've used Lulu a little bit, but also just don't get very many requests for print. And I'll just add that I really don't work with that part of it. I'm the network manager, but I don't really, yeah, really involved with that part of it. But thanks for asking. Okay, yeah. I think last person I asked Simon, I know you weren't in a position to unmute earlier, but if there's anything you want to add, welcome to drop it in the chat. So one of the things that we have been, okay, great. One of the things we've been looking at or thinking about has been how can we make making print copies easier and getting those print copies in the hands of people who want to use them because it is very much as Amy said, a digital divide and sometimes an accessibility issue. So the website, the web book, as people know, allows people to download those formats, but it doesn't make it very easy to buy a print copy. And so one thing that we have been thinking about and maybe exploring the future is a integration with the print on demand service where you could, from press books, send it to print on demand service and then list the sale copy directly on the homepage of your book just to make that easier. Another potential option would be to allow book creators of all types to sell their books to sell the digital and the print content to set a price. Obviously, people who are doing open educational publishing or open publishing may not be as interested in that, but there are a lot of press books users who are doing all rights reserved or self-published authors who take their content from press books and sell it elsewhere. And reducing the number of steps and the complexity of that is something that we have an interest in exploring and helping those users succeed. So nothing immediate plan, but that's on our minds, it's on our radar, and we'll be certainly discussing this and talking about this in future meetings. If you have thoughts or ideas that you think of between now and then, I think you know where to find me, please do. I'm always interested to hear what your needs and desires are. We really want to build a print or a print on demand solution that best satisfies your goals and objectives rather than what we think your goals and objectives are. So please keep this in mind and keep that in particular in mind. All right, that's it from what I wanted to share in the recording. I'm going to pause the recording and it's going to be community roundtable time. So really love to hear projects and things you've been working on and things that you think would be of interest to the larger community. All right, I just wanted to say thank you everybody for coming out. Really enjoyed serving you and supporting the uses and needs that you have. Thank you for coming to our June update and we'll see you again in July. Until then, be safe, be well, and enjoy.


So, it's been a great day so far and I am pleased that to be among all of us. My name is Jim Anderson. I am the president of peace action of New York State peace action and I am the national vice president of peace action, as well as serve on the board of the campaign for peace disarmament and common security. A member of abolition 2000 and much, much more.  I want to say that truly and all that we heard and in a couple of the words that the senator mentioned, I'll use a buzzword he said decades. And when he talked about decades he talked about decades of dealing with these issues that we're confronting today and particularly as we gather here. And as I thought about that, it resonated with me, what Amanda Gorman said. And I thought, here we are, we are those who have stepped into a path. And since we stepped into this past we are the ones who have the task on how we will repair it. And that's it I'm going to welcome you to this session this session is paths forward. We talk a lot about these things how terrible we talk about what needs to be done, and we look around we see some action but not enough action. We see some of the ways in which we did engage. Move some things in favor of humanity and peace. And yet there's much more that needs to be done. We've also discovered that many more are needed. When I say many more, many more people. People worldwide and communities like ours are pushing back on way work governments who are putting so much money and so much effort and building and amassing weapons of war. People all over the world are trying to do everything that they can to get the dollars needed to that will take care of housing health care, education, all things needed infrastructures of their cities and their nations. And people all over the world like us. We're having this moment trying to find a way forward with that said, I want to introduce my guests and the order I introduce them in is the order that they will come to us in. And at the end of all the presentations we will have q amp a. And I'm looking for us to really get into this. I'm looking for us to see the light. And to be the light in this session. And with that I greet you again and let me just say the first one up would be media Benjamin of cold paint. And she'll be speaking to us on peacefully engaging around after her will be didn't Denise Dufffield, who is from back from the brain campaign. She is with, she'll be speaking on the back from the brain campaign she is with the physicians for social responsibilities, Los Angeles, and Lindsay caution Gary and who is with the Institute for policy studies and who will talk to us on a moral budget for America. Finally, after that will be Senator Jamie Albridge, who is a state who will be speaking towards on state legislative issues. And with that said, I yield the floor to my dear, hi, my dear welcome. Good to see you. Good to be on with you and thank you to the organizers for this incredible day of just extraordinary presentations and your organization is so impressive. So thank you for allowing me to be part of this. I'm going to speak about Iran, because it's such a critical issue from both the nuclear perspective but just a horrific example of how the US can screw with the country for so many decades and create so many needless problems for the people who live there. And so just to frame this, to keep in mind the US overthrow of the democratically elected government of Iran in 1953, the support for the repressive regime of the Shah that led to the 1979 Revolution, that was understandably anti American, and the US has imposed some form of sanction on Iran ever since then. That's also frame it the way Iranian see why this focus on Iran as in terms of nuclear weapons. First of all, many Iranians say they're not even trying to get nuclear weapons. But then they point to the United States as the largest country of that has thousands of nuclear weapons and then they also point to Israel and say, Why doesn't anybody call Israel out on its nuclear weapons force it to join the non proliferation treaty force it to have inspectors etc. And then the other is to recognize that the joint comprehensive plan of action the JCPOA the Iran nuclear deal that was finally negotiated under Obama's term was not just a negotiation between the US and Iran. It was also one between England, France, Germany, the European Union as a whole Russia, China. It was the world community and and and ratified supported by the Security Council at the United Nations. It seems that in the United States. It was a tremendous feat for the Obama administration to move forward on that because there was so much opposition from US allies, like Israel and Saudi Arabia, but also so much internal opposition from lobby groups from hawkish who said it wasn't strong enough it didn't include ballistic missiles it didn't deal with Iran's maligned activities in the region. And yet, from the john Kerry Obama point of view. This was a significant breakthrough that would lead to discussions with Iran on many other issues. And I have traveled to Iran several times and our last visit there when we met with the foreign minister Shabbat Zarif. He said precisely that that they said, this was the beginning of talks with the US and other and the Europeans about all the conflicts in the region and how could they use this as establishing trust so that they could then deal with so many of the other conflicts that need to be unraveled in the Middle East. In the meantime, we had Trump coming in and withdrawing precipitously from this deal, imposing just horrific sanctions, especially during a time of the pandemic. I remember being in Iran walking through the marketplace when an elderly man came up and knew that we were Americans could we had some signs on us and said, you know why is your country doing this to us keeping cancer medicine away from my wife who is dying, what did you to deserve this. So really, these cruel measures that hurt 80 million people in Iran, and then almost bringing us to the brink of war, January 2 of last year with the assassination of General Soleimani. And I don't know about all of you but I really felt that this was the beginning of an all out war with Iran. And the results of Trump doing this have also been to embolden the hardliners inside Iran. We already seen the last parliamentary elections that it was the hardliners who actually campaigned against the nuclear deal, who won the upper hand, and there are June elections coming up in Iran, in which somebody will win who is not as open as to talking to the United States as the Rouhani government has been. We also have a recent piece of legislation passed by the Parliament of Iran that said that if there is not a lifting of the sanctions on the banking and the oil then the Iranians must increase their nuclear activities. This means that there's a very small window between now and the next presidential election in June to make some significant progress. Biden has said that he wants to rejoin the nuclear deal. This he has said it throughout the campaign. And during the last hearings of his soon to be Secretary of State Anthony Blinken, he reiterated that the Biden administration intends to go into the nuclear deal. But they are all ready getting tremendous pushback and you could see even at that hearing where he tried to say well, you know we want to strengthen the agreement we want to talk about the issues in the in the region. And he, and he talked about the Iran nuclear deal not as something that they would do immediately but actually said it was a long way off. We don't have the time for that. The people coming into the administration, several of them are very favorable to the Iran nuclear deal. In fact, the head now of the CIA, William Burns was somebody who worked on the back channels to get the deal going. But the, the Biden administration has recently suggested that it wants to bring in Rob Malley, who was and the National Security Council during the Obama administration and is now the president of the International Crisis Group to be the envoy for Iran. And that would mean that he would come in and immediately begin this process, which some are calling compliance for compliance. Iran goes back into complying with the nuclear deal, and the US goes in back into complying. But in the last couple of days since that suggestion of Rob Malley was made, there's been a tremendous outcry from the right. And we see this in the form of Congress people like Tom Cotton. We see it from right wing Iranian Americans. And we see it from a number of right wing columnists who have been putting out column saying that that Rob Malley would be a terrible pick. The reasons they say are that he has, that he is anti Israel because he wants to talk to Hamas that he hasn't made a overtures to the human rights groups in Iran over the years that he would be too soft basically for these negotiations. They also said that they threw out that when General Soleimani was killed that he had made a comment saying that wasn't good for diplomacy. Go figure. So, this is happening right now. And I think we have to push back code pink is right now coming up with the petition to support this Rob Malley as the as the Iran envoy. And of course, we have to support an immediate re entering into the into the nuclear deal. Yesterday, there was a peace out by the foreign ministers of Iran, Shabbat Zarif in foreign affairs. It was entitled Iran wants the nuclear deal it made. Don't ask Tehran to meet new demands. And he also talked in there about how it was thanks to the US invasions and arms sales that the Middle East is the most militarized region in the world. He said that Saudi Arabia, a country of less than 30 million people compared to Iran's is the number one weapons purchaser in the world, and that the tiny country of the United Arab Emirates which only has 1.5 million citizens is the number eight importer of weapons in the entire world. So, the US under a Biden has to not only go back into the Iran nuclear deal has to take measures immediately to ease those sanctions. And there is something that just came out in the statement that the Biden administration made about its global work around and one of the paragraphs in there said that it would look at the effect of its sanctions in places like Iran and Venezuela to see what effect they have had on those countries being able to deal with the pandemic and take measures accordingly. That's a positive thing. The US has to stop blocking the 5 billion IMF loan that Iran has asked for in order to deal with the COVID crisis and deal going back into the nuclear deal with Iran is really the first step to addressing all of these other crises in the region that have to be dealt with. So I hope we can all be working together to push the Biden administration and not to allow the Hawks to get the upper hand, for example, to quash the appointment of this Iran envoy and to move ahead quickly there will be lots of measures to try to stop them in the Senate from these right wingers and we have to be ready for those we have to fight against those and really push for the Biden administration do to do what a promise to do swiftly rejoin rejoin the Iran nuclear deal. Thank you. Thank you.