If you've ever wondered how minimal would be any good for just $15 a month, you can see the video description. Yo, what's up, guys? What's going on? Happy Mondays? What are you making this move up? Sus. IPI-X is just one of the some stock that one of my algo's picked up. So I'm just closing the order, $15.96. As it's starting to look sus here, like one of my algo's picked it up because I think it has great potential to bounce, you know, because there's a lot of money flow coming in over here. So it's got great potential to move back with $20 here, but it's too much uncertainty right now. So I already picked the bottom on it, so I figure I take profit right now. What's up, guys? Hello, Tiffany, Adam, Res, both. What's going on, guys? I hope you guys are doing good, man. Crypto market was a little bit iffy. That's a great question, man. You know, is it time to buy more XRP? Tell you what, this is one of the XRP levels here, the 133. So it's been hanging around this area. If we're bullish, I could see a double bottom pattern setting up here, kind of like that. You know, this could be like... This could either be, you know, a good correction before it runs a lot further, or it could be like... It could be the end, right? Or it could be the reversal for the whole crypto market. It's really hard to say, but that's definitely a good question, man. So that's something that you're gonna have to make a decision like whether this is the end or this is just a good correction for everybody to buy the dip, kind of like over here. So personally, I think that as long as Bitcoin is above this $50,000 level, I think we're okay. But if Bitcoin loses like $50,000 area in general, you know, if it falls under $50,000 in general, I would be really fearful because if it drops from, you know, all the way from 65 to under 50K, that's a huge move to the downside, you know? And usually huge move to the downside, signals, let me put on a better chart on what I mean by that. So like, if it's a huge move to the downside, it would confirm that's cup and handle, you know? So if it breaks under this area, it would kind of be like over here, you know, where signals that big down move.  It's one of those really good patterns. This is a reverse cup and handle. But let's get into some of the earnings report today. Let's see, market on close today was 1.3 billion to 1 billion to the sell side at the end of the day. At least that's what Bazinga is reporting. And then for today, we got Coca-Cola that had earnings this morning. We have IBM after hours, United Airlines after hours. And then some of these other Salamious companies. And we also got Hexel, which is like a defense contractor, I think. So see how they look. What's everybody else looking at today? It's my microphone. Are you guys able to hear me fine? Yeah, the mic is working, right? MPLX, what's that? It's an oil company. They don't have earnings today, do they? Yes, indeed, oil does have some room left. I do think we have that double bottom set up on oil a little bit. So I do think we could potentially set that up here. You know, you can kind of call a cup in hand though, or you could call it the double bottom as well. So I think that's the setup that could happen. So that's a possible move. Hey, what's up Atlas? What's going on, man? I've been pretty good, thank God. You know, I've been like super wary about the market because I feel like we're, you know, we're getting so far up. So all I've been doing, I've been telling you guys last week I've been taking profit like every other day on whatever stocks or whatever like options that I'm up on, you know? But I'll go over the market reveal that I posted this morning a little bit. So IBM just reported earnings a dollar and 77 cents. Damn, somebody keep changing the thing. So IBM just reported earnings for Q1 is $1.77 as opposed to 163. Sales is 17.7 billion as opposed to 17.34 billion. This is a 3.8% decrease compared to the same period last year. And sales is less than 1% increase compared to last year. However, IBM says that their total cloud revenue is up 21% year over year investor like that. So it went up a little bit, about 4%. They also said they got a lot of free cash flow on ham as well, about 11 billion or spy 420 on 420. Their red hat revenue is doing pretty good. They reduced a lot of debt as well, they said. Where are they taking them all set? Oh, their global financing sector is down 20% including financing and use equipment sales. So I guess maybe they're not like, they don't have a lot of O-unit left or something. That's weird. Because I was wondering like, if their cloud business is up 20%, you know, why aren't their sales up 20%? So something else must be taken away that revenue.  What calls for tomorrow? I applaud that man. It's actually looking very dangerous here. Could be setting up like this over here. We got that doji on clothes, CCL and Mera. We could take a look at one of those. Take which one you like and we'll take a look at it in a little bit. So IBM is one of the few company that hasn't, you know, moved back to pre-COVID level as well. It's around 155 area. It's been making a comeback to like this line around 136 range here. But every time you came back here, it got rejected. So we actually end up gapping over this area right now because of earnings. So this could kind of start the run on IBM if the market is bullish. This could ideally start the run on IBM to like, you know, this 150 range, which is like a $10 move on a boomer stock. The possibility is definitely there too. If it gets enough momentum, it can move it. What's up, the milk?  Never didn't get any 10 days today. I saw that SI. How was the last earnings? How long did you get the cause for it? Like one week out or one month out? Oh, so it's one month. So it must be like May 21st then, I'm assuming. Hexel also reported as well. Earnings per share is 10 cents as opposed to 16 cents. Sales is 310 mil as opposed to 301 mil. Ooh, that's a huge L. This is 115% decrease compared to earnings per share from the same period last year. And 42% decrease in sales compared to last year. Ouch. That's pretty crazy, man. That's true. That's true. Your reason means are right. Hey, what's up, Trab? We usually do these streams like every day around 4pm to check out some of the earnings reports and stuff. So your reasoning is right for SI. You know, it's a great reasoning. Crypto volume has to be high during Q1. They have to have a good earnings, right? But at the same time, you gotta keep in mind that majority of the time, the stock market is forward looking, right? So what that means is sometimes it's priced in. So if everybody has the same reasoning that you have, then it's already priced in. And unless they surprise us with even bigger earnings than what was expected, then it might not move much, you know? So, and also, it also depends on how everybody's outlook in the general crypto market is too as well, right? Because let's say, let's check out when they last reported earnings. Last time they reported earnings was over here, around $60, right? And they're already trading at $125, which means this quarter is already kind of pricing in 100% growth for them. So if they come over the ER and they don't have 100% plus growth, that's gonna be troublesome. It's reasonable, it's reasonable, man. It's worth it. Like I said, man, the risk rewards the bow, right? So, I mean, fortune rewards the bow, right? So you gotta take risks or if you wanna be successful sometimes.   So, if you bought multiple calls, you might even be able to take profit on some of them. I think it's a reasonable play though. If the setup is kinda there, it is at like the somewhat of like, you know, support zone, I would say. You know, if it hits like 117, it'd be like in nice support zone area. So, and the RSI is pretty low. We could get that bounce that you want. But then again, it could also drop to $100 just as easily. But the risk and reward is definitely there. How much was the call? Hey, the Darkie Army, did you decide if you want to check out Merer or CCL? Check out MPLX. Wait, what? MPLX just hit that level. Oh man, MPLX is right there. Net, let's take a look. Oh, Cloudflare. Isn't this the same company that like Timehawk said something about as well? So, this is a possible support area on the short timeframe. So, the short timeframe is the one four day chart. So, we're looking at this timeframe mostly for like one day or two day swings. So, that's where it's gonna get the best direction. We are at a slight support right here where it has bounced multiple times before, even here. So, we could get a bounce, we'll say probably to like, go ahead a second.  Well, where was your entry? Was your entry at $74 or we say $80 a cause? So, if you got $80 a cause, it's probably coming down. I would say you'll probably get a good exit around 74-ish for the safe exit. If it breaks above 74, then you know, next level 78. That's where you're gonna make the most money. Oh, that's pretty high. But I mean, I'm not sure what Funtree's doing, like why he picked it, you gotta pick his brain. He must have his own reasoning. If I know Funtree sometimes, he plays a lot of the breakouts. So, a lot of his plays are very successful in the bull market. And, you know, we're kind of in the bull market the last few weeks. I mean, we could still kind of be in it. So, there's still possibility for it to, you know, come back around and hit 78. At the same time, it really depends on the market. But those are some possible resistance that you're looking at. Oh, you guys got in on Friday? Yeah, no problem man. I hope that helps. I can see where he's shooting, like on the longer timeframe. I mean, he picked the weekly though, but I guess I can see where he's shooting on the daily chart where he's looking at it. He's like, oh, check this out. We're about to break that, the yellow line here, right? So, it looks like it's about to break out. And if it breaks out, next level is huge, right? If we were like $76 or 76 plus, and if it breaks out, we could potentially hit like, you know, 86. That's a $10 move. And it was pretty reasonable by the time. You could kind of look at it in the longer timeframe. The setup is kind of there too, for that double bottom move. But, you know, if market starts getting really bearish, right, it will turn everything from a bow flag to a bear trap. I mean, to a bow trap. So like, if I was in this trade, I would have probably bought like a month out to see how that plays out, because, you know, you know how chops could be sometimes. Let me catch up on the comment a little bit. So a lot of people, J-PAL and others enter XPEV today. Any suggestion on the stop loss? That's a great question. Let's check out XPEV. So, I would take the lows of this candle as the stop loss, which would be at 29. So I would say under 29 would be stop loss. We do have potential for reversal here again. But yeah, I would say 29 would be the stop loss on this. So if something was bullish, it could be the China market that's bullish. I'm gonna check some of the earnings this morning and then we're gonna go over some more charts. Because I personally like to keep up to date on how the companies are doing and what the earnings reports are looking like, because this, you know, will ideally give you a sense of where the company is progressing long-term as well. And kind of a sense of the direction in terms of the market earnings as well. But I'm gonna answer that question about the bear market in a little bit when I do the chart review. So Harley-Davidson reported earnings today. $1.68 as opposed to 88 cents. Sales is $1.42 as opposed to 1.25 billion. Holy smokes. It says this is a 229% increase over earnings of 51 cents per share from the same period last year. And 29% increase in sales compared to the same period last year. How much did the stock move today? So the stock gapped up $4 for this company. So we got about 10% move. I did talk a little bit about this the other night. I think it was, I don't know if it was, I think it was like Saturday night. A few of us were hanging out in the chat room. If you guys were there, you were there. If you weren't, you weren't, but I was talking about it the other night about how we're coming into a lot of earnings for the Q1 of 2021, right? Hey, what's up, Sub? What's going on? So I was talking to Red Black and Tommy and we were talking about how we're coming into the earnings report of Q1 for 2021. Q1 usually represents January to March quarter, right? So this is kind of like, this is going to be one of the first quarters that we're reporting that's going to compare to somewhat of the beginning of COVID, you know, last year's, right? And you could say, this was possibly one of the harder headquarters or, you know, or the beginning of the harder headquarters. So it's going to set the records for the other quarters, especially for a lot of analysts because a lot of the Wall Street analysts, when they like put the estimate on these, you know, earnings per shares and stuff, they have to look at last year's data, but last year's data was so, you know, so wild, it's really hard for them to price it, right? So I'm thinking, you know, that a lot of companies should be able to have a record earnings this quarter because last year during this time, they were having supply chain issues. Like literally, literally every manufacturing company, every ship in the world was frozen, you know, nothing was moving. Everything was in total shutdown, right? In the beginning of COVID, especially like toward the end of February and like the beginning of March, everything was in total shutdown. So since everything was in total shutdown, a lot of companies, you know, couldn't get their supplies, they couldn't meet their demands and stuff. So I think this quarter and next quarter is going to be very essential, but this quarter is probably going to set the estimate going forward. So I'm expecting a lot of companies to have record earnings this quarter compared to last year's. So this could be, this could set up for one of the bull runs, or it could, or they could all flop and they're flopping and just like, everybody would just be like, how could you not beat, you know? But Harley-Davidson just showed us a little bit of that, you know, they have a huge increase. So that's 229% increase in earnings per share, about 30% increase in sales. That's a pretty good, you know, beat. And they said they're expecting the motorcycle segment to grow from 20 to 25% to 30 to 35%. So that's pretty interesting there. Let's see how Coca-Cola is doing. Earnings per share is 52 cents, I suppose it's a 50 cents. Sales is 9 billion as opposed to 8.6 billion. Coca-Cola is reporting a 1.96% increase compared to the same period last year, and about 4.6% increase compared to last year. The stock move, it moved a little bit about 50 cents, so almost a dollar. But that's typical for Coca-Cola. There's a reason they're one of the, you know, most stable company out there because they don't move much, they don't grow much or decline much. And if they do, then everything would be in trouble. So this is also one of the company that hasn't recovered to that $60 area yet. So we could see some recovery as they're doing better and better, especially compared to last year, they're doing like slightly better compared to last year. Let me see if they're gonna do any share buybacks or anything. Oh, Coca-Cola launched, they have a Coca-Cola coffee now?  Yo, have you guys seen this?  Is this like a Coca-Cola version of Starbucks? It's horrible, you said. What does it even taste like? I was just thinking that, oh, it doesn't even have a milky taste, it's just Coke and coffee. Like, does it even, does it have vanilla taste at all or anything like that? So it said they're releasing some new smart water as well. They say it was really successful in the international market, apparently. Oh, check this out. They're launching Heart Seltzer. Damn, that sounds nasty, man. I mean, if both of you guys don't like it, there's no way I'm trying that, man. It's not even worth the money at this point. Better than White Claw, dang. Yo, so it looks like Coca-Cola could be a decent investment for like a $5 rundown at this point. Maybe wait for that pullback because it is hitting multiple tops. So you can see a small move up. It's not a big move though. Be like 11%, be like 11% move upwards if you were to buy shares. If you were to buy calls, it would just probably chop. So I wouldn't even buy calls on this. Indeed, indeed. All right, let's see. Was there any other interesting earnings this morning? Ooh, the staff and solution company is down big. It's like temp worker, I think. STAF, let me check that out. Is that a good support? Is that a good support here, kinda? This company got a huge pump to $2 a while back. Hmm, would this company be an interesting buy if we think economy is gonna recover? Like if you think about it, right?  Cause temp agency is usually like really good finding jobs initially and then setting you up for long term. Yo, I think this might be like an interesting play, an interesting like gamble play. Like it could be one of those plays where, you know, that's even better than like buying the cruise of the airlines. So staffing 360 solution operates in the international staffing sector. It is engaged in the execution of an international buy integrate build process to the acquisition of domestic and international staffing organizations. The company carries this business through the reportable segment of commercial US professional and US professional UK. Geographically the group has business operations in the US, UK and Canada. So they like help people find like accounting finance, information and tech, engineering, commercial staffing, administrative, assistance and stuff like that. They did a lot of public offering to dilute it. They diluted the stock. Oh God. So the stock's been diluted in half already. Nevermind, scratch that. Think that's pretty much it for this morning's interesting earnings. Probably go for some charts now. Hey, what's up, Spendo? What's going on? United Airlines just reported like 10 minutes ago. Earnings per share is negative $7.50. Missed the estimate of $7.05. Sales was 3.22 billion. Missed the estimate of 3.27 estimate. This is 191% decrease compared to the loss of 257 last year. And this is a 59% decrease over sales of 7.9 billion last year. Oh, that's ugly. That's ugly. What is their cash burn for today? So they said they expect next quarter to be down around 45%. This quarter was down 49%. So they're only looking at like a 3% increase. They expect capacity to be down 45% as opposed to 54%. So that's a 9% increase there. So they're burning about $27 million a day and 2.4 in a quarter, 2.4 billion in a quarter. So an average is looking at $9 million per day of cash burn, which they say it was a slight improvement compared to $10 billion per day the previous year. I mean the previous quarter. Damn, that's crazy. I thought they would be doing better now, but none of the airlines are doing better at all. They're not even getting close. All right, let's take a look at some of the charts. Airline is dead, but not really dead. Possible move on Amazon. Oh, that's good spin though. Congrats on opening your safety work account. Hopefully you can do some real strangles and iron condors. It's tomorrow's 420, right? Maybe we're gonna get that little pump in marijuana stocks tomorrow. So maybe we'll get that marijuana stock pump tomorrow, maybe to like a dollar and 30 is a nice like 30% pump. It is kind of setting up the reversal for SNDL, but don't get greedy, you know, even if we set up the reverse, we'll make sure to take some profit if you got in today or after hours. Let me check, did we pump last year on 420? Let's check out last year on 420. We did have a pretty good reversal last year on 420 here. So that's the 420 candle last year. This start up the reversal and hit like a high at the end of the week. Let's check out when 2019. Oh, 2019, we didn't really have a 420 on a trading day, but that week that ended up being pretty good too. The week that ended up going up a little bit, so it wasn't naturally a bullish week, but the sell was on Friday. You got some gummies? Yeah, so for Kron as well, it was a bullish week. 420 week was pretty bullish. In 2019, let's check out 2018. Yo, 2018 was really, it didn't move. 2018 had to run the week before and then when 420 came, it ended up going downwards. Yo, for real, it looks like people are stocking up. I would say short term price target for Tilray. Probably at this area right here, 19.7, or maybe even 18.86, I guess. Did we kind of hit that today? Let me see. We did have a spike today, hit like 18.50. I would say as a first target, that's a pretty good target to take profit at. Above that, we'll probably see $21. Oh my gosh. Yeah, so I went to pull up the longest Dogecoin chart and the longest Dogecoin chart belong on Bitrix because this is the exchange that, I guess, hosted Dogecoin for the longest time or whatnot. And as we're looking at it, this was one of the highest priced in its open net. So Dogecoin has already passed that price, which would be worth like 0.0000400 BTC. And even that run in January, that was a pretty good run. This chart is actually pretty decent. Let's see, we chart that. So you can kind of chart those resistance there and it's kind of held that area to a certain extent for support. But ideally it should have came down here before that big move up. Yeah, this is comparing to, because to find a good technical chart, you have to look at the oldest chart and this is like one of the oldest charts that is able to date it back to 2014 at the beginning of it. And at that time, we didn't have USDT or US Dollar Tethers. You know, we only have Bitcoin. So every cryptocurrency was pegged to the value of Bitcoin at that time. So as of right now, it's a lot higher than Bitcoin was at that time and it's ran pretty high, pretty crazy. So it's almost, so it was at the resistance level was at 403 Satoshi. It's at like 690 Satoshi right now. We have hit as high as 772. You can look at the short term chart as well. I would say short term wise, well, it came back to $22 of the day. So that would probably define as like the main support for a short term. Dang, you guys got mad different color pistols. Oh yeah, I said earlier I was gonna take a look at the outlook for the market. So let me pull that up. So spy is kind of hitting the top of the trend line right now. And, you know, I mentioned that a few days ago. So not really super bearish on the market, but statistically there's a slight chance that we're breaking up, but statistically there's like, you know, three out of four, which is like 75% chance that we're gonna either jump at this level or we're gonna reject from here and come back down a little bit. So the stats are a little bit bearish. I'm not necessarily super bearish on it. Tech sector reached new all time high as well. So I, you know, my advice would just be like, I wouldn't really, I wouldn't be bearish enough to like big and short, but I would be, I would start taking profit, you know, and just like be on the sideline because remember the last few times that the market went down so much, we were all kind of sitting here wishing, yo, I wish I had money on the sideline instead of gambling the market at those times, right? So that was like at the end of January and at like March, right? When, when, or February as well, throughout February as well, or even in September and October, when the market was all time high, everybody was extremely greedy and then it started going down. And whether you wish you could have done, you wish you could have stayed in cash position, you know? So that's where I'm trying to achieve right now, trying to get closer and closer to more cash position so that if we do get a big drop, I'll buy the dip. If we don't get a big drop, I'll still continue to trade a little bit here and there. So with that said, you know, one of the, one of the things that I am somewhat bullish on was the oil sector. So that's a, that's a nice little setup here. It's holding that, that, you know, that line here. So it could set up that double bottom as long as we're above 4750 on the energy sector, I think we are bullish. And I think we could see potential recovery from 4750 area or 4850 to $55. So that's about $6 run that I think we could see in the, in like the upcoming week or possibly even a month. The prediction is based on the charts and the trend lines. Are you in the X trade room? So that's kind of that. And then last week we also had, you know, the financial sector earnings reports. You should check out our X trade room. So last week we had a lot of the financial sectors report their earnings and they also had one of the best earnings ever, you know, because everything was nuts in last year. And they couldn't buy the dip. They couldn't do anything because the Fed kind of froze their money. The Fed said, you know, we don't want you to make any risky investments at all whatsoever. Here's Tesla. Hey, what's up? Who is this? Time Hawk or Kevin? But yeah, Tesla's coming back down a little bit here. Just remember with tail right though, make sure to take some profit, like before market opens. Cause I know a lot of times these marijuana stocks, they tend to like do a huge pump remarket as well. Or right after market open too. You picked up Tesla? Not bad, not bad. I think that $700 area could be an interesting area to pick some up too. Like right here. It's okay, one day you'll have enough shares. Just keep buying fractional shares. One day, one day. You'll get there. Let me go through some of the other stuff. Seen a huge move to the downside on Go. Why is that? I guess Go is just moving with the general market. So on Amazon, I kind of want to see it come back to test the trend line back from here. I think if we come back to that trend line, that would be a really good buying opportunity. That would kind of be like around that 3230 area. The CSOL? What is that? Oh, we looked at this before. I don't think we're necessarily ready for the reversal yet. We have to have kind of like a green doji like this to really set it up. I always wait to see if we can even come back above that $9 range. That would be a little bit bullish. Right under, it's kind of scary right now. Oh yeah. Let me check out some of the ticker from the survey. What's PRNT? Oh, 3D printing. It's bounced in this area before. That's a pretty good possibility. PRNT, what did they give you at work? They give you RSU? Yo, that's not even a ticker, man. This is Sonoco. Is this that oil company? They're doing really good. They're at double top right now. They are actually even triple top. This could be a slight rejection coming up. Possibly look for that bounce here. Sun. So Bitcoin need to kind of break above 58,000 to be really bullish. So AMD kind of saw rejection here again. Damn. It was up though, not magic. The bottom two is just kind of like RSI and money flow. Who's on the X-Tree account before I trolled me, man? Has anybody ever mentioned that?  Dang, yo, why are you trying to confuse me? Let me check out some of the other stuff. The dollar index went down some more today. Nah, you gotta tell me who it is first. Damn, Lumber went nuts. Lumber went up another few points today. Nah, Moonshot, you don't need me to chart anything, bro.  My charting skill is not up to your level yet. Damn, look at this run on Lumber. Holy smokes. Could this be the end? What is the RSI is maxed out? Jesus. Damn, Spendo, you didn't buy the wet ETF when I mentioned it. Where did I talk to buy it last time? I think it was at $84, now it's at 94. Holy smokes. Holy smokes, dude. I gotta log into my account. Dude, it ran up $10. Hey, what's up, TJ Bryan? We charted Tesla a little bit earlier. So I'm expecting Tesla to make that move back here a little bit. So that $700 area, that's where I look for an opportunity. Damn, Moonshot, you really want those stocks charted, man. I don't even know what they do. What does this company do? That's a short, that's a short, man. It already went down after market. And as it should be, it's at that 168 area. They just did a share offering after hours. So at 453, so that was only like less than 30 minutes ago, give or take. So that's pretty bearish, man. But it was kind of setting up the inverse head and shoulders. But you know how share offerings are, man. Anytime it does a share offering, it tends to cause dilution and for the stocks to come back down.  Hey, what's up, Zillian80? So American Well has just been chopping this area and hasn't really found the direction to move up yet. But the good thing is, at least it's consolidating. So it's just kind of holding this range. Let me check out TDoc, which is one of the other companies that we're kind of comparing it to. It's one of the bigger competitors. So, you know, if we see huge moving TDoc, if TDocs start breaking out of this yellow line here, then I will be extremely bullish on American Well, but that's a long-term position for me. It's, you know, it's part of my long-term, like for a 1K portfolio. So I'm not really too worried about it. I think as long as we're in the range, we're okay. But you could probably even scalp it, you know, just using that area of support and then sell it around like for a dollar profit. So every time you come down, you could sell it back up for a dollar and come back up for a dollar. This was something that RKT kind of did too for quite a long time. So if you remember RKT, before they make that big explosive move, right? Look how long they chop. Let me get a chart that's less messy so you can see better. So look at that RKT chop as well, right? Just a lot of like dollar range move throughout this whole timeframe here. A lot of dollar range move before it started making that huge move up. And it's kind of doing it again too here. You can kind of see a little bit. So that's why it's usually pretty good to see consolidation because what that also means is that it's just holding the support area. So as long as the stock continued to consolidate winning that same range, it's not necessary, you know, bearish because it hasn't broke under the downtrend, you know? So as long as they keep continuing to hold the area, there's potential for it to either make an explosive move up or down, but more so on the upside than downside because people are accumulating. That's what it means. Like when it just like holds its areas, a lot of people are accumulating and they're holding the support. Especially if you like trade crypto, that's something that, you know, we used to see a lot. Oh yeah, so in that discussion of lumber, right? Let me get into that a little bit more. So that the whole reason, the whole reason I got into that lumber trade was because I looked at it and it was like, I was like, man, this is so retarded. It's got to go like huge in one way or another, right? It's either breaking out from here or it's going to collapse from here. So I opened a strangle position at that time which was put in the call at the same time. So since it moves so much, I'm probably in the profit already. Even with the put like losing a lot of money, I'll probably be in the profit because I went pretty far out. But one of the reasons that lumber has started going up was majority because of COVID. When we shut down, when COVID happened, we shut down the border access, right? So, you know, it's really, really hard to like go in and out of Canada or at least it was for quite a while. And because of that, you know, because that whole logistics issue, majority of our lumber comes from Canada, you know, for Americans. So since we couldn't get the lumber, there's a huge shortage and just a backlog of housings and stuff. So when everything went from standstill, when everything went from standstill to like massive demand and there isn't enough supply and storage, you know, obviously that's going to cost an increase in price. It's the basic laws of business, you know, supply and demand. If there's more demand and supply, then price will go up to accommodate for that. If there's more supply than demand, then, you know, price will accommodate for that as well. Why are you trying to find the guy's name, man? That sucks, bro. But we already know your name though, Spindale. So we are seeing a lot of huge demand right now, but I'm pretty sure they're probably pumping out lumber as fast as they could and at some point or another, we're going to see that catch up and once they catch up, it starts to like, hey, so once that catches up, you know, it's going to cause a huge collapse. I would say this is almost comparable to like in 2020 in March when there was a price increase on the N95 masks or even like the regular surgical masks, right?  But once COVID happened, China's factory was stopped so there was no supply of it and a box of like 50 surgical masks, you know, went for like $30 or even $50 at the peak, I think now actually even $100 at the peak, I have seen people sold it for $100 at the peak and then it started, the price starts to drop as more supply started coming in. And now I think it's at like, what, $5 again? So now that it's at like $5 again, we'll probably see, you know, we'll probably see that same thing happen to lumber eventually. So this could easily be like one of the greatest shorts in history if you have enough money to maintain it. Cause every time it has spiked up, it has always come down because, you know, like, like keep in mind for lumber costs to be up so high is almost unreasonable at like somewhere or another, they're either gonna regulate it through the government or somebody's gonna flood the supplies and it's gonna come back down. It's just a matter of time. But timing is the problem, obviously. Hey, black Atlas, did you take a call on wood as well? Oh, it's probably too late now. I mean, technically, if you want, I can show you the math on the value of why I took the wood also is because the double top here was like, you know, was way lower than the lumbers. So when you look at the lumbers, right? The double top from 2018 is over here. So that was at 648 and we went 100% from double top. So since we went 100% from double top, I figure this top being like $83, $84, you know, like imagine this has gone up 100%. Does that make sense? Cause this follows the lumber futures, but it has somehow lagged for some reason. It started lagging. So look over here, the drop, and then lumber futures started moving up already, right? But it dropped some more. So it dropped lower than here and it was like much harder to recover. So when it peaked over here, lumbers ETF had peaked right here. So that's why it was lagging a lot more because when it hit here, it was already up like, you know, 40%, 40%. Wow, the ETF was stuck here. So essentially the green line, the green line from here and here, you can see the difference in how much it has ran where this has ran 100% and this is only up like a tiny bit. But yeah, that's pretty much it for today, man. We're gonna be back here tomorrow to check out some of the other earnings reports. We've got Johnson and Johnson in the morning, PNG, AdBots, and then Netflix After Hours mode. That's gonna be fun, Netflix, Silver Gates and Surgicals. I wonder if FunTree's gonna have a play for Netflix tomorrow. That's gonna be a pretty interesting one. Anytime, Spino. Thanks for stopping by. Are we gonna see that 570 and Netflix tomorrow? Is that a possibility? Indeed it is. But all right guys, I'm gonna head out for the day. Take care and have a good night.


Yeah, let's let's try it and then if it if it creates some noise, I'll just mute it. So now you're now everyone you should be able to hear everyone And of course it starts well before your book about artistic home, you know in the late 80s, but you've really been Somebody who's been asking all of the hard questions and certainly the work that you've done over the course of You know an enormous and long career is one of the many things that led to this residency program So you're very much at the heart and soul of it, your work and your passion And I know you're in the middle of a big huge transition from running Udramatis to now being the executive director of the School of Drama at the University of Washington Did I get that title right? Executive director? Yeah And so and we're so appreciative that you kind of take you take this opportunity to just spend a little bit of time with us at this very busy unpacking moment in your life To set the stage for our two days together so we're going to have the rest of today and all day tomorrow together talking about these playwright residencies And you very graciously have offered to just get us started so with that I'm going to thank you and turn it over to you Thank you Thank you Bolly And hi, but I, Vijay I think it is public, well I have to turn it off because I'm pretty much like that going in It's even prettier than speaking into my computer I just want to say hi to everybody, you look so great to me as I'm from far away and I see you all all these people I know and love And admire and some new people there who I haven't met before But I'm really happy to be talking to you today And I'm coming to you from my new office at the University of Washington in a very sunny and very beautiful Seattle I've never given an address on Skype before so I don't really know how to think about audience online except to address you As my friends and partners in this hopeful experiment that the visionary folks at Mellon and HowlRound Law launched I'm jealous of the great company that you're in and jealous because you're the heart of this experiment And I have to be on the outside looking in through this little hole at the top of my screen I'm grateful to you too because the rest of us in the theater are potentially beneficiaries of your attempts As Polly suggested I have a lot to say on the subject of artistic homes And I worry that there's nothing I can tell you that you don't already know Especially since some of you have been in this conversation with me for so many years Maybe starting when I met Howard Chowell it's 32 years ago Some of you are among my closest friends and some of you own me an email, Louise I've been thinking about history a lot lately Maybe it's an inevitable part of the aging process as you watch huge spans of time collapse And seem smaller and smaller in relation to your own increased number of years For example the non-profit theaters you are all part of which once seemed to me so eternal I now realize of all with the exception of Oregon Shakespeare Festival And depending on how you dated Dallas Theater Center they are all younger than I am And that is really young. I feel myself to be very much in process, very much uncertain If I forgive myself for being unknowing and awkward and occasionally foolish I must forgive theater companies for being the same In other words when I think about the shared history of this non-profit art theater village we live in I remember that it too is a recent experiment And your residencies are an experiment within that experiment Your experiment is part of a fix A fix made necessary by the unintended consequences of good intentions Our theaters brave and optimistic cultivated a playwriting profession A greater range, depth, diversity and imagination than any to have previously existed in this country Then unintentionally unwittingly the same theaters oversaw the near impoverishment An almost total alienation of that same group of professional playwrights Alienation from the very theaters that made them possible In other words we are here or you are there and I am here Because the non-profit theater boom its new play energies and the attendant spread of professional theater training programs Make possible a glorious mess of playwrights with which it had no idea what to do When Theater Development Fund published Our Rageous Fortune The result of years investigating new play production and the lives and livelihoods of playwrights I felt I had helped author a prosaic Greek tragedy In which characters bring about the same fate they acted to avoid Such as the banishment or death of their own children This is a pretty negative assessment some of you will disagree with it I have some research on my side however as well as the pride of knowing this very residency program is designed In some measure to right those inadvertent wrongs Now maybe instead of playing a lesser tragedy you find yourself living in a screwball comedy Like bringing up baby or you can't take it with you Like coconuts in which madcap playwrights run rampant through a house built on a foundation of propriety and order I hope you noticed that before I went all extreme as the melodramatic comparing theaters to ill-fated Greeks I made a wildly upbeat statement The theaters you are all part of For some of us being a part of a theater is nothing new For playwrights though I think we can agree its fresh terrain And there are fourteen of you at the same time Actual, compensated, office, insured, budgeted and titled playwrights With a three year guarantee and hopes of more to come Near strangers in what should have been your land all along And there are fourteen others of you Leaders of theaters of different stripes Dedicated to the proposition that Orc with a non-profit theater made possible this generation of playwrights It's this generation of playwrights that makes possible the future of non-profit theater Fourteen artistic leaders chosen for this project because you have proven that dedication over the years in action as well as words I had a personal hit of how unusual the playwright situation is last month When my wife, the playwright Karen Hartman and I arrived at our new workplace The University of Washington School of Drama Karen is a senior artist in the residence here And though she's been teaching in great universities and privately for nearly twenty years And although she arrived to find a lovely office with gorgeous leaded glass windows Empty shoving for her new books and a new Mac laptop Ordered to her specifications The thing that really wowed her that became her iPad desktop photo Was the plaque with her name on the door A playwright's name on an office door after years of making a professional life From a converted walk-in closet at home I, on the other hand, like the artistic directors in the HowlRound Room Am used to having an office with my name on the door So I hope that all fourteen of you playwrights have actual name plates If you don't, ask the theaters to order one for the rest of your residency If they can't afford it, tell them you know a funder who might help So all this is beautiful I've been asked to HowlRound for a half an hour about creating an artistic home Something I've been thinking about for a long time And something I can't pretend to know how to do How anyone else should do Especially because each of your situations is so different Each of your expectations and hopes are so particular Because the packs you've made, theater and playwright are so various Moreover, the very notion of a home for an artist or a group of artists Is a slippery thing And the ground keeps getting slipperier Again, I've been thinking about history as a way of understanding Where we might find ourselves now What has changed and how we might engage and lead responses to that change So here's what I've got I call it a short personal history of a beautiful slippery phrase It's got an epigraph from Anne Bogart's new book of essays What's the story? This is it What distinguishes the theater from all other forms Is that the theater is the only art form that is always about social systems Every play asks, can we get along? Can we get along as a society? Can we get along in this room? How might we get along better? That's from Anne I don't know the origins of the phrase artistic home But I have tracked it since the mid-80s The expression came to life for me as the object of a gerund A gerund you probably don't remember is the ING form of a verb As in creating an artistic home Or thinking about playwright residencies I was groping for a title to report on the institutional theater And considering a number of verbs in the gerund form Renovating the artistic home Remaking it Rebuilding it Like that You'll notice that each of these verbs assume that an artistic home once existed That it only had to be rediscovered, reinvented, or refurbished Even the article Va suggested a concrete, pre-existing form More, it suggested an agreement that there was such a thing as an artistic home That we knew what it had been That it had a design, or a structure, or a skeleton And that we did not integrity and we will It could be recreated and revitalized That was in 1986 and 87 A very different moment from our moment today It was different because when artistic directors spoke of a theater Nine out of ten of them meant the same thing That is, a company with a building in a city With usually a two-headed leadership structure And a mellison but possibly a board, a generous board of directors They meant an organization of which a resident acting company was no longer possible And whose vision flowed essentially from a principal artist, usually a director Occasionally in the year of national discussions that led to this report There was talk of resident playwrights But mostly that talk came from playwrights themselves People from Richard Nelson who shocked some of us By saying that in all the American theaters he'd ever worked He'd never even had a desk to write at Let alone, I suspect, a plaque that was named on it It was a different time because the discussions that led to the book The Artistic Comb grew out of criticism Leveled by the head of the NEA That there was an artistic deficit in the American theater That the institutional tail was wagging the artistic dog And it was a different time because we had an NEA And few enough theaters of note But there was still a vague hope of something approaching a subsidized theater And maybe, most of all, it was a different time because the theaters At least those who gathered around the theater communications group Tables during the year-long conversations that led to the report Looked so much alike, not just in structure and in tension But also in complexion That was then Now the question of how to reinvigorate the art of an institution Is only one of many Some of our fellow travelers have written off the institutions altogether They've gone their separate ways toward looser structures Smaller organizations, tighter ensembles And more targeted admissions One of the debates that rages under this residency program Is whether a foundation with playwrights on its mind Should support large institutional theaters at all Especially if those theaters haven't previously shown a will To provide living wagers Let alone deep hospitality to playwrights The other side argues that it's the institutions that have the capacity To make these residencies stick To provide salaries and benefits for writers Even after Mellon goes away Mellon, in its infinite wisdom, chose to have it both ways Rewarding will and capacity Searching out large companies with the strongest track records of support And smaller ones willing to grow enough to take playwrights in for the long haul Still, the institutional question pales beside the real question That drives our discussions nearly three decades later Whose home is it? Thirty years ago, this question was bubbling beneath the surface But it hadn't yet broken through It didn't yet dominate what we frequently refer to as field conversations And with the question of whose home is it Come so many other questions Who gets to decide Who is left out Who sees herself on the stages of this so-called home What is a stage? How can we ever be fully inclusive? Can we ever make a home together Or must our companies part company? Who do we serve? It is these questions that have led so many of the playwrights in the room To take leading roles in their theater's community engagement efforts It is these questions that have forced theater administrators Playwrights and other individual artists To diversify their racially and economically homogenous institutions A lot happened to raise these questions And playwright residencies are one attempt to answer them The so-called culture wars happened In a censuring Congress became a censoring one As a direct result, funding for individual artists Notably playwrights stopped And for most of 20 years, states stopped A lot more history inspired to bring you here Our theaters multiplied like gremlins hitting water Our core audiences began to age and drift and die away Funders picking up the slack the government dropped Turned limited resources toward social imperatives other than art And so came to expect more than the mere mounting of shows You are here too because the millennial shit hit the technologically supercharged fan And everything that seemed previously knowable Institutionally containable Suddenly broke into a bajillion bits And you are here because for decades Leaving artists were working under the institutional radar In places we loosely call communities Or among underserved populations Demonstrating another function of art Also known as social justice And you are here because theater administrators Can't build these bridges as well as artists can Finally you are here because in recent history Our steadfast western belief in the power of individual voice Has been called into question Everybody gets into the act Everybody writes the play Only you, shapers of words and makers of theaters Can best test this proposition So here we are, 14 playwrights And 14 theaters, particular and various Trying to figure out how to make home I want to suggest that after all this fast, furious history The task has grown bigger than that The true experiment now is how to make a society Remember my An Bo Gark quote? What distinguishes the theater from all other art forms Is that the theater is the only art form That is always about social systems Every play asks, can we get along? Can we get along as a society? Can we get along in this room? How might we get along better? Anne is talking here about plays But later in the essay Politics She goes on to write about productions Quote, no matter how dysfunctional the characters in the play The community of actors who perform the play Must operate at the height of their abilities The community of artists proposes Within the fabric of every production Nothing less than a model society This is their message Quote, a model society This I suggest is your message too We the witnesses and beneficiaries Of your experiment within an experiment Are waiting to hear it It may be the new definition of an artistic home Moreover, just as the rehearsal process Reveals itself in production So the process we engage to make society Is always reflected in the society we make We are what we do And we are how we do it I deeply believe this If you treat collaborators as employees You will make hierarchical work Within a stratified system If you treat coworkers as true partners You will in ways implicit and explicit Model democracy If you think a door with a name on it Doesn't require you to show up And take responsibility for the success of the theatre You are squandering a gift That is the work of many people over many years If you work with your fullest self Take your place at the table Whatever the organization from charts suggests You model leadership And if you all engage with others Out of the spirit of kindness, respect And the awareness that the answer Is always in someone unexpected You will make a society That transmits cooperation, generosity And connection, even love This is where my personal history Of the phrase has taken me To an abiding sense that our theatrical Experiments are actually social ones That while we make work We are always making the world And of course as artists Or sustainers of the arts We want that world, our home To be more artistic I did when I sat in rooms as a young director Recording the words of artistic directors Feeling that they were more often invested In selling their theatres to each other Than honestly sharing their struggles I did during the 18 years I was trying to make an inspiring Communitarian lab for writers of new dramatists A space for process and inquiry Amidst demands for product and results I do now as I seek bridges Between training and scholarship Confession, root and branch Across disciplines and fields of study I want to live in the creative thrill I felt when a room full of new dramatists Read to each other Or just now listening to Edini And Andrew to share their new work I want to live in the big obsessive Impossible ideas to which the artists Among us give their lives I want to celebrate their willingness To chase those ideas despite the Personal cost And I want to tear the theatre once All away from the boardroom And the business school and the market place It's a logic back in the arts Alongside painting and sculpture Literature and contemporary dance Music both classical and new This is how I think of artistic Home is a different matter Home is a place of freedom and tether Self-determination and connection Home is a place you define for yourself Maybe the only place you can own If you don't feel ownership, it isn't home And maybe that should be the test of a residency Does the playwright truly feel she owns This theatre home? Or is the playwright always a guest here Awaiting the invitation to have a say To play a part to sit at the table? In the end though, it's hard to describe A home from inside without reference To those outside And that's tricky because we can't see The people who aren't in the room We can know what we take for granted About the comfort of our own homes But we can't know what other people Want from it This lack of surety has led me to a Final supposition I'm not really sure about what I'm About to say but I think it's true So quickly accepted in that tentative Spirit My thought is this When we talk about an artistic Home in 2014 We are no longer simply talking about How to welcome artists more fully Into established theatres We are talking about many other things That dominate our national debates When we talk about artistic home We are talking about distribution of wealth We are talking about an economic system That has reduced our human relations To corporate and consumer relations We are talking about a history of Exclusion and bias And even a history of domination And genocide In other words, in a discussion that Should be simple, should be structural How do we create better environment for Artists, in this case playwrights We are grappling with bigger, more Problematic, global, and even Horrific things These things have divided classes And races and genders of people In this culture as institutional Life has grown and capitalism has advanced We can't unearth the uses of power And domination in human history Then close your eyes to them in the present Even in our own relations And while we can't solve these global problems By creating a few genutely Salary positions for playwrights We ignore this context at our own peril Artist relations are connected to Pay scale in theatres Artist relations and the role of These artists in communities Must be addressed as a way of countering Our reduction in collaborators to employees And audiences to consumers Diversity and inclusion are inseparable From what happens in a room between Two people, between playwrights And artistic director, between you And me, we all ride history And we all carry it And Bogart reminds us The community of artists proposes Within the fabric of every production Nothing less than modest society This is their message The daily act of trying to Reincorporate generative artists Or artists of all other than that Long artistic director into the Ongoing life of the theatre Is part of a bigger, naughtier Ongoing project of exploring freedom In creating democracy Writers in their wonderful And willful refusal to ignore the call Of their own parts show us Our capacity for freedom Theaters in their determination To sustain intimacy and liveness In their social context Demonstrate our will to make better society This is what we stand to lose When our artists and theaters Separate themselves from each other This is what you stand to show By bringing them back together The Mellon Residencies are an experiment In your guinea pigs and lab rats You are also pioneers in the middle Of it all, halfway through whatever This residency thing is or is not Or maybe or hopefully will in retrospect Have been The difficulty of being at the forefront Of such an experiment within an experiment Is that while others learn From your mistakes or struggles You have to suffer through them The great thing about it Is you get to share the successes and joys We are watching you, jealously Hopefully Thank you Generously to take some questions From the group that you can either Shout them or walk closer to the Computer screen to ask them So I want to put an end to that We're just soaking it in for the moment, Todd So can I ask you about this? Yeah, please. Should I go? Yeah, it'd be better. Is one of the stranger ways That I've ever asked a question in my life Maybe next year there could be Wolf Blitzer With the 3D modeling of Tom Hi, I'm Rebecca, I'm from Chicago I'm the Chicago Commons producer So my question, and I've asked it In the context of the Commons producers Before, is I'm particularly curious About this experiment happening Inside the context of how playwrights Currently live, so all of these Amazing playwrights are having to Also negotiate the artistic lives That were happening before And I'm going to continue afterwards And how that has to do with a lot of travel And a lot of being outside of the city That's just to be rooted in And coming in and out of these theaters And if you have any thoughts about How we navigate shifting cultures Inside a culture that like, you know TV shows and other kinds of commissions And just the big sort of sprawling mess That pulls a playwright in multiple directions While we also offer them a home And how we should think about navigating that And how, on the various levels Of who's inside the room No, I'm not That was, it's like Sometimes it's a three-question, I think From the theater point of view You know, I think one thing to remember In the experimental context In Jewish audiences is that They are clocked down In the middle of ongoing lives So I suspect that Had they grown more organically Out of our work over time Some of these questions wouldn't be at issue But there are actually many of you If not all of you have chosen To partner with mid-career playwrights Who have ongoing lives And have been struggling for a long time To make a living in a world That doesn't provide one And also in some cases I know you started this residency At the exact moment that a playwright Who might have been waiting I guess I'm thinking of our case, startling Might have been waiting for years For a couple of productions Suddenly has a year with Seven billion productions So these are, you know These are ongoing lives And it's a new experiment In the middle of it So I guess one of the things that I would say Rebecca is that It is a three-year experiment As I understand it And it will take time For some of that stuff to sort out I also think that it is incumbent On the playwright to Really understand The nature of this commitment And that it is, you know Again, I know it's This is all very grandiose But I feel like in some ways The future of the theatre Is one of the things that Stay here and part of that Means the commitment to theatre And it's a hard one Because TV has been much more hospitable To playwrights in some ways Than the theatre has At least in terms of In economic terms And even in some ways In terms of power and privilege So I think it's really important To make demands of your playwrights To remind them of the The full commitment of this project And how many of us I mean this is I guess part of My point is How many of us are watching And hopeful And hopeful that this really Isn't a temporary trial But it's actually a way of Restoring what is really historically The way theatre gets made I mean theatre gets made With playwrights and acting companies Theatre has always been made With playwrights and acting companies The theatres that we are now part of Are a historical aberration Maybe a hundred years old And so we're trying to Find our ways back And we're doing it in the middle Of an ongoing life And an ongoing economic system That has required playwrights To take multiple positions Multiple jobs Work in the MTV Work in film And travel all the time And I think this is also why I hope that this residency program Goes beyond just this pilot period And maybe even you know That the people at Mellon And how around start thinking about Now how you might see The next group of residencies So maybe people can prepare better And over a longer period of time To clear their slaves And clear their lives And really give over Be able to give over Because I don't think it's a matter of will I think it's a matter of simple obligation And scheduling and money Be able to really give up these two years To be in a theatre in a place Or as much as possible And then beyond that I think we just kind of have to all Sit down all the time And figure out how to make the most Of this time that we've got That's my people answer There's something about this A sight you just have to point out Is so un-theatrical Because I can't prove you guys When I'm talking on my The microphone carries off So I don't The opposite here Because you're like talking to people With no reaction And you're just alone by yourself In front of the University of Washington Listening to your own nasality It's true People like to do this when you laugh Or something like that Well, I have many questions I don't know Obviously you're here this weekend To start to raise And answer some of the questions I guess I really My questions have to do with How you, especially the artistic directors And playwrights Are fashioning your conversations And I suspect Maybe from Rebecca's question A little bit That a lot of this is around Scheduling and commitment And about, you know, Will we do your play? Is my play for you? That kind of thing But I guess my question Really has to do with how Deep and honest and collaborative The conversation is around Your partnership as artists And about these issues of ownership And place within the theater I mean, I know some of you I mean, Pearl, we've never met But I've been hearing about you Susan for years and years So I know that you guys Have this ongoing relationship Robert and Howard, likewise Many of you But I guess I'm really curious About how you are articulating The questions yourselves And what the, and this is a big one What do these residencies Really mean other than Can we house a resident playwright And will the Mellon Foundation Continue to fund this? I think that that has been One of the more challenging things To figure out how to keep The same kind of conversation That I began having with Susan In the rehearsal hall Once I became a part of The bigger life of the theater Because in rehearsal We're talking to each other as artists So we talk all the time as artists And that was so exciting to me Wow, now I'm going to be able To talk to her like this every day Because she's having to talk about All the other shows that they're doing She's having to talk about money She's having to talk about the board And resources and renovations And all those things, many of those things About which I have little or no interest She's sitting right there, but I will say this Just to you But I think that one of the things That we discovered recently Which is so obvious that I was surprised That it took us that long Was that when I go to her office And I do have an office Doesn't have a plaque on the door But it's a very nice office But when I go to her office Even though she has a table So she comes out from behind her desk It's the artistic director's office So that I'm conscious of the fact That she has an assistant who is keeping time For how long we talk I'm conscious of the fact that There's a million other things going on And emails coming in and all that So I'm talking fast Which is very different than The conversation that I want to have I asked her maybe A couple of weeks ago, maybe a month Can we have some conversation Outside of your office Outside of my office Can we walk down the street To a nice little bar that we know And have drinks and talk Like we were in college Can we try that And we did that We didn't walk down the street together We met there at the bar And drank wine and talked For what was supposed to be about an hour And ended up being about three Because we were actually talking About two artists as peers Without any of that staff stuff Without any of what that hierarchical Feeling that comes with being In the artistic director's office So I don't know if that's something That we can all adopt But I think going to a bar And drinking wine and talking Is so much more useful in terms of Having a relationship with An artistic director that's real That allows you to question each other That allows you not to have that That press of all the other stuff That you're doing while you're trying To talk as an artist So I recommend bars and wine drinking For conversation as opposed to going To the office That's really brilliant It's interesting I have this great epiphany When I was working at Neutrometis And my role at Neutrometis Was very different than Susan's at The Alliance Because Susan is producing And she's curating And I was really there to Work with the writers and facilitate Community among the writers And I realized that writers would Come to my office often And I would pan it Because I had a schedule And a list of things I had to get done That day Or I knew I had a meeting In ten minutes or whatever And they were showing up in my office When their writing day was done When it was over And it was time to hang And they were in Neutrometis And suddenly I realized That there was a culture We were talking across cultures of time Usage as well And even on the staff It is so hard as you will probably Witness me in a theater To keep focused on the art All the demands of administration And funding And group dynamics Staff dynamics Personnel Policy What was going on My former associate colleague And now my successor at Neutrometis Emily Morris instituted A very similar thing with me Where we would go to the diner And we would just As she would call them jam sessions We would just talk about things That were not in the office That were really talking more And more about things we'd seen Things we'd read And things we were talking about And just to try to do that I feel playing of Having artistic conversations In and out of institutional context So that's a brilliant line Yeah, line and chocolate Wah, wah There's a question or a statement So I'm gonna say it How do playwrights who are so used to Carrying their suitcases How do they make their artistic home In a theater When they're so used to Being itinerant And not making themselves at home And I think that is the question I actually put to the group And you as well Todd Is how do we learn to settle in And how can playwrights take a role In learning how to do that Because I think that's something I struggle with And how can the theaters Maybe learn to help us Like as I would say These guys were feral cats How do we learn How to root ourselves Does that make sense? I know that's a question for you And I could give you a few days To talk about their job And say what I think I think it's a real It calls for a real change From the writers And I will call From my experience at Neutrometis It was We talked a lot at Neutrometis And Dan Cronk is there In the second list We talked a lot about leadership And ownership And playwrights really taking charge Of their lives And reading the theater And even within the context Of a playwright's seven year residency At Neutrometis Really owning the organization And I felt it to be And it was no surprise A secret, an uphill battle Because playwrights are used to Digging in They're used to being guests They're used to blaming others For the situation that they find themselves in sometimes And it's a hard life that demands And requires a kind of freedom And a kind of isolation And a kind of looseness Which is also freedom But I think it also fosters a sense Of like I don't really own this place I am, I'm not really a leader The leaders are the people In the artistic director's office I feel and put it But I think It's a little bit up to you, Julie I mean in a way to Put your suitcase down To unpack it To make demands of the theater To say, and I know it's really hard Because it is a change Of everything you have done And trained yourself to do Over all these years And maybe it's long through And maybe at the end of the three years You'll find out, man I hate this I'm getting my suitcase together And I'm going to go on the road But I don't think I don't think it's simply About the theater's invitation That said, I also think Just hearing that question Must be really powerful For the artistic leaders and directors In the room Because To me so much of this really is That when you live in a space Whether it's an administrative space Or a solo playwriting space You start to think The world is the same as your world And it's not And Susan's world is different Than Pearl's world And your world is different Than Mark's world And so we just Don't have enough Brain space or time To always be empathizing For entering the space of the other And to really understand Oh, here's Julie Mayak She has never sat down in one place For longer than three days What can I do, you know And that's where I mean, there's part of me That's like, take Pearl's idea But instead of having wine Outside of the office Host dinners in the theater You Julie Do what you were doing in your own home You know, Dale Orlander Smith Used to come into new dramas She'd bring a cake that she baked And we knew when Dale was in the house That there was this really big Really delicious cake On the round table in the library So part of it is about you Saying, what would I do in my own home To welcome other people And then cooking I don't even know how to phrase the question Because there's about six of them in my head But maybe speaking as a founder I'm not sure, I'm looking around the room to see There may be other theater founders in the room But I'm certainly one of them You know, it's interesting to me You know this phenomenon that the American regional theaters Many of them had director founders I actually wasn't one of them I was an actor and then I became a director Through founding a theater I mean, nobody said that playwrights couldn't Found theaters or actors couldn't Or designers couldn't I've gotten to know Dmitry Kremov's work In Russia recently he's essentially a designer Who now has become a director And a theater founder And one of the great theater makers in the world So I'm interested, you know Especially now that you're in a research institution I'm interested in what the history You know, that recent history in the United States Of directors taking those leadership roles are Whether that trend may be changing And I think that in a way We shouldn't sort of assume That the conversation is always about A director welcoming in You know, as artistic director Welcoming in playwrights And also providing a home for frankly technicians And actors that, you know All the different people who it takes to make theater I also like to think about the marketing people As artists and the fundraisers As artists as well So it takes a village But I'm just curious how that history has evolved And how it might evolve in the United States And it would be very interesting to document You know, role reversals in that situation I mean, Tim is not a director He's a literary manager Ari Roth at Theater J as a playwright All of those maybe tweaks of the system And the structure might be very fascinating Over the next many decades As we see our very young experiment Continue to play out in new ways I think it's really a fascinating It's also an interesting fact There's something changed in the room Because, you know He's this divided guy You know, as a director of playwrights And artistic directors Well, you know, what does it mean To be multiple selves And what can be contained within the structure An ongoing daily structure of a theater I mean, I think there are I think it's really important to look Beyond the institutional theater To the models there I mean, I think of like Kirk at Rude Max As kind of a co-artistic director And playwright In the same way that Lee Brewer was At Marvel Mines You know, people like Charles Ludlin Who were playwright directors And founded their own theaters More in the tradition of Molière And, you know, the Greeks And pretty much everybody who led to that Were either actors or directors I mean, I would You know, I think it's a really great question For scholarship and for research I also think it's a really great, great question Institutionally and for For the executive search firms To really grapple with the boards Because boards Tend to understand the way directors speak Playwrights have tended To remove themselves from the running Of theaters more and more Because they feel they can't The theaters are too complicated And they can't do their work You know, Emily Mann is a different example But I would ask people like Che And Emily, do you get any writing done? When do you write? How has it changed your writing? And also, what are, you know As boards have populated the leadership Why are they choosing directors More and more? And why are managers Seemingly more comfortable With directors than Maybe with other people? I mean, Tim, I'm curious You used Tim as an example Because I met Tim when he was directing And like me He stopped directing And I don't know was that So then if we run theaters Or do the area It would be a great question For the room We love you all We love you all We can't wait to hear how good Thanks a lot Have a great holiday Thank you Hello Down with me Button down


Welcome back everybody, my name is Jeff Kelly with wikibon.org, you're watching The Cube, a Silicon Angles flagship product where we go out to the events and as John likes to say extract the signal from the noise, John Furrier is here with me of course and we're joined by Lauren Schwartz, VP of Marketing at Atunity, an old time Cube alum, welcome back to The Cube. Thanks, great to be back here. Well, we were just talking a little bit before we went on air that you've been quite busy over there in your booth. I haven't had a chance to see a lot of the show, but tell us a little bit about what the action you're seeing over your booth today. Sure, sure, we've enjoyed a lot of people coming by talking a lot of different things and one of the things that we hear a lot about with big data is how do you move it around, right? And that's what we help people with. I mean the interesting question now that comes up, you've had so many different solutions out there, you've got these big in memory databases, you've got other solutions out there from other vendors and people are trying to figure out their best to breed solution. So people come to us for how do we do that, how do we work with everybody, whether it's local, remote, and hearing all sorts of good conversations on that topic. Right, so let's set the table a little bit for our guests who may not be familiar with Atunity. Tell us a little bit about the company, as you mentioned, it's about moving data around, it's about data integration, real-time data integration in this really big data world, if you will. So tell us a little bit about the approach that Atunity takes to big data integration. Sure, so our motto is to move any type of data anytime, anywhere, and that's our real focus. So a lot of customers have built up databases over the years, whether it's an Oracle database, and they need to move it to a SQL server, or they need to move it to Exadata, or they need to move it to another data warehouse, Creamflum, Vertica, et cetera. So we help them with those types of solutions. That's often what people want to do, when they want to do reporting or near real-time reporting on a lot of different data stores, so we can help with that. And more recently it's been the question of, well, my data is expanding not just in the data center to all these different types of uses, but it's gone way out, and I'm pulling in data from all different sources, potentially all over the world, and how do I do that effectively? So those are some of the conversations that we deal with and what the company focuses on. We've been doing this for a while, and we just announced our newest offering, which again focuses on going further and supporting more and more types of data stores. So yeah, let's talk about the global implications of big data. So we've covered the industrial internet here on theCUBE. We were at the GE event back in the spring, talking a lot about moving data between whether it's an industrial wind farm and multiple wind farms all over the world, so you've got devices on-site, you want to also integrate that data in maybe a centralized cloud environment. So is that something you help your clients do? Is that really where our community comes in, to actually help make those connections possible? Because really the internet of things or whatever you want to call it is all about interconnections of datasets. Yeah, no, it's a great question. I think you've hit a real important area. I know a lot of companies that focus on the industrial internet, and we see a lot of activity there. So I'll give you an example of one of our customers, a big customer out in Scandinavia called Kongsberg, and they have this classical industrial internet problem, right? The question is, they've got, they're a maritime company, they've got to deal with data coming in from different ships all around the world, different drilling platforms. It's a lot of data. If you look at platforms that do drilling, for example, across the world, you could be pulling up millions of bits of data per minute, they can carry as much as a couple of terabytes per day. Now you multiply that by all the different rigs they have, and it's spread out all over, right? So it's a wealth of information, but how do you collect and gather it? And oftentimes that has to come over, maybe satellite links or indirect ways, so that could be a real problem. So that's one of the things that we've been helping them with, I think they're a classic case with that. And if you think of, you know, even on a drill platform, if something goes wrong, right? If you're looking at one platform, you get on a one piece of data, if you have that global view of all your platforms and what's happening, something that might be a yellow light here, if it's a yellow light in several of them, now you know you have a major problem. So having that comprehensive dashboard becomes important. So it's another angle of how do you make big data go over big distances with a lot of different sources and targets, and that's what we really help with. Talk about the role of the cloud and Oracle, obviously a big database player, you have a lot of experience in that area. What has gone right with the cloud, and what hasn't gone right with the cloud around the big data evolution? You've seen some things work and not work, obviously in memory's hot right now, but what's your take on the evolution? What's gone right, what's gone wrong? Sure, sure, I think a lot of things have gone right. You give a lot of credit to places like Amazon who have kind of built up trust in the cloud, built up a name for themselves and built up credibility. So when we look at it from that angle, we've tried to be a good partner to them and focus on, well, if you're going to use a cloud, they focus on how do you make it a well-known and secure system, and we focus on how do we get in there faster. When you look at what's gone wrong, I think you just have to look at the headlines from the past week or so with nirvanics, right? It's one example of a company that was doing well and they've come across them hard times, and I think they get, some people are trying to figure out the business model, how to compete with some of the bigger vendors, right? So I think places like Amazon have figured it out, Oracle's figuring it out as well, but it's a challenge. Some of the more specialized ones, I think are going to face the trouble as some of this becomes a bit more larger. Oracle more present tense, figuring it out. Right, right, yeah, sure. What are they doing right and wrong in your opinion? Sure, I think that they can do things that other players can't. They've got the experience from working on-premise with large data stores and how that carries over to the cloud. We learned from that experiences too. We were doing this for over 10 years working on-premise, so a lot of the problems that come up over the cloud are similar to what we've seen there and we can lend that experience. So I think that's one advantage for a place like Oracle, right? You're not coming in from it with a clean sheet, you can actually think about that. So when you look at the cloud, a lot of the problems of how do I put a data warehouse in the cloud or how do I put Redshift and manage that, they already know how to do a lot of that. They speak all those different languages and so that helps some of the bigger players. It's not as easy as it looks.  What's been the hardest thing that people don't realize about the cloud and moving the data in there? Sure, sure. I think one of the hard problems that at least we see people struggling with and having an issue with is it's a great concept, people want to try it, they do some test and development and then the scale-up can become a real problem, right? So that's one big issue that people need to focus on is how do you manage and deal with that? The other issue is once you get it up and going, it might be great, but kind of getting all of your sources, getting all of that information set up to go in there. So we worked with one of our customers, Domain Holdings, and they manage all these different properties online and they looked at the case of, they wanted to go into the cloud, they looked at doing it all themselves from different traditional data stores and they estimated it would take about three months of effort, have to hire a full-time DBA, spend about 50 or 60,000 a year, but they look to us and what we help with and hopefully other people are trying to do this too is simplifying that process, right? Make it more automated, make it much more easy to kind of click and go and get it moving. So the promise is there, but how do you deal with all this legacy and how do you make that transition much easier and lower that barrier? So we've got to talk about Oracle and their kind of data integration play, of course. And so obviously data integration is a pretty competitive market. You've got players like Oracle, you've got Informatica, you've got IBM. Help us understand a little bit where you differentiate some of those players. So Oracle, we know it's got the Golden Gate acquisition back in 2009. Sure. A similar approach, I think, but correct me if I'm wrong, and tell us a little bit of how you differentiate and kind of the benefit of an independent provider like yourselves versus Golden Gate, which is part of the big red stack, if you will, and that comes with all the implications that we've talked about today. Sure. Well, I think there's a couple of key things there. One is, again, how do you make it easy to move over? Because that becomes a big question of data integration, pulling in all these legacy sources and whatnot. And one of the things that we've done is that's tough for others to do and haven't invested in, is how do you simplify that? So when a lot of the other players talk about, I've got automation, that automation is often, well, what happens after they spend all this time scripting to make that happen? All that scripting work can take a lot of resources, it can take months of effort. So what we really help differentiate on is, we hide that under the coverage, we do all that work, and then it's kind of a nice, easy to use GUI to kind of get going. And that's a big factor, right? If they don't need a specialized DBA, they don't need a training, they don't have to invest as much, and then that's a much lower barrier to kind of get started. That's one thing. The other aspect is just pure performance, right? A lot of the CDC change data capture work that's been done over the years has been very, very focused on what you'd call more moving from database to database, more of a transaction model, right? But when you're moving into data warehouses now and you're having all these different targets in there, whether it's Exadata for Oracle, or GreenFlum, or Teradata, or Vertica, how do you deal with a CDC model that's much more built for data warehouse so you can combine a lot of data, kind of package it up and put it together and streamline it before it moves over so you're making a much more efficient use of the bandwidth? So that's another unique aspect that we offer. The other aspect too is how do you optimize to really get the best connection to each player, right? So you can imagine because we're an independent player, we're kind of a Switzerland, if you will, in the whole space. It's very easy for us to come in and work very closely for this. I know we talked about Vertica, I think last time we spoke, but just the process of going into their lab, being invited into HP's lab, spending a few weeks with them, working on the interface, optimizing it for the SQL copy commands that they have, that type of unfettered access that we get because of our position in the marketplace has also been really helpful to optimize performance. So it's that simplified ease of use to get going and get started, it's the higher performance, it's that independence that we have and then we do a bunch of other nice things too, like some of the other guys, you'll have to install software at the target and source and we keep that as lightweight as possible so most of the time you don't have to do that. So it's very easy to get up and running as well. So it's about a smaller footprint, it's about better performance, just making it simpler with the GUI model and then of course the being independent, as you said, you get invited to HP's lab which I don't think, I highly doubt Golden Gate is going to get invited to HP's Vertica lab to do any of that kind of work anytime soon. You said that, not me, but I can see that. I'm going to go out and live on that one. So tell us about how do you as a marketer, you're going up against some of these behemoths, how are you getting this message out and do you come up against, I imagine if you go up into an Oracle environment for instance, I'm sure Oracle brings their mites to the table, tries to get their install base to use Golden Gate, do some of their other integration capabilities. How are you, what's your strategy against some of these giants in the industry? Sure, sure, part of it is getting the word out for the company, I mean the nice thing is I've been here a little under half a year now, so not that long, but the company has proved itself out technology-wise. So when we get in to actually do a trial and approve a concept, we do quite well and that's where we show ourselves off. So for us it's getting that visibility, getting on the radar and focusing on our messages in the right area. And I run marketing there and a big focus of mine has been how do we get into more events like this so people are more aware of this, how do we get found online when people are looking for us, how do we make our messaging really focus around the data movement rather than doing the jack of all trades if you will.  Fantastic, so we talked a little bit about the industrial internet, let's go back to that if we could. So what are some of the other areas you're seeing as potential use cases, potential applications for attunity, I mean as we've documented, there's certainly applications in healthcare, the electricity, the utilities industry, trucking, transportation, that kind of thing. So there are a lot of industries that you might not traditionally think of as big data industries that are being, equipment's being, sensors are being aided, added to that equipment. You're just seeing incredible amounts of data being created. David Foyer, our CTO did a study on this and determined that the amount of data is growing twice as fast in that industrial internet world as the consumer of big data world if you will. So what are some of the other use cases you see as potential applications for your technology? Sure, well one classic one that is typical example is a company that we work with that deals in the manufacturing space, right? So they're manufacturing memory and other kind of parts like that and they have worldwide distribution. They're trying to pull data in from lots of different Oracle sources into like a SQL server to monitor it. So how do you actually manage that and how do you to do that and we can help them. And again, manufacturing is maybe one of the less sexual ones than what you might hear, but that's a typical big user that uses the data. For us, some new areas that we're excited to get into as well that we've gotten more requests from and were actually announced at this show too is disaster recovery and business continuity. So we've made everything bidirectional now so you have more fault tolerance and whatnot. So even though we've been used so far like in the financial industry for reporting like companies like Equifax for pulling in a lot of information to like a green plum, now we have the door open with some of our new solutions to really focus on, well, how do I help the bank or how do I help any of these other scenarios go with a two-way replication which gives you that whole fault tolerance capability. So I think the door will open more. We're using a lot of the areas you mentioned, it spills out to manufacturing, finance and others and in the web and I think that's going to grow even more. So another of course important area that people are talking about a lot these days around big data and the cloud in particular is security. So we've got the NSA scandal, whatever you want to call it is out there. It seems like there's more revelations every day and the amount of data that was breached, I'm sure those reports are to keep leaking out. I'm just curious, one of the bigger things we've been talking about is the potential of that scandal and just the concerns around security in the cloud to maybe dampen enthusiasm for cloud is specifically around big data, moving your data into a cloud environment. What are your thoughts on that? Do you think that this is going to have a long-term effect or what do we as an industry have to start thinking about in terms of cloud security? Yeah, I think you have to look at it from the same viewpoints that companies that have dealt with this for a while have had to deal with. So we learned a lot about it through our acquisition. We acquired a company about two years ago called ReploWeb that works on managed file trans for moving over distances and whatnot and keeping that secure with high levels of encryption as well as with key and the middle protection and whatnot. So we actually, before we went into the cloud and we said, how do we take our technology which has been focused on on-premise databases and how do we partner that with Redshift, for example. We actually pulled in the technology from our managed file transfer company that we acquired to look at how do you do that security and how do you actually make sure that that links up and running and how do you make sure that you've got the right key layers. So that work had already been done. So I think there's a lot to learn from companies outside the cloud, moving files over distances and taking that technology and bringing it to the cloud rather than trying to reinvent the wheel and saying, okay, I'm getting into the cloud, I've got a pipe, now what do I need to do, right? So it's kind of that ground up approach. Lawrence, we're going to get tight on time. We want to find a couple of questions. One, what's going on in the booth? You said you didn't really have a chance to get the show because you're in the booth. Yeah, yeah. Talk about what's going on in the booth and talk about the posts that you guys put out on your blog around the 31 flavors of support because it's complicated out there. I was thinking, you guys have some new issues. Talk about what's going on in the booth, the demos that you're doing and then the support issue that you guys see and are taking advantage of. Absolutely. So yeah, we put that blog out there in a little bit tongue-in-cheek but it's a real issue, right? When you look at all the targets and sources that have developed over the years for databases, going all the way back to mainframe and i-series and non-stop, which are still around, they're not going away anytime soon. So now you look at these proliferation of data warehouses, everything from Green Plum to Vertica to Exadata in the list, keeps going to Teradata's work. So when we started adding those up and I'm like, boy, that's more than 30, right? That we can actually do. And sure enough, it gets into 30 to 40. And six new ones that you're announcing, right? So a lot of different versions. Yeah, exactly. So we've gone into side-bays, we've gone into Vertica recently, we've gone into Microsoft PDW. So we're trying to cover all those because at the end of the day, customers are going to choose what they want, right? Especially the larger shops want the best of breed performance, the best of breed behavior. So we're trying to make sure all those are covered. We will keep introducing more and more by the end of the year. We keep covering that path. And we want to be the go-to solution, right? To handle all the different types that they have. Yeah, back in the old days, Dave and I always talk about the old days, being in the 80s and 90s. Multi-vendor is a big thing. Now that seems to be moving up the stack. You're seeing the lower parts of the stack hardening up, the multi-vendor is moving up into the middleware and the app layer. You see the same thing as well? I think so. You've got people are trying to cover the whole base and the whole waterfront and all that sort of stuff. So there's a lot more activity there. You know, and we do well by being really focused on what we do best and just taking that technology. When you learn how to integrate with one data warehouse, you learn a lot of the kind of tips and trades to deal with others, right? A lot of the nuances. The nuances and all that. So you become better as a whole at doing that. And if you're just doing one or two or that's kind of one piece of your multifaceted business, it's hard to do that, so. So is that about what you guys are announcing here at Oracle? Anything, any, you guys had some announcements with the replication? Exactly, yeah. So we've announced a couple of things. One is supporting these additional targets that I just mentioned. The other is this whole industrial internet and supporting much better, more resilient, higher performance, more secure, long distance links from site to site or site into the cloud. And then the last piece is all about this disaster recovery and business continuity. How do we ensure that there's two ways of communication so that when something goes down, we have the solution that people turn to as well. Lawrence Schwartz, VP of the two things for coming on the queue. Appreciate the time. This is live in San Francisco. This is theCUBE, we'll be right back. Stay tuned, we'll be right back with our next guest after this short break. Thank you.


There were many women who served community and country. Today, they were only infants. Years away from understanding the significance of four airplanes used as missiles for the sole purpose to destroy the heart of this great nation. Now, we have vowed to never forget 9-11-2001. But that pledge comes through with a responsibility to educate those who didn't spend hours staring at the TV with their mouths half open in disbelief. It's our job to never forget the thousands of lives that were lost that day, 18 years ago. It's also our responsibility to honor the 57 heroes from the Midlands that have answered that final call, walked that final post, and fought that final fire.