Hello everyone and welcome to Think Tech Hawaii's Human-Humane Architecture. I am this program's co-host, DeSoto Brown, and today we've got two guests in the studio with me. We have John Hara, and we have Mayumi Hara-Dau, and they are both of Hara... What is the name of your architectural firm? John Hara Associates. John Hara Associates. And we are being joined today, through the modern miracle of technology, by our program's host, Martin Despang from Germany. And there he is. He's magically appeared in the West Oahu College campus. Hello there, Martin. Welcome from cold Germany, where it's three o'clock in the morning. Thank you. Thank you guys for warming up my feelings. It's good to have you, Mayumi, and John back on the show. That's terrific. And why don't we get to the first slide here, because this is how DeSoto and I, we went through the most recent architecture on the UH Manoa campus, and there are just four screenshots here. And I think in all of them, you, DeSoto, look pretty desperate, I could say, you know. Your facial expression tells me that you didn't like any of the recent stuff on the UHM Manoa campus here. Is that right? I won't be so, I won't be 100% negative, but there were things that were better. Some were better than others. Yeah, I mean, I still say, you know, it's not worth even having a critical discourse on architecture. But let's go to the next page. We found pieces, good exceptions to the rule, from the 70s to the 80s, and which would have been the 90s, my workplace, the School of Architecture, and all of them by John. And so at the end of the last show, which we see at the very bottom right, we introduced to do another show, and this is this show, because if an architect has been proven himself so well, he might be chosen to be hired again by the same client, and so it happens. So if we go to the third slide here, we see, and we want to also reference our friend activist journalist, Kurt Sandburne, who has written a pretty nice piece about your guys' work, and he also touched on the UH West Oahu campus that we're going to talk about today. And as he's on our true modernist, and not a postmodernist, you don't have a single inspiration for your project. But one of the ones that the journalist, Kurt, pointed out was the previous architecture in this era, which was not urbanized yet. It was basically farmland, but it was cash crops and it was sugar cane. So here is one of the images that you provided from many other historic pictures, where you can see the huge, very utilitarian shelters that became an inspiration. But good architect you are, you didn't get inspired by an image again, but by searching and fields walking the side. As we go to the next page, and please tell us a little bit what you found on this slide when we look at that picture. Well, basically what this is, it's part of what is known as Kaloi Gauch. It was a very important part of the site as it defined the dividing line between the university campus and what was at that time a planned subdivision. And our intent was always to preserve it as a very important fragment of what was there before. And would it also be fair to say, too, that you wanted to keep an existing drainage system going so that you could deal with that too? Yeah, that's what it was, but it no longer is a drainage system. We still wanted to keep it. OK, all right. And if we go to the next page, here we see a sketch that you wanted to be included, and also referring to a dear colleague of yours who was involved, and understand as a project architect in the very early phase, and very fascinating sketch, which is about sort of almost calligraphy and regulating lines and trying to find the nature of the specificity of the site, right? I was a student of Romaldo Jurgler 60 years ago, and he still continued, or he still continued to be my mentor for all these years until he passed fairly recently, I think two or three years ago. But every time he came here, we talked about architecture, and I showed him what I was doing, and he'd offer his own kind of criticism. Now, what we developed together on this particular image is the fact that we wanted to define certain planes of the entire site. And I think from top to bottom, it's about a 15 foot difference. So what we did is establish platforms and to define these platforms where we use these very long, large rock walls. And I think that's one of the next images. Yeah, correct. Right, right. So we probably can go to our next picture. There we go. Yeah, these are one of the walls. And the walls vary in height, they vary in width, they vary in size, all specifically to what they do and where they are. And John, we were talking before the show. And I asked if these were also potential platforms or sites for buildings of the future. And so that there had been some level of grading and straightening of that. So this is where you can build. Right. This is part of the original master plan, which was, well, like many other things, totally ignored in the future, whereas it is right now. Yeah, well, And let's move on to the next slide here, which we see another one. And fascinating thing, it's sort of like, this is architecture with the absence of build, environment buildings, right? This is pretty much land art. And we waited to show this photo about volcanic volumes and looked at, we drove out further west and went to Makaha and found some of these sort of remainders of the resort. So it's a very sort of a fancy theme on the island that just sort of interpreted and modernized here. And if we go to the next one, we have one more picture of them. We can see where they slowly and surely become more architectural and here serve as framing a staircase that is sort of, you know, making you go from one level to the other one. Well, let's go to the next case. Relative to the material of the rock walls, we spent a lot of time working with the mason, and we went to many, many sites to pick the rocks specifically for these walls. Now what this site shows is an extension of what the rock walls do as part of a master plan for the entire campus. Right. And of course, very little bit, very little, none of it has been adapted except for phase one. Correct. You could see the colloid gulch on the right side, which is a very important part. Right, which we saw in the first photograph of it. Right, right. Martin, did you want to tell us more about, are we just discussing that this, this is the master plan? And as John has said, it is not being used, unfortunately. But some of the buildings, as you said, for phase one are in, are in place. Yeah, I know it. And again, it shows even on the little picture on the top right, it shows even the larger, the even larger scale and zoning and really thinking about, you know, building pretty much from scratch here out in the desert, which is mentioned, this is very hot areas part of the island here, and really creating a community for learning from from scratch in a very sort of sensitive and sensible way. And then if we go to the next slide here, we see that sort of first and up to now only phase or initial phase, we should say here sort of collage into the arrow, sort of Google view. And if we go to the next slide here, we zoom in and we can see, you know, the buildings that's comprised of and maybe you guys can tell us a little bit more about that very specific composition that's very intriguing. Well, the intent of the colloid Gauss here is very clear, I think it provides a connection between the subdivision and the lower from the lower edge of the picture up to the top. And the so called entry plaza at the very beginning was a connection to the proposed at that time subdivision, we should create an entry to the university. The other buildings were scheduled to be to the left and to the right and to the bottom. Again, the idea here was to maintain a great law on for specific functions of the university, and yet all the other open spaces were to be defined by open space, yet peely grass, which is native to the area, which is a very important part of the vegetation, right? And peely grass, which is extremely also important in Hawaiian culture is what was used to thatch grass houses, Holly Peely, that's why they're called Holly Peely, their houses made with peely grass. So there's a cultural significance in addition to the natural use of a plant that's native. One thing I was also going to say to pardon me for Martin, this is, as Martin said, this is not within an existing campus. So you're starting from scratch. I'm like, you know, absolutely. But it's also an area under development in, in general, as you have just been pointing out, and the aspect of the train is really important here, because the train is a short distance away. It's really just kind of across the highway. Yeah, initially, the plan for the train was to come along color gulch. Oh, interesting. That was a total disaster.  Right. And they moved it. Right. But we still expect that people will be coming and going from the site via the train. Right. And if you extend the road up from the entry plaza, that's where the station is now. Yeah, okay. This is the entry was truly an entry plaza. Right, right. And while this now looks like a very traditional sort of a master planning approach of imposing, you know, program, let's move to the next page here, which actually shows that your design approach was sort of in reciprocity of from the outside to the inside, but also from the inside to the outside, you made these great sort of study models that were simulating, you know, frame views and how the light comes in and how it plays, you know, becomes an element in the in the project. And you can describe it a little further. You guys, no mind. Yeah, the light, there were the direction of where the light came from in this particular project was very important. For example, the library, main, main windows of the library face direct north. So you don't get direct sunlight. And most of the buildings are similarly sided. And when when they do face other, we've made certain consideration for that. All of the buildings, we've introduced daylight into the center core of the building. And this model shows one of the early studies for how the light could do. And as an archivist, I just want to say as an archivist and somebody who takes care of museums collections, I am very grateful that you took natural light into account in protecting the interiors from direct sunlight. Absolutely. It's very important. It's extremely important. But not everybody knows that. Thank you. They should, but thank goodness you do. Yes, that's so guess our next slide. Here in the next slide, and here we see how these sort of studies then basically led to the sort of amassing of the actual buildings here. And again, we refer to our my visit in your office at the very bottom right, which we featured in the in the last show about Manoa. And you guys are very sort of high on physical model making in various scales. In the next scale, we see in the next slide here, which is a large architectural study model. Again, that is not a representation model. That's not your final model to show up. This is really a design process model, right? Yeah, and it's important to do these models out of cardboard because you can feel you can touch. And you can study them as difficult to do this computer images these days. And unfortunately, I think that's, that's what the profession is towards now. It is. And that was a great segueing to the next slide because you guys are multimedia savvy.  This is a very delicate one. And it pretty much shows you very ambitious goal of basically providing wealth of space, I would call it and generosity of volume. I'm impressed as a practicing architect, how you were able to convince a public client of such richness and generosity. So kudos to that. And if we move on to the next page, this is a, you told me that David Frenzen has been working with you through all your career in photographs, all your projects. And this is a David Frenzen final documentation. And I have to say, it's almost hard to make a difference between the rendering and the final product. Yeah. So my biggest compliment, again, to having been resisting, resistant to that value engineering thing that, you know, public clients like to do these days, and you pretty much fought through all your very ambitious strategies here. Very impressive. Yeah. And before the show, we were talking and the rendering or the, as you said, the suggestive illustration and the real picture, as you said, are so close together, you wouldn't necessarily know the difference, except that the previous one is from a vantage point that you couldn't actually be in, in person. That's the only way you can tell it's not a real picture. Well, what this particularly shows, I think, is the value of natural light from both the left and the right. And it also shows the value of artificial lighting, which is this is important, because you don't get daylight at night, obviously. That's right. Artificial light is very important. And you don't get daylight into every part of a building either. Right. Yeah. Right. So it's a combination of these things. And successful too. Let's go to the next slide here, where we see how that then looks from the outside. And this is, if I'm not mistaken, it's the classroom building part, and it's the southern elevation. So I want to point out sort of like the biochromatic aspect of design that the big glazing on the on the top floor basically has a huge even overhang that shaped it sufficiently and also shed the water off it. And then the bottom part is relatively opaque, has few openings, and the glass is being pushed back in. So that way it's a very climate conducive design that works well in again that very sort of harsh sort of hot air climate of that specific area of the island. And to go further with that, we selected unfinished concrete block as the material of choice. The reason for that is that it's a very ordinary material, entirely compatible with the plantation architecture. However, what we did was crafted to 12 inch by 12 inch squares, 16 inches deep, weighing approximately, I guess 60 pounds and driving the mason's crazy. What the idea here was to sort of replicate the character of the old plantation or the old plantations in a contemporary material. Yeah, if we move on to the next slide, we see a close up, there's a picture I took when I was out there and I was intrigued exactly what you said. And I would call it like a post contact, you know, indigenous material because we have, you know, Campbell Industrial Park and we have many TMU and concrete manufacturers out there. So this is where, you know, and three of the four ingredients of concrete are potentially from the island, which is water, aggregates and basically sand. And the cement is the only imported material. So it's a very sort of a clever choice that is, it is not nostalgic about, about things, right? This is not a hula approach, right? No, I'm trying to pretend to be something that, you know, you found inappropriate. You know, as part of the process, mason involved, we did many studies of this.  And we always went back to the concept of make it regular concrete block. And it's interesting to see that other buildings on the UH campus, as a matter of fact, are doing the samples that we rejected. And we're specific about that. I will be and these and these you had manufactured to your specs for that particular size, which is not a standard size, right? And it's not a standard size. And it was driving everybody nuts. But but it's a done deal now, whether they were not right, right? Yes, I wanted to, can I just add, we also decided to show that the buildings were very crafted. So we lined up all of the joints on the flooring. And we spent a lot of time, you know, trying to line everything up so it would look very put together and on purpose. Yeah. Well, next time I go, I'm going to look at that specifically. Okay, next picture. Next picture. And this is I like that when I was in there, this is a Lanai. So another very sort of local theme that you introduced. And this is the laboratory building part. And this is facing the classroom building that we just looked at. And so I like that. You know, the the soil is pretty much right there. It's like red desert and and through the choice of plans and also just leaving the dirt, it just crawls up the dirt crawls up the building and gives it a texture. So it's, you know, it's invited to pick up the Tina. So it's not a clean sterile, but a very sort of organic approach. I think what this image shows is also the spacing between buildings and the spaces between buildings were as carefully designed as spaces within the building. Yeah. And that was very important, especially where the openings were where the connections between the buildings were and especially can see that location of the rock walls. And that is something very much lacking in the UH Manoa campus, which has grown in a very piecemeal manner with many different architects and many different layouts over the years. Yeah. And we also want to add maybe the, you know, the theme of your project in Manoa, especially the Soto's favorite Sherman lab project is working with the Soto's favorite theme of courtyards, which we can see reinterpreted here as well as the big outdoor spaces are like functioning like big, big courtyards. And as you said, the big lawn, I think I remember you guys, you said whenever there are like big ceremonies or big gatherings, this becomes an outdoor classroom or gathering space. Right. That's Bishop Museum functions the same way. We have a big lawn and it's used for concerts. It's used for all different things. Same situation there. So let's go to the next slide. That is an arrow, an airplane photograph of when the project was just finished, I believe here, and you can still see how red-dirtish the surrounding is and the landscaping is starting. And we also there's a little sort of teardrop here that one of the phase one buildings is missing. And I know this is sort of as much of a little bit of a wound as the architecture school building is at your age. So maybe sort of a sort of a tragic tradition. But let's move to the next slide here that I took when I was out there. And basically, this building was just almost finished. And I stood in it. And I basically, we don't want to talk about it here today, because we want to celebrate and honor your great work. But I think if you don't mind, if we guys maybe go ahead and with the inspiration of today's show, just, you know, continue to be architectural critics and look at what the client had decided to do, which I imported that little excerpt from a current article where he was basically when he was interviewing here, he heard that you guys have designed that building and you got paid for your work. And then the the client decided to hold the project and commissioned another architect and design it from all over and pay this guy again or pay this firm again, which then we might ask ourselves how, you know, responsible is that with taxpayers money? Well, we not only had the building design, we had a contract on board. We knew what the construction costs for and we had a building permit. And for whatever reason, they didn't think that we could resolve the functional problems of whatever they put in the new building. I don't know. Okay. Beyond my capacity. Let's look at what we see here in the distance, which is the most iconic part. And to go to the next picture here, the most iconic part of what you have so masterfully completed here. And this is the icon tower and beacon of the library building. Well, what this does is it does does many things. But we go back to the old idea of the plantations. And the plantations had chimneys for a very good reason. Well, it didn't make sense to put a chimney in a library building. But, you know, as part of our philosophy of incorporating art with architecture, we decided to do this tower, which is a work of art. And the artist spent days at the site thinking about what this thing should look like. Her name was Carol Bennett from the island of Kauai. And she still talks about the experience of doing this thing. Originally, members of the art committee wanted something like a, you know, a top up pattern. Yeah, yeah, yeah. We said we didn't think that was such a good idea. Right. And we made this as part of the art master plan, which we did and completed. Unfortunately, it's not going very far. No, but this is a major part of the project, I think. And I think it's fascinating. You were inspired by the smokestack of the mill because you're absolutely right. That was how you saw the sugar mill. And you knew the plantation around town was around it. That's correct. Right. And the great photographer that David Franson is he knows how to celebrate that even more. So if we go to the next slide here, we see how that thing comes alive when it gets dark outside. So it's like hopping out and it's like a light house. We're afraid of the FAA that they're going to complain about the airplanes flying by. It wasn't tall enough fortunately. Yeah, that never happened. Thank God. Yeah. I think we're getting close to the end of the show. Yes, we are. You just sort of don't mind taking over and walking us through our tradition of concluding with some polemic propositions here to the next slide. Right. Talking Beacon. Yeah. So this is Martin's classes have at UH Monoa architectural classes have worked on a number of projects. And this is one of them. This is Primitiva. Primitiva is a tower. It is a housing tower. And we're considering what it would look like if it was placed in a similar location to where we've just been talking about the West Oahu College campus. So at night, because Primitiva is primarily an open building, you'd see it more perhaps than you would during the day. So here we see in the nighttime with the starry sky and the guy with the bicycle with the light on it. There is the glowing tower. If we go to the next picture, we see that as the light is coming up, we are transitioning from the lit cylindrical building to the way it would look in daylight. And in our next picture, we see that in a in a wonderful world of our hopes, because the proud because the tower is primarily open and because it has a lot of vegetation growing in it, in theory, it might even blend into the background so that people are living in it, but you don't necessarily even see it. And it isn't that prominent in the landscape. And so that's the hope in any case. And that's again, this is not something that's actually built, but the West Oahu College campus is actually built and being built. And as time passes, we are going to see urbanization come to that area very strongly. And we're going to be looking back. And I'm grateful that you looked back and said, you were acknowledging what was there before, as this turns into a city, which it will. Really, nothing wrong with urbanization. It's just a matter of how you do it. Absolutely. No, you're absolutely right. Well, Martin, do you have anything else to add? Well, you guys see that, please, as a great homage to your, to your absolutely fantastic work out there. I thank you very much. And I want to conclude with the last slide here. Ah, yes. We have used we have used automobile for a while as vehicles for thought. And getting to know each other closer, we started to talk about how we get around when, you know, we're Sunday drivers, and you're the owner of this fantastic pagoda that we then found out we have to have the same genius mechanic who allows us to keep these fantastic cars. And at the very top left is Larry. So I want to say hi to Larry. Thanks for taking care of us. And for me, you know, your car is sort of symbolic or representative of who you are and what your work is, John and my Umi, very classy, very timeless, very elegant, very low key, you know, opposite to what architecture wants to be today loud and bling, very, very subtle and very appropriate. So yeah, with that, I want to want to thank you again. And talking sort of mid 60s, young timers or old timers. I want to say tomorrow, there's a mid 60s, young time, old timer, and that's the solo. And since I won't see you before tomorrow, when it's your 65th birthday, I want to want to win you all the best for that one.  You see how gray and white my beard is. That's because I'm an old man. Well, thank you, Martin for bringing that up. That's perfectly nice. So but thank you, guests for being here. Very, very wonderful program. Thank you, Martin, for helping doing getting this all together. And next time I'll be on with somebody from Doko Momo talking about something architectural. That's next week. But in the meantime, week after that, Martin and I will be back with another human humane architecture program. Thank you everybody for watching. See you again next time. Bye.


Hi guys, so I wanted to make a very brief video for you guys on a topic that is very, very important to be well educated in, and that is IV fluids or IV solutions, and it sounds so simple, you know, we hear like, oh, just hang a bolus of a thousand mils of normal saline, oh yeah, just co-hang that LR, and you don't really think twice of it, but really, you should, because fluids have such, such, such, such a huge impact in the overall plan and treatment. For example, if you have normal saline running at 120 an hour on your patient, and it's been running for four days straight, and then you're looking at their labs, and you notice that their sodium level has gone from 140 to 145, and now it's at 150, 155, well, hmm, I wonder why their sodium level is so high, oh yeah, because they have normal saline, which is sodium chloride, that's been going for the past four days, and they've had leaders and leaders of this fluid. So it's important to be well educated on your fluids, and some things you need to look out for, and why are you hanging this? Why are you hanging D5 on a patient that has low blood sugar? Why not D10? Why are you hanging half NS versus regular normal saline? Why do you use LR instead of NS? So there's so many fluids, but you will use them quite frequently when you're a nurse, and so you need to be educated. It is like, it's the number one medication that you have to give. Even though it doesn't seem like a medication, fluids can do a lot of harm to your patient. If you give too many fluids in a patient that has already fluid overload, congestive heart failure, kidney issues, then that can be really dangerous. So it's important to know your fluids, why you're giving them, things to look out for. Why do you not give fluids with potassium to a renal failure patient? I don't know, I guess you'll have to find out. So I'm going to leave a link down below for a free cheat sheet for you guys about IV fluids and IV solutions from nrcng.com, so go check that out. And let me know what you guys think, and leave me a comment below about, I don't know, anything fluid related. Do you have a favorite fluid? Is there a store you have and related to giving too much or too little fluids? What do you think? Let me know in the comments below, give this video a thumbs up and subscribe to my channel, and I'll see you guys next time. Bye.


inner sanctum mysteries the creaking door this is your host to welcome you again into the inner sanctum come on here no no please don't stand on ceremony we're all informal here no ties no colors in some cases no heads that doesn't mean we're complete boors though we study our Emily ghost faithfully you wouldn't catch one of us eating his peas with a knife oh no we've been caught with knives before sewing you might say our wild throats the preliminaries are over beginning right now things are going to happen they'll sit up draw a deep breath and lend us in here we've got to get our teeth at the something listen now to the voice of Donald bucker as Danny Williams as he tells the weird story of the dead walk at night there it is again my uncle calling to me just as he used to when I was a boy my blind uncle tapping his cane and calling he's dead I wish I could join him I've tried to a thousand times but they've always prevented it goes on incessantly it never stops even when I sleep I hear it every minute every second sometimes bashing thunder stop it can't you give me one minute please why don't you stop at your blind old fool leave me alone haven't you done enough he tapped that way with his cane on the night I decided to kill him we were in his room in the big house where we lived together I've been living with him since I was 14 years old but 10 years I'd been his companion his nurse his servant his slave on the night I was going to kill him I slipped a length of strong cord into my dinner jacket he was totally blind had been for 30 years yet strangely enough he could see he could see with his uncanny highly developed sense of hearing and with that cane of his that cane it was everlastingly tapping the wind blowing up tonight it'll be getting cold soon yes and then all the servants going this is the night off you're going out again tonight yes with Martha yes with Martha hmm you brought me some brandy yes Morgan I poured out the drink in my pocket I felt the cord and as I handed the drink to him I took it out and walked behind him now this was the time I slipped the cord around his neck twisted it would be over soon he sat there holding the glass in one hand very good brandy this I raised the cord over his head all I had to do was crop it over his neck why are you standing behind me but how did you know I heard you walked there why Danny I just wanted to look out of the window one quick move it would be over but I didn't want to kill him so I suddenly I'd make a clean breast of it and give him a chance well then how long are you going to stand there Morgan there's something I want to speak to you about well what is it my boy I want to marry Martha I uh I thought that was on your mind but I need ten thousand dollars Morgan will you give it to me what are you laughing at you I was just waiting to see how much you'd asked for you lied your way in pretty deeply this time didn't you Danny what are you talking about I saw what was coming I uh while you were in town we had a very interesting little talk did you hmm she told me that her father's worried about her marrying a fortune at her seems he's a very wealthy man yes that's right and it seems that he won't give Martha any money when she marries unless her husband is a man of some means himself it also seems that you lied to her you told her you're wealthy why did you tell her the truth no you always were an incorrigible liar Morgan she got the impression that I had some money because I lived in this house and now you have to live up to that impression so you can marry her which will give me the money won't you why'd you lie to her I did it without thinking I I wanted to tell her the truth but I couldn't I was afraid that if she found out that I lied she'd hate me Morgan are you going to give me the money Danny I'm very fond of you I took you in to live with me when you were a poor panelist goddess night I educated and taught you to live like a gentleman I even named you sole beneficiary of my state but that's why I'm asking you for the money now if you're going to leave me all of it why don't you give me a little of it now because I don't want you to marry Martha why not I don't think she's the girl for you you stupid blind old fool and Martha's the finest girl I ever met I won't have you talking about her like this you won't have a penny of my money to marry her you're doing this because you want me to stay with you now what are you talking about from the very first day I came here it's been Danny do this Danny do that Danny read to me Danny pour me some brandy you've made me a servant a slave how can you talk this way after all I've done for you done for me did you ever teach me to work did you ever teach me to do anything except live in luxury when I didn't have a penny to my name you made me someone who's of no earthly good to anything or anyone except you no I'm not going to leave Morgan you are what do you mean I'm going to kill you don't be ridiculous my boy you'd probably make a bungling mess I don't think so you see I planned it very carefully Danny if you think you can frighten me into giving you that money you're quite mistaken I don't intend to frighten you I intend to murder you you you're not serious yes I am Morgan Danny you you got up I heard you yes now don't lose your head perhaps we can come to some agreements too late for that don't think you can stall me and then turn me over to the police Danny where are you you'll know in a minute Morgan when you feel something on your neck oh let go of me it'll be over in a minute let go of me you idiot let go not now Morgan all right all right Danny I'll admit it I wanted you to stay with me I'm I'm blind all alone but I'll let you go I'll give you the money you want only only don't kill me it's too late now I know you and I don't trust your promises I'll give you anything you want you hear anything no please no Morgan I could only see if I could only I'm going to be merciful more than it'll only take a few seconds and this chord will crush the life out of you Morgan Morgan I heard the front door open and close I had told Martha to come at nine o'clock I ran out of the room and looked down the long stairway hello darling mother shall I come up no no wait there I'll come right down I rushed back into the room my uncle was lying on the floor the rope twisted about his neck his face straight with purple I picked up the cane began tapping on the floor and I placed the cane near to him I went back to the door again and called good night Morgan oh he's fine I heard him tapping around up there yeah see likes to make a lot of noise with that cane of his I think he gets a kick out of it do you think it's safe to leave him alone here safe well of course look shall we go dancing somewhere that's a swell idea well friends do you think uncle Morgan will stay dead oh you do well that shows how much you know on this program the dead never stay that way so get ready for the worst because in the next few minutes you're going to find corpses that walk in the dead of the night oh yes they do all right they do don't you worry let's listen now to Donald bucker's Danny as he finishes his story it was easy to lie to the police when Martha told them that she heard my uncle tapping in his room I was cleared of all suspicion I suggested that the murder was committed by some thief who broke into the house to rob it after we had left the police agreed I received the inheritance and Martha and I planned to go to California to be married I had lied my way out and fooled everyone everyone except myself I knew what I had done I couldn't forget it I became nervous and morose and then came that last night before Martha and I were to go away I was alone in the house preparing to close it hello Dan Martha but it's so late I didn't expect you I know darling but I was afraid to leave you alone in this huge old house I decided to come over well that's very sweet of you darling but there's nothing to worry about you can't fool me I've noticed how you were behaving these last few days have you ever since your poor uncle was killed you haven't been quite yourself well I suppose I have been a little upset I'm glad you came darling look I can put you in the guest room next to my uncle's old room that's the only one beside my own that hasn't been dismantled yet come on I'll show you the way all right when we get to California and we're married you'll forget all this I hope so what was that I didn't hear anything I thought I heard a noise I was right this old house is affecting you maybe maybe you know Martha last night I thought I heard him tapping with his cane did you well it was just my imagination I guess I wonder you know darling I had a rather strange dream about you did I dreamed he came to me and told me he wasn't dead well that's a crazy idea isn't it but just suppose he wasn't dead that's impossible I saw him dead with the rope around his neck did you that's funny I went with you to the morgan I didn't see the rope the police had removed it oh yes here's a course they had but I well I saw those welts it didn't take much imagination to see the rope my poor Danny I'm afraid this has affected you more than you realize here's your room Martha Danny you you've been kind of cold and distant lately you do love me don't you darling of course Martha good night dad good night I was awakened that night from a tortured sleep by a familiar sound the sound of my uncle's cane tapping on the floor above me at first I thought I was dreaming but then I heard it again seemed to be coming closer to be taking a familiar cause yes I had heard it a thousand times when he was alive that same nervous rhythmic tapping was coming down the stairs tap tap tap down the stairs cautiously carefully it was on a landing now would he go down further or would it turn as it had done so often to my room closer closer it was coming to my room there could be no doubt about that he couldn't be alive and yet it was knocking at the door it took every bit of courage I had but I went to the door and opened it there on the floor outside my door was my uncle's cane a throb of cold icy terror shook me I ran back into the room and hath insane with panic I shouted Martha Martha darling what's the matter Martha darling I I must be going out of my mind I saw what did you see that cane that came to have in your hand put it down I found it outside your door I thought you'd misplace no no that's my uncle's cane that's the one he always used but Danny there's no need to be so frightened of it why you think it was going to hurt you the way you act Martha here you hold it no Danny you're terrified what's wrong what's happening Martha Martha don't make me tell you don't but what are you afraid of that cane put it down throw it away throw it away you don't know what you're saying Martha why do you keep pointing it at me why Danny you've got to tell me what's troubling you I won't put it down until you tell me why you're afraid Martha for heaven's sake you can trust me Danny I love you tell me what it is Martha what is it no matter what it is I'll always love you don't be afraid to tell me I killed him your uncle yes why for the inheritance I I didn't want you to know that I didn't have a scent I asked him for the money begged him for it he sat there in his chair telling me I couldn't have a scent he wanted to keep me here with him I wanted to marry you that's why I murdered him Martha because I love you do you understand yes oh Martha Martha I knew you would you'll stand by me won't you why are you smiling that way how much money did you inherit two hundred thousand dollars in this house you'll transfer that money to me in the morning when the house is sold you'll turn over that money to me too if you don't I'll tell the police what you just told me Martha I I don't understand I thought I was pretty clear oh I I see now you you you think I'm too upset to manage the estate and you want to take care of it for me until we're married there isn't going to be any marriage no marriage no now that I can get the money without marrying you there's no reason for me to tie myself down why should you want the money your father's been dead for 17 years mother you took you were lying to me yes you're lying to me so it comes out even stop cowering at this cane there's nothing clear about it I made that tapping noise tonight I thought it would make you confess and again oh this is a joke it's a monstrous joke I wouldn't think it was so funny if I were in your position you know the money isn't quite all I can use you Danny I might need certain things done sometime and if you'll remember that I can send you to the electric chair whenever I choose to you'll do them I see the slave merely changes masters where are you going back to my room oh no you're not then let's go I want to show you something Martha something about this cane you said there was nothing weird about it well there is let me show you you didn't know did you that if you press a button in the handle the outer covering slips off and you have a sword in your hand a sword yes look there see it's a sharp sword forged in Italy during the Renaissance to be used by men with less conscience than I about murder Dan what are you going to do I think you know no you can't did you think I would give you that money after I murdered a man to get it I'll let you keep some money you think I believe you I know liars I won't kill the police I swear I won't I'll do anything you say I'll marry you do you think I'd marry you after I found out that your love was a lie do you think I'd let you live when I know you have a secret that can enslave me no Dan take that sword away don't do it I love you liar Dan don't please I beg you I'll do anything you say it was then that I first began hearing it my mind that tapping tapping tapping that incessant tapping of the cave when the police came I told them everything they asked only one question when did you hear this tapping in your mind after I killed him well you'll be all right after a good doctor treats you perhaps meanwhile we'll do everything we can to find the person who killed your uncle and your sweetheart I think it's the same man he's probably some thief who thought he'd try a second time but I just told you I'm the person you want now Danny you don't think I believe that story for a minute do you you don't believe it after the way I saw you cry when your uncle died and you can't make me believe that sweet girl did the things you said I know something about human nature my boy no Danny the shock of finding your sweetheart murdered so soon after your uncle's murder was too much for you this whole confession was a lie but 20 years now I've been in this cell at the state asylum waiting to die I who told the truth because I wanted to die but 20 years I've been hearing that tapping day and night every second but 20 years I've been hearing my blind uncle call me as he used to when I was a boy all right friends you can relax now no no this isn't Danny this is your home our stories over in the port is now mopping up well I guess tonight's little story should teach you never to tell a lie lying leads to cheating and cheating leads to murder and murder leads to insanity all of which are very bad habits to get into indeed well friends it's time once again to close that creaking door until next week at the same time when we'll be back with a little hunk of horror ha ha ha you'll be sure to listen on you until next week then good night pleasant dreams inner sanctum has come to you through the worldwide facilities of the united states armed forces radio and television service


So we got another one by BDWJ forever. Oh my god wrestling highlights part five man This should be a good one man. It's been a minute since we checked out some BDWJ Forever man. Love his wrestling compilation clips. This should be a good one as it always is but uh appreciate all love and support Road to adc let's get right into this bad boy He's just sitting there watching him dude. Oh, what's going on here? Oh, I want you to understand The commentator is like he knew what was coming. He's telling it. No Don't do it And she gets obliterated By this chair shot. We we gotta run that back We gotta run that back. Oh my god That was brutal Oh Oh, that was cool Whoa 300 pounds of brodie keg back in with the chair As a weapon, but Effie doesn't know. Oh, he's behind the door. Oh, that was a door Around his waist off the road Yo, whoa, that is impressive That was impressive That was impressive Oh, man This dude on commentary is great Oh my god, that's a lot of weight. Oh my god Is this it bro? No, but what is going on with this match, bro? Why is he trying to brutally kill her for what what is happening here be the final nail in the coffin No slam of itch. No. Oh, he's looking for super flex kg. No Oh, that was pretty cool Oh god, oh, whoa, whoa, whoa, whoa right to the crowd. Yo, this is just craziness We're having to get the dragon lead In perfect combination Levi Get thrown into a power bomb. That was cool. KTB jackknife stop Alex Zane Bro, that was cool. That was pretty cool Wait, we gotta go back. What did I just see? Yo, me. Look at this. I'm thinking he's about to go for it. What? No Bro, this is I have no idea what Shane Mercer's goal for KTB. Just hit a beautiful power bomb.  That's it. Good night forever. How much he wants this Oh, Jesus the chop line my man. Walter not goon. Thank water devils instantly down I'm trying to cut him off trying to prevent him Oh, what's happening?  Oh No No, what in the viking raiders? Whatever you want to call it's going on here. This one's having to hurl his entire body Look at that. Oh No, no, no, no No, that's been cool Yeah, that was cool. This is insane. This man Yeah, that was cool Oh, no Picks him up. Bro.  He was just watching. Oh, that was cool But it's just he was just standing there. Look at that. Oh This is crazy, man. That was cool to do through the world Through that Now to the corner you could have said that about a dozen. Oh He called him brother listen to the zimbabwe drum at this point. Whoa. Whoa. Oh He's nowhere to be found. Oh, oh god And if someone else this is probably the best oh my god clip so far Video so far. We've checked out. I What I just saw Was ridiculous I am I don't even For me my favorite clip still from this video has to be at the beginning Old girl about to run through the ropes commentators like no, don't do it and she gets destroyed by steel chair But there's a lot of just crazy moments in this entire video that last spot Shit getting speared. I want to say she got freaking speared through the ropes or something like that Through the table or door covered in barb wire. Just just I don't know when I'm just I don't know I don't know Y'all want me to check out part six y'all know what to do Running likes up on this one, man. Let me know. What was your favorite? Oh my god moment from this video. This whole video is it's just fantastic. This was insane But I appreciate all the love and support Road to adk appreciate y'all kicking the beat and I'll see y'all on the next one. Peace


This story is familiar to me and we can tell he's told a thousand times because as he gives that list of things, hear his voice go up the end, it lills upward. When I brought up the fact that I could use something to wake up, he immediately knew what I was referring to. I had made it clear that I was looking for Coke and I really was. Now let's just know he's just going through reading the awful list from memory, something that he's not maybe just rehearsed, but something he's just told so many times is just coming out. I had given Barack $250 to pay for Coke. He gets out, comes back, I start putting a line on a CD tray. It's not like he's loping, he's just going through, he's just telling the same thing over and over again, but it just seems so boring because he's bored with it too. And one thing I've noticed over the years is this thing that I call loose gazing. And when you're sort of looking off and just telling as you recall all your story, which is what he does 80% of the time, he's looking over here and Tucker's over there, he's just gazing off and telling the story. I think that's the way he's remembering his structure.


Live from Las Vegas, it's theCUBE, covering IBM Think 2018, brought to you by IBM. Welcome to theCUBE. We are live at the inaugural IBM Think 2018. I'm Lisa Martin joined by John Furrier and Dave Vellante. Guys, this is the first day of three days of coverage from theCUBE, but this is a combination of six different IBM events from the past. Tell me a little bit about your perspective about what you think that means. They're projected to have about 40,000 plus people here, but big change.  I think we've been to pretty much every single event they had, they had IOD, information on demand, out and on and on. Impact, pulse, edge, hate for love. All coming together. I mean, this is IBM looking at the market saying it's better to run a big tent event as a kind of a coming together, a global celebration, a global information gathering, a global sales partnership ecosystem development. And I think it's finally IBM's taken a play out of what others have done. Salesforce does it, Oracle's done it, Amazon does it with the re-invent. They pull all their resources into one event. Now here's the problem, IBM is massively huge. So, you know, theCUBE goes to all those events. Now it's five X the demand for Kube content, five X the demand for Keynotes. So they're here at the Mandalay Bay. They probably need to do a bigger job next year, but it's a good move for IBM. And I love the Think logo. I love the Think branding. That's a throwback to the old Tom Watson generation, which the roots of IBM were all about just think, solve problems and really market the best solutions to customers. To me, they can bring back those old IBM ethos and the roots and really get back into the cloud game, which they've been falling behind on, but their last earnings were up, Dave. So they've had a nice little break of the negative streak, but AI is a tailwind for them. IoT is a tailwind. Blockchain is potentially an abler down the road. I mean, Dave, your thoughts on just that, the business aspect of that. Well, so first on the Think, they have consolidated I think six shows. They used to have really deep dives into things like infrastructure or analytics, et cetera. Now they've said, okay, let's make the big 10, as John was saying. What's interesting is every one of those drill down events, Lisa, you had big themes, whether it was cognitive or cloud, or digital transformation. So I think it's a smart move. Michelle Paluso, Bob Lord came in and said, hey, we're going to change things up a little bit and we're going to play in the big leagues with, as John said, Salesforce, et cetera. You're right, John, IBM sort of finally, after Ginny Rometti came on in 2012, it had some number of the trade press reports and number of quarters of revenue. It was double-digit, like 17 consecutive quarters. But remember, IBM, we've said it for years, IBM's got a shrink to grow and the growth, they eked out 1% growth in constant currency. Currency is finally now a tailwind for IBM. It's a $79 billion company, a lot smaller. Remember, IBM used to be well over a $100 billion company and it's got a $140, $150 billion market cap. So it's trading at about 2x, almost 2x revenue. And it's because IBM has an eclectic mix. They've got mainframe, they've got other hardware, they got rid of their x86 business, which is for the low margin business. They've got services, which is a great business for them, huge cash flow, they got $120 billion services backlog right now, so amazing potential future earnings. But services is a lower margin business. IBM also has this huge software business, tens of billions of dollars in software, which is a very high margin business. So put it all together and IBM's trying to get back to a 50% gross margin model. They're throwing off a lot of cash. They threw off $13 billion in free cash flow last year. Interestingly, about 80% of that went back to shareholders in the form of cherry purchases and the like. And that's how IBM has sort of kept the stock price up and continues now. We'll see what happens next year. They'll be very conservative about growth, so tepid growth, huge advantage from the tax reform. IBM is one of these companies that is going to benefit in a big way from tax reform, gives them a lot of flexibility. And I would also, if I was advising IBM, I'm not, but if I was advising Michelle Paluso, I'd basically look at, you're too big to have one big show. I would do one big business show, like Think, and then also have a separate event on technical. Because one of the things we look at their schedule here, is business and AI, cloud and data, modern infrastructure, security and resilience. That alone can stack the deck for three, four days of just business conversations, business transformation, digital transformation, future transformation with blockchain and among other things, power of the data and IoT. That's a full packed set of content. IBM's got a huge R&D organization, they have a huge services organization and technology is the enabler for them to get those margins up. And I think they should have a separate technical thing. Now, we're going to ask them directly, we'll try to get Michelle Paluso on, but. I want to make some comments about the Ginny Rometti tenure. So I first met her in around 2007, 2008, when she was running strategy, actually. She had run a large business for Palmasano. So this is well before she took over in 2012. And she was running strategy and she came out in 2012. At that time, IBM had no cloud, really clear cloud strategy. They were talking cloud, but they didn't have any cloud, public cloud options. So they had to go out and pay $2 billion for software. And then they put in Bluemix, John you're hearing some changes on Bluemix, so we're going to talk about that. But she has had to architect a massive transition. But when you look at IBM's core business, cloud is really one of the new drivers. So $17 billion business. But the drivers of profitability are mainframe. Storage, services, a lot of the same with now a large cloud business that they've taken a lot of different components and pushed it through the cloud and done with Bluemix, what they did with WebSphere, their middleware piece, kind of what Oracle tried to do and has done with Fusion, but a different strategy. All done sort of in the cloud. Now, the big question is, okay, is that going to drive growth for IBM in the next 10 years? The other big question is, what about Watson? You hear a lot about Watson, they don't really clearly break out, okay, this is how much of business we do with Watson. And Wall Street has been clamoring to see that, so. Well, I mean, to me, the cloud is the big story. I think their opportunity is data. That's where Watson kind of ties in. They have the huge client base and the digital transformation style, I think they're going to do really well there. But at the end of the day, the cloud story has always been weak for IBM in the sense of comparing it to what Amazon WebService has been doing. I really want to see how they're differentiating their cloud story because they have to. They cannot compete with Amazon head-to-head. Google's differentiating, Microsoft's differentiating. IBM needs to be in the same league as Microsoft and Amazon. They got to beat Google out for that third spot. To me, if I was giving marching orders to the teams, then we got to be in the top three cloud providers and define it in a way that adds value to customers. And they're not in that top three today. That is a huge story. That's going to keep dragging them down on the Wall Street numbers, in my opinion, unless they do something different. Oh, but I got to counter that because the big difference between IBM Cloud and Amazon Cloud is IBM's got a giant software portfolio. IBM's, as a service, software portfolios, many tens of billions of dollars. So they have a ratable revenue model and a very, very high, software's a 85% zero marginal cost business. Amazon doesn't have that yet.  But that's huge. The other piece to watch is IBM calls, you know, strategic imperatives, which is cloud and security and IoT and so the new stuff, basically, which is now just under 50% of the revenue model. But that's where companies like IBM and Oracle differentiate from Amazon, is they have the deep software. Now the challenge for IBM is, their software is very bespoke. Their software business is very, very fragmented. They've been trying to bring it together through middleware for what, John? Four or five years, when did they announce Bluemix? We were there. It seems like five years ago. I mean, maybe, yeah, maybe even six. Bluemix was a great, great approach. I think Softlayer might have been, to me at least, the one, I think, thing that held Bluemix back. Just Softlayer, to me, just, not just infrastructure, didn't really kind of make it blend into Bluemix the way I thought it would and hoped it would. We'll see what they say this week. Yeah, but that was the right move. The $2 billion acquisition of Softlayer. Had they not done that, they would be like Dell EMC, no cloud. They'd be Dell EMC with a huge software business, on-prem software business. Well, Dave, the Markershire numbers on cloud shows IBM not making it. So like, to me, that story has to be. I disagree with that. I disagree. So you got the big three, right? And then you got Oracle and IBM. And it's sort of a distant, I don't know what order. I guess IBM would be a little bit ahead of Oracle. But you got one, two, three, and then distant four and five. Excluding Alibaba and the China cloud, which is huge. But IBM's- Not in the U.S., though. In China, but IBM's strategy to me is the right one. Drive software revenue as Oracle as well, because that's the ace in the hole relative to the infrastructure clouds. They don't want to compete head-to-head in infrastructure as a service. That would be a disaster. I mean, I'm tracking the cloud heavily, you know that. So I look at IBM a little bit differently than you. My view is simple. In the cloud game right now, they're not making it. However, we know that everyone's defining cloud differently. I mean, Microsoft throws Azure in there. There's software included. Amazon doesn't. Oracle does. So again, that's just- It's a $17 billion business. Hold on, hold on. That's just mangling the numbers. Oh, granted, they maybe put some hosting in there. They have to have, it's not about the cloud's stories, but the cloud value. IBM has a lot of piece parts that they can actually put together for a cloud package, infrastructure, and set of software services. Bluemix tried to do that. So I think if they can look at cloud in a way that helps IBM, that gives them a way to move the goalpost, a way to change the game. To me, that's what I'm looking for, because IBM should not be out of the cloud business. If they don't go down- But they're not out of the cloud business. It's a $17 billion cloud business. How can you say they're out of the cloud business? That's the same assertion to make. I'm not saying they're out of the cloud business, but look what happened to VMware. They were in the cloud business. Yeah, but VMware was BS. We all know that. They had fake cloud. I mean, at least IBM's got a real cloud built upon software. And yes, they transformed a hosting business and a bare metal cloud into what has ultimately come to the IBM cloud, where they were now rebranding. It takes a long time. This is kind of the point I was making about Ginny earlier. It's a little messy, seeing that sausage made. But at least they have a strategy around that. They're in the cloud game. Dell EMC isn't in the cloud game. HPE isn't in the cloud game. I'm talking public cloud. These were companies that both of VMware, all three of those companies announced they were going in the cloud, they're out. At least IBM, Oracle, obviously the big three are in it. That's my contention. Do you disagree? No, there are a cursor in the cloud game. They're tracking the market share numbers, but again, they're not winning in the cloud game. Okay, so like relative to other players. So let's define winning. Well, I mean, that's how you look at the marketplace. So right now by quote, today's standard, they're at the top three are Amazon, Microsoft, some say Google, Oracle, and IBM would be below that. That's defined by a bunch of stuff. So IBM counts it, I mean, Microsoft counts it differently than Amazon. I look at cloud as simply this. How many sets of services do you have? And how many people are using those services? So there's kind of two dimensions of access there. What's the breadth of services? And then how many people are using those breadth of services? So it's kind of like a quadrant, not a magic quadrant, but like Amazon blows away everybody. Okay, so that's like, they're so far ahead. IBM, if they try to compete that way, my point was that trying to make was, if you compete on trying to match Amazon, you're not going to win. Google's already tapped out of the cloud by that standard. They're going in all in on cloud scale, TensorFlow, AI, targeting the developer community. They're not out of the cloud game, they're taking a different path. That's not their cloud story, that's their cloud plan. They're executing it. Oracle, it's just everything's cloud, right? They'll count anything, if it moves, it's cloud, right? So that's Oracle. Microsoft throws 365 in there to pump their numbers up. But what do they have? And it's doing well by, quote, Wall Street. But some people criticize the technology with Microsoft. So it's kind of a rat race. It's fundamentally at the infrastructure, it's number of services and who's using those services. And then above, say, the Kubernetes line, if you will, it's what applications are driving value. So if you separate applications from under the Kubernetes line orchestration, then you've got two different pictures. You can't blend them in. That's my contention that the blending of apps revenue and infrastructure revenue really makes it a real messy way to squint through who's winning. So let's define leadership. That was good analysis. I'll give you, I'll add some color to that. To me, you've got to be in the cloud game because in order to succeed in the digital economy, you got to have cloud economics. You got to have the ability to do analytics and data. You got to have AI and you got to have cloud economics. What does that mean? You got to have an API platform. You got to have zero marginal cost. You got to have network effects that scale. And you got to be able to track startups. Okay, so those are the sort of components that I look at as cloud momentum. The question I have for IBM is, if the strategic comparatives are now almost 50% of the business and they're higher margin and you're achieving those cloud economics, why are gross margins under pressure? They should be showing gross margin momentum. And that's something to look at. I mean, because cloud should drive huge gross margin. I want to add one more point, because this is fundamentally frames it. If you look at cloud and what DevOps has done where you can actually have programmable infrastructure, that's changed the game. Would you think DevOps has changed the game? Changing? Yeah, sure. The notion of programming. It certainly has for the cloud native guys. Absolutely. So the ability to program the infrastructure takes away the infrastructure being the dependency of what applications can do. Great. Okay, great. Okay, so now that the infrastructure is programmable, the apps kind of are running the show. The successful people that are using cloud today are the ones that nailed the business model logic. So that's where the application does its due diligence. Whoever can come up with the applications and nail the business model, that's where the switching costs are extremely high. That's where the risk is. The risk is no longer in the plumbing, because the plumbing switching costs of the plumbing are a lot lower because there's a lot more technology and sets of services you could provision in and out of that. So you're starting to see the entire strategy chain where it's the applications that'll be driving the value. And that's where the mistakes made there, that's where the cloud game is. And machine intelligence is going to drive that value. That's where Watson versus the consumer guys, and IBM, Ginny, I guarantee tomorrow will make the point that we're not trying to collect your data and sell you ads. You will make that point. I guess unless you go to the weather company's website. Whoever can build the application, who can build the application that builds value? The business logic is now the new DevOps. Everything else is programmable. That's my condition. All right. All right, guys, wow. As you can tell, lots of passion for all things cloud AI ML. You're going to hear all of it today on theCUBE. This is day one of three days of coverage. As John mentioned, we have so many great guests on over the next few days. And hopefully if you weren't with our pop-up, CUBE. Keep watching. I'm Lisa Martin with John Furrier and Dave Vellante. We're going to be back with our first guest after a short break.