new beta of Ecamm Live has just been released. Ecamm Live version 4 beta 16 and it's got some great new longer waited long requested features as well. So we'll be digging into all of those that includes the new ISO video and new camera switcher functionality and also some new functionality for live streaming as well. So we'll dig into all of that before we do though. I just want to mention that if you are on the regular version of Ecamm Live and you want to try out the beta there's no sort of barrier to entry. You can just go and download it from the link in the description. You're definitely going to want to try out these features I would say. It doesn't really interfere with the main version that you've already got so they run sort of side by side so don't worry that you're going to mess up the settings on your current live production version and saying that you know just make sure that you are aware that this is beta software so you may not want to use it for anything mission critical. I like to live dangerously so I use it all the time. But anyway you can find a link to that down in the description. If you've got any comments feedback or anything like that about the beta then also make sure that those go in the Ecamm Live beta Facebook group or the appropriate beta channel in the Ecamm Live Discord as well to sort of keep that distinction between the beta and the regular version. Anyway enough of waffling let's get straight on into the demo shall we and I'm going to start with the camera switcher because this is some great new functionality and I really do like this new feature that's been added in. So we've always had this camera switcher here which is the way that when you have a scene source set as camera as I do here you can use this to just sort of switch between your different cameras but what they've now added is an entirely separate camera switcher window because a lot of people had asked for you know can we make this a little bit bigger so that we can see the actual previews of all of these different cameras or can we reorientate it maybe you might want it down the side or something like that. Well in my view they've gone one better because we've now got this button up in the top corner and you can click on that one and that's going to pop out this entirely separate camera switcher window and so this has the same functionality as the other one but it's actually got so much more so you can just drag this open we can make it long we can make it tall like that so that the little camera windows stack up like that. We've also got a slider down here as well so you can zoom in so this actually becomes almost like a sort of full you know camera monitor where you can just see all of the the different cameras that you've got at any one time. There is another way to do this as well which we'll get onto in a moment but I really like this it means that you can really see clearly you know what is going on in these different cameras so it means for example if you are using interview mode and you've got you know a series of guests then even if they're not in the active scene you'll still be able to see you know what's going on if they're on camera if they're ready to be ready to be on screen or whatever you're going to see all of that because as you can see you've got the connected cameras but then we've also got the the guests here and if you had multiple guests they would just appear in there. So just like the camera switcher in here it's simply a case of just you know clicking one of these and we're going to switch to that camera change to this camera so it is really easy to see what you're at switching to. I really like that you may then find that this little camera switcher in here is now completely redundant and if you want to you can actually disable it so you can come into settings in the general then you've got here show camera switcher in main window so I'm going to just disable that because it was always just getting in the way for me. I should also say that previously as well the little floating window appeared all of the time when you you know whatever you were doing in Ecamm. This actual switcher only really applies though when you've got scene source set as camera so the way I normally build my scenes is I generally start with a completely blank scene and so let me just show you what I'm talking about if I just come and create a completely new scene and then you can see the scene source is blank and then I'm just going to build this up by adding in camera overlay so let me just add in a camera overlay there just like that. Well you'll notice that now actually they've completely removed the camera switcher because it's kind of redundant really in any case if you are using just camera overlays because the switcher never applied to those the way that you would change camera overlays before would be to come into the little pencil icon and then just pick whichever camera you wanted to be using nicely upside down there for that instead. So yeah it has actually removed it completely from the way you've got the scene source as blank but even when you've got scene source as a camera so if I just come back to this one as I say you can just come into the preferences and you can uncheck show camera switcher in main window so I'm going to do that so that basically that camera switcher is just no longer part of my main window interface. I'll definitely be using this one. In fact I mentioned that I never used to use the old camera switcher because I use camera overlays in all of my sort of scene building whereas I will be using this one with scene building and the reason is because if I go back to that one where I had the scene source as a camera in fact let me just change this one I'll come into here and I'll change this to scene source is blank now what you can do is you can just drag and drop the cameras I think that is fantastic it's going to make it so quick to just sort of build out scenes putting people putting elements putting cameras wherever you want them so you can just literally drag and drop them that one's not showing up obviously because I've got no guests on this current stream at the moment so I really like this this functionality I really like the way that it does sort of switch between these things let me just put my source back to camera again going to make it easier to do some of these things so yeah being able to just sort of drag and drop things like that I think is is really great the other thing that this opens up as well is another little bit of functionality and time saving which is the camera effects window so we've obviously had the camera effects for a long time where you can basically make adjustments to different cameras just the zoom adjust the brightness the picture and all of those kind of things but previously you would have to come into here and actually select the specific camera that you want from this drop down whereas now what they've done is they've actually added that little shortcut to get to this into each of these little windows in the preview because you can see we've got the little magic wand symbol which is the the same symbol that you have for the camera effects normally for this button over here is what we used to toggle that on and off so now if you actually just click any one of these cameras you'll notice that if you look at the camera effects down below as I click through here it's actually switching those cameras so this is again makes it a really easy and quick way to go make those adjustments I think it's a massive improvement on the old camera switcher whether you're using scene sources camera or whether you're using camera overlays as I say they've also gone a little bit further though with this because what you can also do is if you click on the little three dots you can also pop out any of these particular camera sources and have them as an individual window so now you really could have you know a monitor built up with you know all of your sort of key cameras that you want to be able to to monitor and so if I just click on this one show source in separate window you can see it's just popped out that so now I've got a completely separate floating window which is that that particular camera and I could make this you know however however big I want so I can certainly imagine somebody doing a production with lots of different different people coming in perhaps you know maybe a virtual conference or something like that and you want to have all of the speakers or maybe you've got you know multi-camera shot for interviews or whatever it happens to be you can just pop out multiple different cameras like this so now we could have maybe these three cameras are the ones that we want to focus on and why have we got this in addition to the camera switcher well it gives you a lot more versatility because as you can see you can actually make these you know maybe I might want to make that one the biggest one make that one down there I could then add in this other one as well and so where's that one gone I think it's gone onto a different window I'll pop out a different one for the purposes of this demonstration like that there we go let me try that again shall I show source in separate window where's it gone there it is okay so now we've got those all like that so the reason why you might want these on a separate window as well is imagine for example that somebody's running the show and you you're using the camera switcher but you might want to move these all onto a completely separate monitor that you know everyone else can see or it might be for you know sort of for other people viewing as well so there's lots of reasons why you might want to sort of pop these out completely separately the other thing that you can do as well with this is you can probably saw it there source video monitor so you can actually send one of these to a dedicated monitor or you know if you've got multiple monitors set up you could send individual sources to individual monitors so I've got two other additional monitors here so I could just actually have you know a monitor dedicated to one particular camera feed I really like that feature what they've also added in here though as well is an entirely new concept which I think is going to be really powerful as well which is this idea of placeholder cameras so you'll notice at the top of the camera switcher at the moment it says all sources but if I come over to this a slash b that is what they call placeholder cameras and what that means is that you can build out a scene and instead of putting a specific camera in that place you can actually use one of these placeholder cameras this is really powerful for a couple of reasons first of all if somebody has got you know multiple different cameras attached to their computer specifically using cam link then sometimes what can happen is if you shut down your computer and restart it the max sort of loses the order or loses the idea of which camera is which and there have been cases where you know people shut down the camera shut down the computer start it up again and then find that oh they've got to remap the cameras to the right scenes in ecamm and it's not ecamm's fault it is a mac issue but nevertheless it is a problem for ecamm users sometimes there are ways around it but anyway this actually basically solves that issue because now what you can do is you can assign a placeholder camera instead of an actual camera and then that means you can just come and switch them out in here let me show you what I mean if I create a completely new scene as well come down here create a new scene so now let's say I want to put placeholder camera A in here and I'll put placeholder camera B in there then what will happen is that one's upside down let me just go and fix that fix that in here there we go I've mounted it upside down so now we've got those two placeholder cameras but I could come and just in here switch out this one for any one of those other cameras and you'll notice that it changes it in that scene but you can do this for you know as many scenes as you've got so in all of your scenes as long as you have used placeholder cameras then basically you can just come in here and tweak them and if your your computer has lost your cam link order then you could just come in here and and change those out just in here and it would propagate that through all of your different scenes the other place where this is going to be really useful is actually if you are somebody who is you know creating scenes for other people maybe you are you know the producer and somebody else is you know running the show sorry you're the designer somebody else is producing the show or maybe you are offering this as a service you know designing profile packs for people then this is going to allow you to drop these placeholders in so that when somebody loads it up onto their computer then they all they need to do is go into the the camera switcher go into the placeholders section and then just switch those out you'll notice that there is just two there at the moment but actually there's also this little plus icon at the bottom so you can just add another placeholder camera add another placeholder camera and just sort of keep going and add and change those all out. One thing to be aware of with this is that you've actually just seen it that you know one of my cameras was upside down so the settings that you assign to the placeholders are separate from the settings that you apply to kind of that same camera in the regular view if you see what I mean so here I've got my Canon EOS 60D this is my camera A so if I come in here and make some changes to this like I'll I'll just wait a second come in here camera A like that I forgot to press the little button there so if I was to say I don't know change the the change the brightness just completely screw this over you can see that it's done some weird things to my camera there so if I come back into here and select my camera in here you'll see that the the settings are are different so just make sure that you know when you are tweaking things you understand the distinction between tweaking the settings on the actual placeholder versus tweaking the settings on the the actual camera itself. This makes perfect sense though because you do want to be able to have this sort of you know separate control over these these settings as you might may want to use one in one place and one in the other so I totally get to why it is this way and it makes sense. We've also got the ability to record isolated video of these cameras as well and the way that it's been implemented is kind of related to this because if I come into the settings once again we've now got a completely new recording tab so this tab up here recording and there's a couple of things that have moved actually so audio previously recording isolated audio tracks which we've had for a while now that was previously in the audio section now that has moved to recording so I'll just jump ahead but recorded isolated audio tracks is there and then you can see here we've got to record all broadcasts so that's worth choosing whether you want to record a local recording of you know all of your all of your your streams basically all your broadcasts and so that's a toggle now there as well but this is the really new section record isolated video tracks and basically what that means is obviously you've got your main ecamm production let me just change back to this scene for you there obviously you've got your main ecamm production which is being recorded as a video file whatever size that happens to be obviously we set the stream size there to be either you know low medium high 1080p 4k whatever it happens to be 2k you can set that in in the options and the output but now what we've got is also the option to record as you can see camera a camera b and also interview guests so essentially of the cameras that you've got coming in you've seen that I've got basically six or five different cameras connected here then I can record basically two of those but then any interview guests a couple of things to note about this well three things actually first of all it is only available to people on the pro plan it's also only works with m-series max so apple silicon max because of the sort of processing load involved in it and that being the third one you're basically recording now in addition to the regular outputs that you've got going out from ecamm you're now asking the computer to encode an entirely new video file at the same time and in fact maybe not one maybe two maybe three maybe 12 because you've got two of your own cameras and you got to 10 guests so think about how much extra processing power is going to be required to that and just sort of bear that in mind really when you're deciding you know what to do with this and if you have any issues then before jumping up and down and saying my computer's really slow I've just been trying to record you know 12 isolated video tracks isolated audio tracks and also my main feed which is being recorded at 4k you may find that you have some processor issues so just bear that in mind that's a computer limitation not an ecamm limitation so on that point as well the other thing about that is that the the maximum recording size of the isolated video files is going to be 1080p so you can't record at the moment 4k for the iso files your original recording obviously still will be whatever you've set that to but just the iso videos are not going to be up to a 4k maybe when their processors increase they can bump that up a little bit but as I say computer limitation anyway what you've also got though is you can as well as recording isolated audio tracks just as we've been able to before you can also choose which audio you want to be included with those those cameras and those are those guests as well so the default here is that the is program audio for the camera feeds on your computer and then guest audio for your interview guests which makes sense because you want you know an isolated feed for your guest and their specific audio but what you can do here is you can change this to either non maybe you just want a feed with no audio you can also change it to program audio or primary mic or secondary mic so it may be that you've got sort of you know the like in this case this shot here I would likely want to have my camera recording my audio and just have the the primary mic so this microphone and I want that with this shot but maybe the you know over the over the head shot or something like that coming from this side maybe I want the full program audio maybe it's a wide shot of you doing an interview or something like that and you want the full audio in there whatever it happens to be so you can choose this and as I say this is related to camera A and B in the switcher so if I was to come into camera B you'll notice that it does say in brackets with the name of the actual camera that's allocated to that that camera in the switcher so if I come back to the switcher and change this to say this one then now you'll see that that is now recording that separate file there as well I should say that as this is recording I am recording ISO video at the moment so it is technically you know switching these as we go through as well so that is something to bear in mind you can have an all ISO video file and then sort of switch partway through as well if I come over to the finder what you'll see is this is what it's going to look like basically in your output when you've got the the files out at the end of the recording here we've got ISO video sorry ISO audio to start so main mic sound effects and guest and then in this case for this test that I did earlier and then we've also got the ecamm live main recording then I've got camera A camera B and I've also got the guest one there as well so that was basically ISO video with one guest and so I've got four files hopefully that all is pretty logical and makes sense but yeah do certainly bear in mind the processor hit that you're going to be taking with all of this now I should say that all of these updates when it makes it into the final release we're not far away from ecamm live version four the developers Ken and Glen have said that you know this is pretty much the full features now there will be sort of tweaks and things like that based on sort of feedback from these beaters but we are pretty close now to the ecamm live version four now when that happens I will be updating my ecamm live masterclass you can already get access right now though it's over 100 videos covering everything from absolute beginner all the way through to advanced of ecamm live it's your online encyclopedia basically where you've got all of the latest information and part of the reason I made it was because there are so many features constantly being added to ecamm live that I wanted to have a place where you know you could always know that you get the latest information I've got hundreds of videos on ecamm on my channel well 150 to be precise and but some of those are out of date because of the new features well ecamm live masterclass resolves that because you basically pay once you get lifetime access to all of those updates always the latest information it also covers stream deck how to use stream deck with ecamm how to program stream deck how to use ecamm to go into zoom and level up your zoom presentations how to use it with things like keynote as well and of course all the other tech that goes along with ecamm so you can find out more about that at ecamm live masterclass.com and use the offer code cyber 22 from now through to cyber monday and you can get an extra 35% off so link to all of that in the description as well but definitely check that out okay so aside from the camera switcher and the iso video only a couple of minor features there is also some new functionality when it comes to live streaming but you'll see here that we've got the view count just up at the top corner where is it just there we've got the view count and also the number of thumbs up well what they've added in now is if i click on this because i am multi streaming which obviously is another feature of the beta coming to version four in one of the previous beaters it was added in so i'm streaming to two platforms directly from ecamm at the moment well this little drop down now can show you exactly where those viewers and those likes are so i'm watching myself on youtube very sad and you can see that i've just got one thumbs up so it's going to show you that differentiation so when you are multi streaming you're going to see where your audience is which i think is a really great little feature the other thing that you can do from here then as well is you've got this little icon next to each one well first of all let me just highlight this you can see how it's got a little green icon and it says streaming so you've got that little sort of confidence of knowing that you are actually streaming to those platforms but if i click this little icon next to that you've got a few different options here so we can say view in safari copy the video url so if you're live streaming and you want to i don't know you've started the stream you want to copy the url paste it into twitter or something like that to let people know that you're streaming whatever happens to be i mean a message you can do that from there you can also go directly to facebook producer or if you are in youtube then you can go to youtube studio and so on but now what we can also do though is actually end the stream on individual platforms so i might say now right well i'm actually going to end the stream now on facebook so why might you want to do that well you may want to just sort of have a start of a stream on a particular platform or multiple platforms but then you go into like a member section or something like that or you start the stream on a certain platform but then send everyone over to someone else to somewhere else to sort of continue the stream on and sort of close down all the others so whatever the case you can do that from there now so now you can clearly see we are stopped on facebook but we are still streaming to youtube the other thing that they've done related to live streaming is actually they've added in the ability to activate captions in linkedin so what you'll see is when you are scheduling a stream now in linkedin you've got this extra little checkbox to additional platform options generate automatic captions so that is specifically a linkedin feature that they've added another thing they've done is they've updated the widget overlay feature so if i just come back here then what it looks like now is i've just got a a widget here which just happens to be my website obviously you may have some different types of widgets but previously widgets were basically just on the screen i mean they can be for all sorts of things i use one for my buy me a coffee link link in the description i also use it for you know subscribe accounts and things like that but what some widgets allow for sort of interaction or maybe require interaction and a case in point would be if you'd got some sort of video player that you wanted to put over the top as a widget as an overlay or in this case i'm just showing you my website just for the sake of demonstration widget overlays by the way are just down here so the one that looks like the little world icon click on the little plus icon and there you can add in the url for the widget and give it a name if you want so that's how it'll appear in your overlays list but from here now what they've added is you'll see just below the widget overlay we've got this little icon of the finger pressing there and then you can toggle this one on and this basically allows you to interact with the widget so if i toggle that one on now what you'll see is now that i'm hovering over the widget i can actually scroll the web page i can go and click on some things if i click on this button the button is going to actually work it's going to go to the next page like that and then you can also use the forward and backward buttons here so if you are on a web page you can scroll forwards and backwards so obviously you know screen sharing and screen sharing a web page is one thing but there may be cases where you actually just want that embedded as a widget like i say for things like video players and and the like then it's going to be really useful for that if you're on macOS Ventura then you may be familiar with the continuity camera feature which allows you to use your ipad and iphone as a camera as a webcam for your mac the way that that would work is that every time something wanted to use your continuity camera then it would just pop up in a little alert for you to say that something was trying to access it well obviously with ecam you know you might have that running a lot of the time and you might not want it making these sort of calls to continuity camera so now although it will appear there in the switcher there is just a sort of click to activate for continuity camera within ecam now that pretty much wraps up all of the awesome new features as i say you can get a link to this down in the description if you're not on the beta already definitely worth trying it out i'll leave a link also to another great ecam video over on the right hand side and i've just got to say a big thank you to my channel members whose names are coming up now because they help keep the lights on in the studio thank you so much i really appreciate your ongoing support have a great day everyone and enjoy the beta


Hello. I'd like to talk to you about the situation we're living in Paraguay in the context of the quarantine due to the COVID-19 epidemic. Well, we're really getting close to starvation in this country. The country has been, for a long time, being important to feed its people. The traditional and local food production systems have been dismantled to accommodate widespread production of expert commodities like soybeans and cattle. In this scenario, most of the population cannot go out to work. That means that they have less income or they have no income, actually, to go and perturbe. And also, the food prices have been skyrocketing up to 500 percent in some items and in an average of about 200 percent in fresh produce. So, we're really getting on the brink of starvation and we're really getting on the brink of actually survival riots, I would call it, because people will need to go out and get food for their children and for themselves. And this is happening in a scenario where the government is imposing really harshly these quarantine measures. And it's actually being quite successful in terms of controlling the epidemic, but are not taking the right steps to avoid people from falling into another epidemic, which would be starvation.


Your business, Jetco Solutions. Can you tell us a little bit about your business and what it does? Absolutely. Jetco Solutions was founded just over 13 years ago, and in a nutshell, we help other businesses sell to government. And so if somebody's looking to sell a product or service and they don't have the capability or the capacity, then we become an extension of their sales marketing efforts and basically find opportunities, write proposals, submit proposals, and do business development on their behalf. Okay. Now, in the early years, what did you do prior to founding Jetco Solutions? So I guess in the early years, when I was still on the service, I was a paratrooper. So I jumped out of airplanes for a living. And now that doesn't necessarily directly, I guess, tie into business other than having the courage to jump out of a perfectly good airplane and having the perseverance to pick yourself up after a relatively hard landing and go complete the mission. Once they decided to get out of the service, I went to work for a big company here in Kalamazoo, Michigan, a company called Striker that was in medical devices. And I was there for four or five years, and then I went to a small business called Marshall Plastic Film, and they were a plastic film extruder, family owned that supported basically the automotive industry. And so I guess I got my taste of being in a big business and a small business and both have their unique challenges and rewards. And then in 2007, the automotive industry here in Michigan got real soft. And so I was one of the first folks that were let go with when Marshall Plastic Film downsized because of the automotive industry. And so I found myself, I guess, unemployed and over employed, I guess, but nobody was hiring here in Michigan. And so I was born and raised in Michigan. When I got out of the service, I came back. And so I basically would look for a job for about six months and then about the March timeframe, I went to work for on a contract basis for a business that helped develop training instruction and that was short lived. And basically in around June, I said, I'm going to go by myself. And I had created Jetco. And back then it was Jetco packaging. And I was going to sell things to the government. And I was going to give my birthdays in March. And so I basically had from June to the next March was, you know, so I had nine months to get this thing up and moving. And so I went full time. And I was fortunate that I had married a great lady and business partner who subscribed to Dave Ramsey.  Because crazy enough, she had was unemployed as well. And so, you know, from about November to March, we were and we were newlywed. So in June, we got married, her father passed away in August. We were both unemployed in November. And she was working on some contract positions. And so, you know, that first year of being together was, you know, was I guess, a series of very high ups and downs. So June rolls around. And I say, I'm going to do this full time. And, you know, folks and family are pretty skeptic, skeptical of, you know, of this new business venture. And I had, when I briefed my business plan, to the, to then it was the SBTTC, David Sayers, and then, you know, I hate to admit that Dave Hamnir made me cry. And, but he had, you know, some great points.  And, you know, I'm thinking to myself, well, maybe I didn't, didn't make the right choice. And about October or so, we landed our first client. And then a couple of months later, number two, and then probably at the end of the year in December timeframe, you know, so we had three, three clients at the time. And so going into 2008, our goal was to be able to pay the bills. So that was year one was, hey, at least we can, you know, I'm not taking the salary, but, you know, we can pay our bills and, and my son played hockey at the time. And so, you know, not have a ton of disruptions. Our goal for year two was for me to take a salary. And then year three was for myself to take a salary and for pursuit to, to take a salary. So we grew organically. And so, you know, we were, we were being able to, to survive along the way. And, you know, I recently went back and I looked at some of the work we did back then and some of the agreements that we had. I'm like, wow, I wish I, I wish I knew then what I do now.  But then I think, you know, we were, we were scrappy and, and we were hungry and, and I said, you know, I don't, I don't want to lose that scrappiness and that, that ability to go out and take chances and, and be entrepreneurial. It's, and so if I could put that, you know, kind of that magic in a bottle, that would be great.  So, you know, the, the scrappiness I think is still there. But, you know, I'm not sure we would assume the same level of risk nowadays that we would, that we probably would have back then. But, you know, back then it was just my wife, Sue and I, and, and, you know, we started in our house with partner deaths and, and she was a fantastic writer still is. And so she would write the proposals and that would do the business development and, and then that's how we started. So we didn't take a loan. Nobody would give us any money back then. I think we started with, with $5,000 with Fifth Third and then our neighbor worked at P&C and, and, you know, he said, well, I can get you to 20 and, and, but we realized, you know, we don't really need, we don't really need that because we'll, we'll cashflow this and if we can't afford it, then we won't, we won't buy it. Right. Right. And I think that's, I was talking to somebody the other day and, and, and I told him the story about, you know, early on in our, our Jetco career, M Live did an article on us and his name was Rod, Rod Cackley. And so he comes back, you know, he showcases six companies, comes back four years later and follows up and, and there's one company remaining. And that was us. We were still in business. The other ones had, either been sold or had closed their doors. And, and so, you know, one of the tenants that we had lived by was if we, you know, if we can't afford it, then we don't need it. And I was telling, I believe it was our, our, our marketing director.    And then they, then they try to figure out what they're, what they're going to do. And so I kind of look at it in the opposite way of, you know, help your clients be successful.   And, and, and, and I, to open the door from the inside, I had to roll down the window and open it from the outside.  But right now, I think we just kind of look, we look poor. And I said, we should at least replace the Explorer because it's kind of an eyesore. So we got to, we got a Ford Fusion. And, and we put 254,000 miles on, on that car over the years. So


Hello everyone, this is Amit Dan and on this channel you'll find financial travel and more videos if you like what you see Please do the thumbs up and consider subscribing. Thank you Hello everyone, this is Amit Dan of amitdan.com today is my day 2 in New Delhi, India And I'm visiting Humayun's tomb and I'll be giving you some history background And I'll show you some places I'll try to explain you some places I'll be visiting within the complex So the tomb of the Mughal Emperor Humayun in New Delhi and this is an awesome display of architectural splendor It was commissioned by Empress Begum, Begum, his first wife and chief consort in 1569 to 70 and this has been a UNESCO World Heritage Site since 1993 The complex you're looking at right now is the complex where the temporary workers used to stay because Lots of workers actually were foreign workers at the time and most of them came from the Arabs or they were Arabs. So these places were Housing them temporarily while they were working to make the tomb and right now this Whole complex is going through a massive renovation restructuring to bring in more twist and money So definitely is going to look much better once the whole renovation is done After the Empire Empire Humayun's death in 1556 his wife Begum Begum was so great that she dedicated her life to build the most magnificent Resolume in the Empire and Humayun's son Mughal Emperor Akbar regularly visited the tomb during its construction and Akbar's grandson who is Shah Jahan and this is the guy or this is the Empire who made the Taj Mahal was so Masmerized by the architecture of this tomb, which is his grandfather's tomb and he used many aspects of its design including the double dome of the designing and it's all reflected in the Taj Mahal On the minarets tip or on top of the minarets there were golds and during the British rule they actually removed the gold so now these are gold plated and There's the big dome in the middle although it looks a single-dome architecture, but it actually is a double-dome architecture it's not a single dome and if you can see those windows arched shape windows there are 56 of them and Due to the weather those arched shape windows they actually do air circulation to the dome and that makes the dome very comfortable and cool cooler than outside because in New Delhi or India the temperature can go high like 40 50 60 degrees and that time when this was built there's no electricity, so they had to keep things cool and that's how the huge use the Arch-shaped windows to do the air circulation and air ventilation throughout the dome to keep it cooler The tomb is surrounded by a huge garden. This type of traditional garden was popular in the Mughal dynasty and known as Sharpa the rectangular garden was divided into four squares by center of fountain and The water was actually going from one part or one side of the garden to the other side of the garden Which is far away through these water channels Because that day there was no way to pump in a water because there's no electricity so they had to came up with this unique idea to move water or flow water throughout the garden to keep everything green and so basically from the central middle place water is coming and then going to the other side and Depending on like, you know how the water flow I guess so it's just made the whole place Watered and Keep the water flowing. This is the first structure to use red sandstone with the white marble border linings at such a grand scale It is a rectangular Missolium crowned by an onion-shaped dome which I mentioned before and it looks like very similar to the Taj Mahal But instead it's instead of white marble. The red sandstone Sandstone was used and again, this is the tomb of the Mughal Empire Humayun who's actually the grandfather of the Empire who built the Taj Mahal and his name is So This is my first sightseeing in New Delhi, India If you haven't subscribed yet, please subscribe now because there will be more videos coming up and I'll see you shortly. Thank you


We humans have always been obsessed with communicating. It's how we turn ideas into the glue that binds us together, into tribes and societies. In oral traditions, an idea spreads from person to person. Everyone briefly owns it, modifies it, and can choose to pass it through social networks or let it die. Its survival of the fittest and only the most compelling ideas thrive. But the last hundred years of the broadcast era changed all that. Here, audiences became consumers of ideas, not participants in spreading them. Brands and causes with access to broadcasts could guarantee attention. It became survival of the richest. Now that the broadcast era is ending, what will come next? With audiences again in charge of what ideas they seek, skip, and pass along, we are entering a time that looks like a digitally empowered version of the oral tradition. The digital era. Here it's survival of the fittest again. And what kind of ideas survive in any oral tradition? Stories. It's time we all became storytellers again. But how? It starts by thinking of your brand itself as a story. Every communication you create is another chapter in an unfolding epic starring you and your audience. On the surface of any story, you'll find characters, settings, conflict. None of these things are placed there by chance. Every visible element of a well-told story is there to illustrate a core truth about the world, a moral of the story. Morals are themselves expressions of values that the storyteller wants to share. Different values create vastly different morals and story surfaces. Joseph Campbell, who studied stories across cultures and millennia, discovered the most universally successful stories, or myths, call audiences to hire human values, like community, justice, truth, and self-expression. Campbell also uncovered the hero's journey, a formula for iconic storytelling that has always worked. We still see it everywhere, and it provides huge insights for a story-based brand. An unlikely hero, a powerless outsider muddles through a broken world. She wants to live out her higher values but feels powerless to do so. Then she meets a mentor who tells her so much more as possible. He gives her a magic gift and calls her to a dangerous adventure of self-discovery. On this adventure, she confronts the evil source of the world's brokenness and seizes a treasure with which she comes back to heal society. Audiences thrill to hear this story again and again. Brands can use this formula to become storytelling masters, too. How? Start with the hero. This hero doesn't start out as the insider, the one with the power. She is an outsider to your brand. So she's not you. The hero of your story is your audience. So if you're not the hero, who are you? The mentor. You are the character that reveals more as possible. You work to connect audiences to their deeper values. You teach a core truth, a moral of the story that provides hope to heal a broken world. Stop talking about how great you are and start telling stories about how great your audience can be. And give them a magic gift, something that makes the adventure you're offering seem likely to succeed. A great brand gift has taken good story brands and made them cultural icons. Any brand can become a story brand by finding its relevance in its values, its consistency by building every communication around its moral. It finds resonance in its unique voices mentor rather than hero and its differentiator in its gift. But that's the easy part. In the transparent world of the digital era, mythic success will take something more, a commitment to live the higher values you espouse. Those that don't will lose credibility and their stories with it. Brands brave enough to live their values will reach iconic status and light up the digital landscape. They will tell the stories and create the myths that will win the story wars.


Aaron tell you and hear your post game meeting about the the play there at second base and third base. I haven't talked to him.  I really needed it so I'm just happy to finally be on the board. Clint you talked about working hard in the cage changing your stance a little bit trying to do things to get going offensively what significant changes did you make to get in a good place at the plate. I think the biggest I think it's two two things the biggest thing was like I was trying to use my legs a lot more trying to put a lot more you know emphasis on getting into that back leg and then to I was trying not to let my hands drop so much because when I where my hands start versus where they were finishing the last few weeks it was a significant drop and and I think that was causing a few things to go wrong and it was something I monitored the last few days and I feel good about you know what happened tonight.  It was it was an experience that I haven't experienced too often. You know obviously I came into this season not much just myself a lot of us with expectations and it hasn't gone the way for us all the way that we wanted to and for us as a team to put together the night like we did tonight it definitely takes pressure off the team and pressure off each person individually whenever we're clicking like we are. And John Carlos stand kind of said that hitting's contagious. It's also heating up outside how much is there to that. It's definitely contagious.  But can you kind of just go through what happened on the on the play at 3rd. I'm it was just it can't happen you know it was a bad base running mistake you know I joke with a few guys I was haven't been out there in a while and it's just so excited to try to get to 3rd so you know it's a bad base running mistake there's not really any other way to you know sum it up other than it can happen and it's it's not going to happen again. Thanks click you go next respect. Click do you think a night like this can can jump start your season offensively. Yeah yeah I mean especially because you know obviously it hasn't looked pretty the last few weeks but the last week or so I felt really close you know I found off a lot of balls I had a lot of walks there for a short period of time and you know I felt like I was really close but didn't have the I didn't have the the success yet you know as far as putting the ball in playing getting a hit so the the way that I turned on that 3-1 fastball in my last at bat hitting about that's something that I haven't done in a while and I definitely think that the field that I have at the plate I'm going to I'm not going to I'm not going to let that go and I'm going to hold on to that as long as I can. Do you think your experience just being in the big leagues a little bit has helped you during the stretch and kind of got you through a difficult period. Yeah you know I mean we have a lot of really good people in my in our corner right now you know teammates coaches we have a great psychologist and and you know I have a lot of support people back home that are have been reaching out but you know sometimes it does become an overload and and you've got to you know remind yourself what you did to make yourself make yourself successful and how you went about it and today. I did some early work with Marcus and PJ and left feeling really encouraged that you know today is going to be the day and struck out the first at bat but you know tried to I tried to live in the moment you know and forget about the success and the failure and just live in that moment and I feel good about what


From New York City, it's theCUBE. Covering IBM Data Science for All, brought to you by IBM. Welcome back here on theCUBE. We are live in New York, continue our coverage here for Data Science for All, where all things happen, big things are happening. In fact, there's a huge event tonight. I'm going to tell you about it a little bit later on, but Trisha Wang, who is our next guest, is a part of that panel discussion that you want to tune in for live on ibmgo.com, six o'clock, but more on that a little bit later on. Along with Dave Vellante, John Wall, Trisha Wang now joins us. A first ever for us, how are you doing? Good. A global tech ethnographer. You said it correctly, yay! I learned a long time ago when you're not sure, slow down and breathe. You did a good job. Want to do it one more time? A global tech ethnographer. Good job. Studying ethnography and putting ethnography into practice. How about that? Really great. Let's take you on the challenge, Trisha. I'll say it 10 times faster. How about in a row? We're done. We're done. Also co-founder of Sudden Compass. Yes. First off, let's tell our viewers a little bit about Sudden Compass. And then I want to get into the ethnography and how that relates to tech. So let's go first off about Sudden Compass and the origins there. Yes, so Sudden Compass, we're a consulting firm based in New York City and we help our partners embrace and understand the complexity of their customers. So wherever there's data and wherever there's people, we are there to help them make sure that they can understand their customers at the end of the day. And customers are really the most unpredictable, the most unknown, and the most difficult to quantify thing for any business. And we see a lot of our partners, really investing in big data science tools and they're hiring the most amazing data scientists, but we saw them still struggling to make the right decisions. They still weren't getting their ROI and they certainly weren't growing their customer base. And what we are helping them do is to say, look, you can't just rely only on data science. You can't just put it all into, you know, only the tool. You have to actually think about how to operationalize that and build a culture around it and get the right skill sets in place and incorporate what we call the thick data, which is the stuff that's very difficult to quantify, the unknown. And then you can figure out how to best mathematically scale your data models when it's actually based on real human behavior, which is what the practice of ethnography is there to help, is to help you understand what do humans actually do? What is unquantifiable? And then once you find out those unquantifiable bits, you then have the art and science of figuring out how do you scale it into a data model? Yeah, see, that's what I find fascinating about this is that you've got hard and fast, right? Data, objective, black and white, very clear. And then you've got people, you know, we all react differently. We have different influences and different biases and prejudice and all that stuff and aptitudes. So you are meshing this art and science, right? And what is that telling you then about how best to your clients, how to use data to a best practice? Well we tell our clients that because people are, you know, there are biases and people are not objective and there's emotions, that all ends up in the data set.  And it's something that needs to be corrected because that means decision makers are making decisions based off of numbers thinking that they're objective when in fact they contain all the biases of the very complexity of their humans that they're serving. So there is an art and science of making sure that when you capture that complexity, we're saying don't scrub it away. Traditional marketing wants to say, put your customers in boxes, put them in segments and, you know, use demographic variables like education, income and then you can just put everyone in a box, figure out where you want to target, figure out the right channels and you buy against that and you reach them. That's not how it works anymore. Customers now are moving faster than corporations. The new networked customer of today has multiple identities, is better understood when in relationship to other people. And we're not saying get rid of the data science. We're saying absolutely have it. You need to have scale. You know, what is thick data going to offer you? Not scale, but it will offer you depth. So that's why you need to combine both to be able to make effective decisions. So I presume you work with a lot of big consumer brands. Is that a safe assumption? Absolutely. We work with a lot of big tech brands, you know, like IBM and others. And they tend to move at the speed of the CIO, which tends to be really slow and really risk averse. And you're afraid to over rotate and get ahead over their skis. What do you tell folks like that? Is that a mistake being so cautious in this digital age? Well, I think the new CIO is on the cutting edge. I was just at a constellation research annual conference in Half Moon Bay. Our friend Ray Wong. Yeah, Ray Wong. And I just spoke about this at their constellation Connected Enterprise where they had the most, I would have to say, the most amazing Ford thinking collection of CIOs, CTOs, CTOs all in one room. And the conversation there was like, we cannot afford to be slow anymore. We have to be on the edge of helping our companies push to ground. So investing in tools is not enough. It is no longer enough to be the buyer and to just have a relationship with your vendor and assume that they will help you deliver all the understanding. So CIOs and CTOs need to ensure that their teams are diverse, multifunctional, and that they're totally integrated, embedded into the business. And I don't mean just involve a business analyst as if that's cutting edge. I'm saying, no, you need to make sure that every team has qualitative people and that they're embedded and working closely together. The problem is we don't teach these skills. We're not graduating data scientists or ethnographers who even want to talk to each other. In fact, they think that each side thinks the other side is useless. And we're saying, no, we need to be able to have these skills being taught within companies. And you don't need to hire a PhD data scientist or a PhD ethnographer. What we're saying is that these skills can be taught. We need to teach people to be data literate. You've hired the right experts. You have bought the right tools, but we now need to make sure that we're creating data literacy among decision makers so that we can turn these data into insights and then into action. What is that? Let's peel that a little bit. Data literate, you're talking about creativity, of visualization, combining different perspectives. Where should the educational focus be? The educational focus should be on one, we storytelling. Is that right now, you cannot just be assuming that you can have a decision maker, make a decision based on a number or some long PowerPoint report. We have to teach people how to tell compelling stories with data and when I say data, I'm talking about it needs the human component and it needs the numbers. And so one of the things that I saw, this is really close to my heart was when I was at Nokia and I remember, I spent a decade understanding China. I really understood China and when I finally had the insight where I was like, look, after spending 10 years there following 100 to 200 families around, I had the insight back in 2009 that look, your company's about to go out of business because people don't want to buy your feature phones anymore, they're going to want to buy smartphones. But I only had qualitative data and I needed to work alongside the business analysts and the data scientists. I needed access to their data sets but I needed us to play together and to be on a team together so that I could scale my insights into quantitative models. And the problem was that, your question is like, what does that look like? That looks like sitting on a team, having a mandate to say you have to play together and be able to tell an effective story to the management and to leadership. But back then they were saying, no, we don't even consider your data set to be worthwhile to even look at. We love a candy bar phone, right? This is, it's a killer. And we love our numbers. We love our surveys, that's how it goes. Market share was great. Market share is great. We've done all of the analysis. Forget the razor. Exactly, and I'm like, look, of course your market share is great because your surveys were optimized for your existing business model. So big data is great if you want to, you know, optimize your supply chain or in systems that are very contained and quantifiable, that's more or less fine. You can get optimization. You can grow, you know, you can get that one to two to five percent. But if you really want to grow your company and you want to ensure its longevity, you cannot just rely on your quantitative data to tell you how to do that. You actually need big data for discovery because you need to find the unknown. One of the things that you talk about in your passion is to understand how human perspective shape the technology we build and how we use it. Okay, so when you think about the development of the iPhone, it wasn't a bunch of surveys that led Steve Jobs to develop the iPhone. And so it was, I guess the question is does technology lead and shape human perspectives or do human perspective shape technology? Well, it's a dialectical relationship, you know? It's like, you know, does a hamburger, does a bun shape the burger, the bun or does a bun shape the burger? You would never think of asking someone who loves a hamburger that question because they both shape each other. Okay. So symbiotic, purely symbiotic, right? Yes, sir, you weren't expecting that. No, but it is kind of a, okay, so you're saying it's not a chicken and egg, it's a both. No, absolutely. And the best companies are tuned to both. The best companies know that. You know, the most powerful companies of the 21st century are obsessed with their customers and they're going to do a great job at leveraging human models to be scaled into data models. And that gap is going to be very, very narrow. You know, you get big data or you're going to see more AI or ML disasters when their data models are really far from their actual human models. That's how we get disasters like Tesco, you know, or Target. Or even when Google misidentified black people's gorillas. It's because they did not, their model of their data was so far from the understanding of humans. And the best companies in the future are going to know how to close that gap and that means they will have the big data and big data closely integrated. Well, who's doing that today? I mean, it seems like there are no ethics in AI. People are aggressively applying AI for profit and not really thinking about the human impacts in the societal impact. Let's look at IBM. They're doing it. I would say that some of the most innovative projects are happening at IBM with Watson where people are using AI to solve meaningful social problems. And I don't think that has to be- Like IBM for social good. Exactly, but it's also, it's not just experimental. So I think IBM is doing really great stuff using Watson to understand, you know, identify skin cancer. Or we're looking at the ways that people are using AI to understand eye diseases, things that you can do at scale. But also businesses are also figuring out how to use AI for, you know, for actually doing better things. And I think some of the most interesting business, we're going to see more examples of people using AI for solving meaningful social problems and making a profit at the same time. I think one really great example is Workit. Is they're using AI, they're actually working with Watson. As they are, Watson is their server, that who they hire to work to create their AI engine where union workers can ask questions of Watson that they may not want to ask or may be too costly to ask. So you can be like, if I want to take one day off, will this affect my, you know, contract or my job? That's a very meaningful social problem that unions are now working with. And I think that's a really great example of how Watson is really pushing the edge to solve meaningful social problems at the same time. I worry sometimes that that's like the little device that you put in your car for the insurance company to see how you drive. How do you break, how do you drive? You know, do people trust. Feeding. Feeding that data to Watson because they're afraid somebody, you know, big brother's watching. Right. Well, that's why we always have to have human intelligence working with machine intelligence. This idea of, you know, AI versus humans is a false binary. And I don't even know why we're engaging in those kind of questions. I mean, we're not clearly, but there are people who are talking about it as if it's one or the other. And I find it to be a total waste of time. It's like clearly the best AI systems will be integrated with human intelligence. And we need the human training the data with, you know, machine learning systems. All right, I'll play the yeah, but.  The yeah, but. Yeah. The fact is that machines are replacing humans in cognitive functions. You walk into an airport and they're kiosks. They're, people are losing jobs. Right, no, that's real. So, okay. So that's real. You agree with that. Job loss is real. Job replacement is real. And I presume you agree that sort of education is at least a part, the answer. Yes. Training people maybe, differently. Absolutely. Just straight reading, writing and arithmetic, but thoughts on that? Right. Well, what I mean is that, yes, that AI is replacing jobs, but the fact that we're treating AI as some kind of rogue machine that is operating on its own without human guidance, that's not happening. And that's not happening right now. And that's not happening in application. And what is more meaningful to talk about is how do we make sure that humans are more involved with the machines, that we always have a human in the loop and that they're always making sure they're training in a way where it's bringing up these ethical questions that are very important that you just raised. Right. Well, and of course a lot of AI, people would say is about prediction and then automation. So think about some of the brands that you serve, consult with. Don't they want the machines to make certain decisions for them so that they can affect an outcome? I think that people want machines to surface things that is very difficult for humans to do. So if a machine can efficiently surface, like here's a pattern that's going on, then that is very helpful. I think you have companies, we have companies that are saying we can automate your decisions. But when you actually look at what they can automate, it's in very contained, quantifiable systems. It's around systems around their supply chain or logistics. But you really do not want your machine automating any decision when it really affects people, in particular your customers. So maybe changing the air pressure somewhere on a widget, that's fine. Right, but you still need someone checking that because will that air pressure create some unintended consequences later on? There's always some kind of human oversight. So I was looking at your website and I was looking for, I'm intrigued by interesting curious thoughts. Okay, I have a crazy website. Well, no it is. No, it's pretty good. But back in your favorite quotes. I'd rather have a question I can't answer than an answer I can't question. So how do you bring that kind of, there's no fear of failure, right? To the boardroom. To people who have to make big leaps and big decisions and enter this digital transformative world. I think that a lot of companies are so fearful of what's going to happen next. And that fear can oftentimes corner them into asking small questions and acting small where they're just asking, how do we optimize something? That's really essentially what they're asking. How do we optimize X? How do we optimize this business? What they're not really asking are the hard questions, the right questions, the discovery level questions that are very difficult to answer, that no data set can, no big data set can answer. And those are questions, the questions about the unknown are the most difficult, but that's where you're going to get growth. Because when something is unknown, that means you have not either quantified it yet or you haven't found the relationship yet in your data set. And that's your competitive advantage. And that's where the boardroom really needs to set the mandate to say, look, I don't want you guys only answering downstream company-centric questions like how do we optimize X, Y, Z, which is still important to answer. We're saying you absolutely need to pay attention to that. But you also need to ask upstream very customer-centric questions. And that's very difficult, because all day you're operating inside a company, you have to then step outside of your shoes and leave the building and see the world from a customer's perspective or from even a non-existing customer's perspective, which is even more difficult. And the whole know-your-customer meme is taking off in a big way right now, but I do feel like the pendulum is swinging. While I'm sanguine toward AI, it seems to me that there used to be that brands had all the power. They had all the knowledge, they knew the pricing, and the consumers knew nothing, the internet changed all that. And I feel like digital transformation and all this AI is an attempt to create that asymmetry, again, back in favor of the brand. So I see people getting very aggressive toward, okay, certainly, you see this with Amazon, Amazon I think knows more about me than I know about myself. Should we be concerned about that? And who protects the consumer? Or is it just maybe the benefits outweigh the risks there? I think that's such an important question you're asking. And it's totally important. A really great, Ted talked this one up by Zayn up to Feki where she talks about the most brilliant data scientists and most brilliant minds of our day are working on ad tech platforms that are now being created to essentially do what Kenyatta Cheese calls advertising terrorism, which is that all of this data is being collected so that advertisers have this information about us that could be used to create the future forms of surveillance. And that's why we need organizations to ask the kind of questions that you did. So two organizations that I think are doing a really great job to look at are Data and Society. Founder is Dana Boyd based in New York City. This is where I'm an affiliate. And they have all these programs that really look at digital privacy, identity, ramifications of all these things working with AI systems, really great set of researchers. And then Vince Cerf of Mailing Fong co-founded People-Centered Internet. And I think this is another organization that we really should be looking at. It's based on the West Coast where they're also asking similar questions of like, instead of just looking at the internet as a one-to-one model, what is the internet doing through communities? And how do we make sure we leverage a role of communities to protect what the original founders of the internet created? Right, Dana Boyd, CUBE alum. Shout out to Jeff Hammabacher, founder of Cloudera, the originator of the greatest minds of my generation are trying to get people to click on ads. Quick Cloudera, and now is working at Mount Sinai as an MD, amazing, trying to solve cancer. A lot of CUBE alums out there today. And now we have another one. Trisha, thank you for being with us. You're welcome. Fascinating, it really is. Great question. It's nice to really just kind of change the Lentons a little bit. They're a different way. Trisha, by the way, part of a panel tonight with Michael Lee and Nier Coderra, that we had earlier on the CUBE, six o'clock to 7.15, live on ibmgo.com. Nate Silver also joining the conversation, so be sure to tune in for that live tonight at six o'clock. Back with more of the CUBE though, right after this.


Going on everyone Sam here with late sports cards have been 23 bowman's best and bowman draft sapphire baseball four box Break number four random team style There's a look again at your random results as always you can find these on the website under the results tab as well As the link in chat where you're going to do it guess the super fracter You have 30 seconds when I type guess is start now to guess any player in the checklist We pull a super of them you will win all of the break credit, which is that to hundo now guesses Start Good luck everybody here. We go those guesses flying in everybody Yoshida Morel like it. I like it Carol rise. There we go. Bonilla Colostrario Vladdy. I like it.  He has no time back there. It's so bad All right guesses and now they have Elijah green Brady house Five four three two one. There you go. All right. Let's get started John W. Selling us out on flawless everybody Thank you. Appreciate you John good luck Yeah, I'll drop you a Link I knew it was gonna be an issue because freakin to me. Oh, yeah Oh, there's a link to the checklist right there. Yeah, that's one that we use cardboard connection. All right. Good luck everybody here We go mini diamonds of Shoahit masterpieces Max Clark and Kodai Senga Yeah, got you Gabby Moreno base auto of Spencer Jones. Congrats on that Yankees Bobby Whit wave of J. Rudd Brett Beatty aqua lava to 199 Grats on that one there Mets and Mickey. That is E. Kiltovar and Chris Bryant Refractor of Braylor Guerrero going to the Rays Congrats Tampa Michael Harris That is Gunnar Henderson a felon and Celestyn actual projections and Zach Neto Yeah, hopefully I mean there's a lot of people that have like pretty high hopes for Beatty They'll get playing time. Oh, yeah with Maricio out Gunnar Henderson to 99 Freddy Freeman. You will get playing time Josh Just what can you do with it? Right? Thanks auto Ethan Salas nice one there for the Padres That's San Diego and Christian Yelich. That is a CJ Abrams on the wave and Jeremy Pena a Logan O'Hoppy and Z. Kiltovar Jacob Wilson Jordan Walker on the masterpieces auto 99. Congrats on that one Cardinals. That'll play nice. I'll play just fine And Grayson Rodriguez Corbin Carroll nice one there blue Lazaro Montez to 150 and Shohei Otani Jeff Zurbia.  Yeah, I'll take I'll take time because the Ravens look terrible right now their offense looks awful Juanipa Davidson Gutierrez base auto for the Mets grads on that Mets I mean Stroud doesn't look to be a on all honesty. Stroud does not look much better Christian Picero that is James Wood. They also have James Wood to J. Langley Brett picking up a mixer spot Carl oh I'll get him out of here What you did the freaking Facebook message you sent me Carl Hey, I'm gonna plan for it me Jake and in force. I was great Gunner and for an end of great Gold Gunner Henderson there we go. It's a 50 nice 35 of 50 going to the Orioles Congrats Baltimore That's gonna work. Just fine just fine Very nice space auto junior Caminero and Brett B. That one's probably close. I would think I Andrew Vaughan and Ronald Cooney Wave of Zac Neto and Trish and Kossus that is a refractor out of Brock Jones for it the Raise and Christopher Morrell Anything Kim Collier James Outman refractor as well on to Bowman's best number three Nicholas S with a couple of random team spots as well. Thank you, buddy. Again. Just Bowman's best University I think that's all we have for spots tonight.  Just yeah Still nice. Oh, yeah, Matt Shaw shall act and as well for all the shawlack shawlack shawlack Green auto Nick Moribito to 99 for the Mets And Yuri yeah, that's all right. These are offense look both defenses look very good Both offenses look kind of there. It's Mike trout and J ran that is a Michael Toglia a aqua lava says is a key to one ninety nine and Adley Rushman Crawford Jacob Reimer base auto that would be going to the Mets Rats on that Mets and Corbin Carroll refractor and Anthony Volpe and Matt Mervis refractor You don't realize how long the TV timeouts are in real time until you see you in the game I know dude It's kind of unreal actually it's kind of nuts Again down to five to go in Bowman Chrome University basketball hobby Duke Michigan State Kansas, Maryland Houston Jackson holiday shall act Casey Schmidt Jones base auto Daniel biarte for the brew crew Nice one there Milwaukee and a Bobby Miller is a wave of felon and Celestyn and Jacob Wilson Cam Collier mini diamonds for the Reds Carlos Perez and Justin Crawford a warm in there yet Get this guy out of here, please Marcello Meyer to 150 base auto is cam collar and one soda When's the Dolphins game this week Matt? Is Corbin Carroll masterpieces? Hey, Masatake Yoshida and Aaron judge All right on to sapphire. I don't know what this guy's trying to Like unless your team unless your team's still in the playoffs. I don't want to I do not want to hear it Shady, you want to talk about a little kid? There you go.  There's Colin Hauke to 199. Congrats on that one there Mets Grats on that very nice Mets case that and Tommy Hawk. See a pop of the idea here Ready for a pop of the idea up a dilla up a dilla Yeah, Marcello Meyer and Brian Pugna and and Ludwig Espinosa That is a yellow Kevin Perrata to 75 for the Mets Fred and Taylor and Ethan Salas Max Clark Carlson Reed is a gold first Jackson Wiggins to 50. Congrats Cubbies on the first Connor Burns Ethan O'Donnell and And last pack we got a yellow EJ Ewing for the Mets Mets did well to 75 did Paul Wilson and Quick recap here to 75. We've got Kevin Perrata EJ Ewing gold to 50 Gunner Henderson Jackson Wiggins bass autos Cam Collier Daniel Diarte Jacob Reimer junior Caminero Davidson Gutierrez Ethan Salas Spencer Jones Brock Jones brother Guerrero to 199 Colin Hauke to 99 Nick Morabito Bryce Eldridge and to 99 is Jordan Walker on the masterpiece Break everybody. Thanks again for the fill up next is inception and TC Black


Hello everyone and welcome to another Barnes Takeout. I'm Tamara J. Mason, art historian and art team associate here at the Barnes Foundation and today I'll be discussing this painting, Rhine River Near Hrenen by Salomon von Hoistel. Now before discussing the work itself let's take a look at the wall or an ensemble that it's included in. The picture hangs on the south facing wall in gallery 15 flanking Matisse's red madras in the center. As we may already know Dr. Barnes placed these works alongside one another for their visual affinities providing an entree a way for his students and now visitors to be able to engage with the art. This ensemble what we see is the connection color has within these works. It's not the only connection but certainly one of them. Blue and red seem to have a dominant presence throughout each work and so these two colors act as one way for an observer to experience and be immersed in this ensemble. Now attending to the work as an art historian of the Dutch and Spanish Renaissance works like this speak to my research interests. Von Roistel was a Dutch artist born in Nardin, Netherlands in 1602 possibly 1603. He became a member of the Saint Luke's Guild in 1623 a requirement for all master artists. Before opening a workshop an artist had to undergo extensive training under a master and once finished would present a masterwork or masterpiece which is where we actually get the term masterpiece from in order to be considered for membership. This would have made Van Roistel around 20 when he became a master artist eligible for his own workshop. His style like the one presented here focused on the water and landscapes during what has been called the golden age of Dutch landscapes. Van Roistel worked within a style known as tonal painting a style with limited tonality or color differences within the composition. Viewing this work we see a selection of ochres, whites, blues, yellows, and soft pinks coming together to present this quiet scene of Dutch river life. This particular style was pioneered by Van Roistel along with his fellow Dutchman Van Hoyen an artist discussed in a previous barn's takeout on his work in gallery 14 called Watchtower and here we have the image presented. Focusing in on the scene from Van Roistel we see figures within a boat but their identities are obscured as the tonal differences between them and their surroundings makes it difficult to make them out. The figures almost blend into the ochres of the boat and the rolling hills behind them. Van Roistel like Van Hoyen worked in this style revolutionizing the way artists approached not only the subject of landscape but also how an artist navigated an ever-evolving art market. So what more can we say about Van Roistel's work? Well it's certainly bucolic and serene but you know like that of Van Hoyen it reflects the events which unfolded in the Netherlands that began in the previous century. At the time of the creation of their work two monumental events occurred the century prior that urged artists to become more inventive in their approach to art making. First the rise of the Protestant Reformation in the Netherlands and second the 80 years war. The rise of Protestantism began in earnest in the early part of the 16th century and saw the closure of Catholic churches reopening then as Protestant ones with the removal of religious iconography deemed idolatrous. Protestant churches in the Netherlands during this time were austere removing all the former religious decorations that regaled Catholic churches. Now the 80 years war also known as the Dutch War of Independence which began in 1568 and ended in 1648 was the war that ended the reign of the Habsburgs headed by Philip II of Spain over the northern Netherlands effectively making the Netherlands a republic. With these two events Dutch artists lost two valuable patrons the church which often purchased high value paintings depicting religious scenes and the monarchy who also commissioned works of grand size and effort. Without them artists struggled to make a name for themselves and earn a living because there were fewer rich patrons to commission large-scale works. Artists in the Netherlands were left unsure of who or even when a painting would sell so they often had to go into debt in order to create a work with no guarantee that someone would buy it once it was done. What Van Roistel and others did with this tonal style of painting was carve out a niche for themselves within the market in order to remain viable artists. The tonal style removed the necessity for high priced minerals which were often imported and used to create expensive pigments. Instead more common or more easily locally sourced minerals were used to cut down on the expense of creating these works. The size of the paintings was reduced as well in order to manage the expense an artist would have to take on in having to purchase the canvas the structure and the frame. Now in the case of this particular painting it was actually done on wood paneling rather than canvas which was a far cheaper material than canvas to procure making it all the more inexpensive to make. These reduced paintings also made it much easier to transport them to actual markets where they would be sold to the rising middle and merchant classes who were feverishly purchasing works of art to adorn their homes. Van Roistel and the other tonal artists used this technique as a way to mitigate the possibility of ruin by not painting large scale expensive works without actual patrons who would buy them. Now their nuanced approach to the art market targeted an audience that they could always tap into effectively creating a new market for middle range art or art for the middle class. So returning back to the painting itself what cannot be overlooked is the presence of not only one but four and you know a half if you include the sliver of Dutch flags in the scene. This profusion of flags strikes the note of Dutch identity. This is not only a painting about a lazy river with a few boats but a declaration of Dutchness. The Netherlands is now a republic free of the constraints of a foreign sovereign but also free of the control of the church and like the fight for freedom from these powers the Dutch had long fought the other presence in the scene, water itself. A common hallmark of Dutch identity is its perpetual fight against the raging waters that constantly threatened to subdue the lands it once occupied. The Dutch windmills which we see littered in the background atop a distant hill was one of their biggest feats of engineering transforming a once swampy and uninhabitable land into one of the most powerful countries in Europe. In the painting von Roistel hints at an identity of prosperity, serenity, but also of a will to thrive as a country and all done with the most common of colors. Thank you for listening and I hope to see you next time.


well for as much as things change they also remain the same and tom brady is heading to the super bowl yet again for the 10th time the 10th time tom brady was like you know what i'm tired of doing this in the afc i'm tired of repeating over and over and over again you know what let's go to the nfc let's go run it back over there so congratulations to all the bucks fans uh packers fans i know y'all are very heated right now and i can completely understand why um just to fast forward to all the way to the end of the game on that that third down that third down uh tom brady throws a pass and king who was having a very up and down game he tugs on the jersey a little bit um and i could understand the call but at the same time this has been a problem and it's something that we talk about and it's something that's it's never going to change but the officiating the and that's not the only reason why the packers lost but with the officiating um for the entire game they let them play and i'm like okay cool you're gonna let them play let them play cool no problem but then to call that at the end of the game the situation it's like ah the inconsistencies are crazy but king man he had a oh he gave up what two touchdowns because he gave up the the the touchdown to mike evans i think it was brady's first touchdown because brady he came out just slinging that ball he came out slinging that ball and i think one of the biggest differences one of the biggest reasons that the bucks won this game was third down they continued to convert on third down over and over and over and over and over again they continued from the jump packers just could not keep brady and the bucks off the field they couldn't keep him off the field so that was the packers uh one of their biggest downfalls in this game uh and then king like i said he gave up the touchdown to mike evans and then the the game was close it was a close game it never made a close game it was never like a blowout anything there was sometimes where it looked like it could have possibly maybe gotten to a blowout but uh packers and bucks they kept it close but uh right before halftime right before i i don't i don't know what that was but right before halftime where king gave up the touchdown to scottie miller like you you just you how would the time that was left on the clock i think it was like the play started with like maybe like 10 12 seconds left you why how does he get behind you why do you let him get behind you how does that happen i i just don't understand that but anyway now we talked about that last penalty that pretty much ended the game it didn't end the game officially but the the bucks end up getting the first down and ended the game officially but it was a five point game but now we actually we actually have to rewind just a little bit before that to when the packers had the ball and they decided on fourth down to kick a field goal instead of going for it now that i i understood technically why they did that but at the same time i didn't understand why they did that like if this is the regular season you can get away with stuff like that and just hope that things go in your favor i mean if the if it's the same situation in the regular season where you should probably still go for it anyway but you with the situation that this game this is not this is not a pre-season game this is not a regular season game this is a playoff game and not just any playoff this is the NFC championship this is the game that will get you if you win this game you're going to the Super Bowl you're going to the Super Bowl and for them to to have kicked that field goal and they did have three timeouts they didn't have the two-minute warning but for them to kick that field goal right there was just like wow i no i don't like that i don't like that and rogers one of the best quarterbacks to ever do it one of the best quarterbacks still doing it right now you gotta trust them you gotta trust them because think about this too if safe instance they would have went for it and didn't get it it's still an aim point game but the bucks will take over right there from the five-yard line they will take over from the five-yard line so you're still gonna have the two-minute warning you're still gonna have all three timeouts so you're gonna have four opportunities to stop the clock hopefully for your sake you would only need three but i just the field goal right there didn't make any sense to me but then let's rewind it back a couple more plays i believe it was on the first down the rpo play that and rogers run the rpo play fakes it to the running back pulls it back keeps it or it doesn't keep it but throws it to the receiver the receiver runs the slam receiver's open receiver's not getting hit throws it to the receiver receiver never looks up that's touchdown that's touchdown that was on that receiver he had a touchdown but since he never looked up nothing so it's like okay so then uh and rogers threw the uh to divante adams it's ain't complete too high but then on third was it third down or was it second whatever player was where and rogers scrambling he's looking nothing nobody's open he's looking nobody's open he has a lane to take off and even though and rogers is not the fastest guy in the world he had a lane didn't take it and it's easy for us as fans because we're not right there in the helmin we're not right there in the huddle we're not right there on the field we're not right there playing so it's easy for us to look at it like oh take off and rogers but him his mentality is thinking okay i gotta throw this touchdown i gotta throw this touchdown now he almost threw an interception on that play almost threw a pick but he did have a lane to just take off and run with it and get a touchdown he had space and he got a decent amount of speed he ain't no crazy speed anything like that but he did have a decent amount of speed but he didn't take it and you you see how just the game is it's a game of inches and not just literal inches but when they say it's a game of inches that that just shows you that any single play can have such a huge impact and it can change the outcome of the game just a simple play it was simple plays it just everything counts that much more especially in these close games and the pack is just they came up short now with brady and the bucks you just gotta give them a huge shout out to their defense shack barrett this guy didn't he have like what 20 and a half sacks last year something crazy like that it seemed like he almost had 20 sacks in this game alone that defensive line was feasting they were feasting just killing it and just the defense as a whole man i don't and rogers um when you look at his numbers they were pretty good today uh but the defense they made they made key plays when they counted the most they made key plays when they counted the most when they counted the most they stood up there were times when um like what when brady with some of those interceptions it was like okay pack is about to they about to come back now and they did get uh one of one of their uh wasn't their last touchdown yeah i think their last touchdown came uh after the brady pick but um there were other opportunities for the packers to still come back they had more chances brady the last pick that he threw what he was just like okay whatever mike evans over there whatever he gonna get it nope they picked it off i was thinking okay pack is about to they about to drive down the field but buck said no y'all good no no need it's not necessary and i mean even from the jump even the opening drive the opening drive they stopped the packers so this this buck's defense what did they play perfect no by by by no means that they play perfect but when they counted the most they made place they made the place um pack uh mike evans mike evans very up and down game today beginning this started all the way up beautiful it was as he braided through him a perfect pass was it on third down a second there whatever it was on that first drive he threw him a perfect pass caught it for first down and then of course he got that beautiful touchdown pass as well but then later on in the game um there was a perfect pass by brady and he just dropped it it looked like kevin king it looked like he broke it up when when it was live i was like okay nice play kevin king but then they showed the replay in slow mo and mike mike evans he was just clapping that's all he was doing because he probably knew the outcome of the game already so he was just clapping he was excited he was he was celebrating so he just dropped the ball um and then on the interception a beautiful interception by jerry alexander i mean jai jair alexander excuse me i just i really just called this dude jerry my fault y'all can laugh at me let me have it in the comment section oh my but jair jair alexander on that beautiful interception remind me it was it's sort of eddy reed like but on that interception the pass was a bit high by tom brady so that was on him but also mike evans what he's six five this dude like he's like six feet forever he got both hands on the ball he could have caught that he could have caught that so it's just it was so many different things that happened throughout this game uh that just swayed it back and forth and back and forth but then it just started swaying more and more in the buck's favor and that was all she wrote so now they will be the very first team to host the super bowl in their home stadium never been done before when tom brady uh initially went to the bucks a lot of people was thinking oh yeah uh they they're gonna do it and they just started building that roster they started assembling that roster and this was the goal this was the goal to make it this far and now they officially have so congrats to tamper on making it to the super bowl and we'll see how it goes from here but team keep it clean i appreciate y'all i love y'all and just like the packers are now when it comes to the playoffs i'm out crazy crazy game


So the first one that we're going to be talking about is this idea of playfulness, right? The beauty of playfulness, which is, love is playful, right? It's not serious, it's not, you know, focused, it's not logical, it's emotional, and it's playful, and it's fun, right? It's like how it's youthfulness. It's not being serious, and not taking everything seriously, and not going on a date, and doing, you know, the interview question things, but just relaxing, and having fun, and being childlike, and just enjoying your time with somebody, right? That is, that's playful, that's flirty, that's fun, that's beauty, right?  That is playfulness, and playfulness is very, very beautiful. And the cool thing about, not just playfulness, but all of these different things that men find beautiful is that it creates these deeper, stronger connections to life, it creates relaxation, it gets rid of anxiety, and it makes you feel really, really good about yourself and everything that's going on.