This lecture is part of an online course on commutative algebra, and will be a sort of survey of the dimension of a commutative ring r. So the idea is we would like to define the dimension of a commutative ring in such a way that, for example, if we've got a polynomial ring in three variables, this is the set of ring of regular functions on three dimensional space, so this should have dimension three. And we want to define a similar sort of dimension for all rings. So I'll stop by just giving a survey of attempts to define definition in mathematics. It's usually intuitively obvious what the dimension of something ought to be, but historically it's been quite difficult to define it rigorously. So originally, for example, people assumed the dimension of something was kind of obvious and was just the number of real parameters you needed to define a point in it. Well this sort of fell apart when Cantor showed that there's a bijection from r to r squared and more generally from r to r to the n for any n. So you can't really define the dimension as being the number of real numbers you need to define a point because you only need one real number. These bijections were not continuous, but you would still hope that if you restricted yourself to continuous maps, then you could define the dimension to be the number of parameters needed. Piano came along and showed there was a continuous map from r1 on to r2. This is his famous space-filling curve. So even if you insist that your map should be continuous, you can still parameterize r2 by just one real number. So this is again a bit of a problem for the definition of dimension. Incidentally, there's one rather weird use of this. Norbert Wiener at one point suggested you should actually define integration over r2 using Piano's discontinuous map to reduce this to integrals over r1. For fairly obvious reasons, this attempt to define integration in n dimensions never really took off. Well, if you restrict yourself to differentiable maps, then indeed there's no differentiable map from r1 on to r2. So you can sort of use that to define dimension. Incidentally, it's quite hard to give a rigorous definition of dimension such that it's easy to work with. For example, here's a problem. Can you prove that two-dimensional real vector space is not homeomorphic to three-dimensional real vector space? Well, this is pretty easy to do if you've done an algebraic topology course, but if you haven't, it may need to think quite a bit in order to show that these two things of different dimension are actually not homeomorphic. So one of the earliest definitions of dimension that worked is the Lebesgue covering dimension. Here we see the Lebesgue covering dimensions at most n if every open cover has a refinement, meaning you can make the set smaller, so that each point is in at most n plus 1 sets. For example, if we're working in two dimensions and you take a cover, so if I draw a lot of open sets like this, you can see at these open sets that there are plenty of them that intersect in three points. And if I draw another open set such that it intersects some of them in four points, then you can obviously shrink this blue set that only intersects the green set in three points. However, by making these sets smaller, you can't get fewer than three with an intersection in general. So this sort of informally suggests that R2 has Lebesgue covering dimension 2. It turns out that R to the n has Lebesgue covering dimension equal to n, but this is quite hard to prove. You can try and prove it if you don't believe me, it's difficult. Well, OK, that sort of works if you're doing general topology. We would like to apply this to the spectrum of a ring. And for the spectrum of a ring, this just fails completely. For example, the spectrum of most rings, any two open sets intersect. So the Lebesgue covering dimension of one dimensional affine space is infinite dimensional, which is certainly not what we want. Next, we come to the sort of classical definition of dimension. So this is the definition that works best in general topology, and was due to Brouwer, Menge and Uri's son. And the idea of this definition is that the boundary of X should have smaller dimension. Well, this is a sort of informal principle because the problem is the boundary of a set X quite often has the same dimension of X if it's fairly hairy. So we say definition, a topological space has dimension N, which can be minus one, zero, one, two, three and so on. So it has dimension less than or equal to N. If all points have arbitrarily small neighborhoods with boundary of dimension less than or equal to, sorry, with boundary of dimension less than N. You've got to be a bit careful how you specify this, because if you take a neighborhood of a point and say R2, you can get a neighborhood with a very complicated boundary which still has dimension two. So you've got to say that inside any neighborhood you can find a smaller neighborhood whose boundary has dimension less than N. And then we find the empty set has dimension minus one and is the only set with dimension minus one. Classically, this dimension was only used for separable metric spaces. However, it turns out to work quite well for notary topological spaces that turn up in commutative algebra like the spectrum of a ring. And notary topological spaces are about as far as you can get from separable metric spaces. So it turns out to be quite surprising this definition still works. Anyway, this classical definition does turn out for most sets it gives you the definition you would guess intuitively. And just as for the Lebesgue covering dimension, it's actually quite difficult to prove that N-dimensional real vector space has dimension N. I mean, you're sort of looking at all possible open sets, and there are rather a lot of those. So, at about the same time as the Brouwer-Menger-Urisson definition, Krull came up with the following definition of a topological space. The Krull dimension N is the supremum of N for which there is a chain Z0 contained in Z1 contained in up to ZN of N plus 1 distinct irreducible subsets. For instance, if we look at the spectrum of Kxy, so you remember the spectrum of this is more or less the affine plane, so it's got lots of points and it's got some irreducible subsets that are one-dimensional and it's also got some big irreducible subsets that are two-dimensional. So we can take Z0 to be a point and Z1 to be a line through this point and Z2 to be the plane containing this, so that gives you three irreducible subsets forming a chain. And this sort of suggests that the spectrum of the ring of polynomials and two variables is indeed two-dimensional. Well, this shows the dimension is at least two. It's actually a little bit tricky to show the dimensions at most two because you've got to sort of study all the irreducible subsets of this, which can be quite complicated. So this definition works for notary topological spaces. So this works well for notarian spaces. For non-notarian spaces, it's quite dreadful. So the curl dimension of r to the n, for example, is just zero because the only irreducible subsets are points. More generally for Hausdorff topological spaces, they all have dimension zero. At most, they all just have dimension zero. For notarian topological spaces, in fact, turns out to be the same as the Brouwer-Menger-Urissen definition. So really, there's no reason at all to use the curl dimension because the Brouwer-Menger-Urissen definition is the same as the curl dimension in cases when the curl dimension behaves well and the Brouwer-Menger-Urissen definition actually works well for a lot of other spaces that curl definition fails on. However, for historical reasons, in commutative algebra, we just use the curl dimension rather than the B-MU definition in practice, they're more or less equivalent. Incidentally, this is only normally used for n being finite. If you're into transfinite numbers, you can, if you like, allow the curl dimension of a space to be some sort of transfinite ordinal. You could have infinite well-ordered chains of irreducible subspaces. I don't actually know of any use for this, so I won't say much more about it. Another definition is the Hausdorff dimension. This is a rather nice definition because it's real but not an integer in general. The Hausdorff definition of dimension goes like this.   By studying the rate of increase of this number as epsilon tends to zero, you can define the dimension. There might be some sort of exponent which might increase very roughly as some power of epsilon and you can use that to define the dimension. This is nice because it's used for fractals. Is there any analog of this in algebraic geometry? Well, I've never come across any serious examples of fractional non-integral dimension in algebraic geometry. Here is a rather wild research project for anyone. Can you find any serious examples of fractional dimension in algebraic geometry? Notice that Hausdorff dimension actually requires the space should be a metric space which already rules out most of the spaces in algebraic geometry. Then there's a really neat definition called the deviation of a poset. You remember a poset is a partially ordered set. The deviation of a poset is defined as this is followed. The deviation of a poset p is said to be less than or equal to alpha where alpha is an ordinal if, for any descending chain, a naught greater than a1 greater than a2 and so on, of p all but a finite number of the intervals from ai to ai plus 1 have deviation less than alpha. So this doesn't at first seem to have much to do with dimension. The way it works for dimension of rings is suppose R is a notarian ring. Then what we can do is we look at the poset of all ideals. So we don't need to restrict the prime ideals. And then it will turn out the dimension of the notarian ring will turn out to be the deviation of this poset of ideals. We won't actually use the deviation of a poset and commutative algebra. However it's a rather nice definition because this also works for, first of all, non commutative rings. We will only be talking about dimension of commutative rings in this course and we'll be using most of the crawl dimension. But if you want to do it with non commutative rings the crawl dimension gets a bit dicey but the deviation of a poset still works well. It also works nicely for dimension of modules. By the way I should warn you that the dimension of a module in this sense has very little to do with the dimension of a vector space. In fact all vector spaces over fields have dimension zero in this sense. It's a different notion of dimension. You have to be a little bit careful with the definition of the deviation of a poset. First of all there are some posets for example the rational numbers that don't actually have a deviation. This definition just fails. So some rings don't either. Also the deviation of a poset can actually be different from the deviation of the poset with the order of verse. You have to be a little bit careful about that. But this seems to me to be about the neatest and most general definition of definition you could have for commutative rings. Next we come across an old algebraic definition or at least several algebraic definitions. Here the idea is that a set of high dimension should have many functions on it. So the idea is there are in some sense more functions on a two dimensional space than on a one dimensional space. Well obviously to make sense of this dimension you need to have defined what you mean by having many functions. And there are several ways of doing this. The simplest one is as follows. Let's take B to be a finitely generated algebra over a field K. And let's suppose that B is an integral domain. Then we can look at the quotient field K of B. And we can define the dimension of B to be the transcendence degree of the quotient field over the base field K. So remember this is the largest number of algebraically independent elements we can find. For example, if you take K x, y, z as your algebra B then the quotient field is just the field of all rational functions in three variables and the transcendence degree is equal to 3 and this is what you expect the dimension of this to be because this is the coordinate ring of a three dimensional space. And this used to be used as the definition of dimension in algebraic geometry and it sort of works fine as long as you're just working with varieties over a field. However, as soon as you start to do more complicated objects this definition goes wrong so it sort of fails for other rings. So it fails for the ring z. So the spectrum of z has dimension equal to 1 if you're working with Krull dimension. However, it's transcendence degree over, if you take the quotient field it's just the rational numbers which has transcendence degree 0. So it doesn't really work for the integers. Even if you're working for algebras over a field this definition kind of goes wrong. For instance, it doesn't really work very well if B is not an integral domain because then it doesn't have a quotient field. It doesn't work very well if B is a local ring in general. I mean, for instance, if you take the completion of B then you can end up with things that have infinite transcendence degree and so on. So this definition sort of works in simple cases but just goes more and more wrong as soon as you start making things, as soon as you start looking at more general rings. Next, we can look at the Gelfand Kirilov dimension. This works for finitely generated algebras R over a field K and here the algebra can be non-commutative. And what we do is we can define the dimension to be the limb soup of log of the dimension of Rn over log of n. So I'll explain what this means. Rn is the subspace generated by monomials of degree at most n in some set of generators. So the idea is you fix a finite set of generators and look at all monomials in those generators and see how this grows. And you might think this depends on the set of generators but in fact it doesn't. So very informally this says that R of n has dimension roughly n to the d. So it's growing sort of like a d-th power of n, possibly plus error terms. And again d need not be an integer. So this gives some algebraic examples where things can have none integral dimension. As I said I don't know of examples of this turning up in algebraic geometry unfortunately. It'd be rather nice to have varieties of dimension two and a half or whatever. So when R is commutative this turns out to be the same as the dimension that we're going to define using crawl dimension or non-commutative or hill polynomials. I should say that this need not be an integer it can be zero, one or any real number greater than or equal to two. So there are some obstructions to it. If you've done von Neumann algebras von Neumann algebras also have modules of none integral dimension which is sort of possibly related to that I'm not quite sure. Now another way of defining dimension using the number of functions is the Hilbert polynomial. Here what you do is you look at a local ring with a maximal ideal m and you think of a local ring as being functions on a variety near a point. So we're trying to look at how many functions how many elements the local ring has. Well obviously that's just infinite so we've got to find some way of making this finite. So what you do is you look at the dimension of R over m to the k for some integer k. Well we shouldn't really use the dimension we should more generally we should use the length of R over m to the k. So this works if R is the local ring of a variety but in general you need to look at the length and if R is notarian then the length of R over m to the k is a polynomial in k for k large and it's not a polynomial in k for all k for small k it quite often goes wrong and this polynomial might have degree d and we define d to be the dimension of the local ring R. So for example if we take the local ring of all power series in x then you can see that the dimension of k of x over x to the k I'm sorry I'm using k in two different ways here it's a field and here it's an integer and so this dimension is going to grow like k so it's a polynomial of degree one so this we say that the ring of power series in k has dimension one which is what you would expect and this turns out in some sense to be the best definition of dimension for commutative algebra I mean it looks a bit round about but it turns out to be really easy to calculate whereas other dimensions like the Krull dimension although they are equivalent to this they're much harder to calculate directly so if I had to pick one dimension to use in commutative algebra I would probably pick this dimension using Hilbert polynomials because it's the easiest to work with I should say that the dimension is local in other words we should really define the dimension at each point for example if you've got a topological space which looks like a plane together with a line going through a point then this is two dimensional but it's really one dimensional at these points here and it's two dimensional at these points here so the dimension isn't really an inventor of a topological space it's really a function on the topological space that varies from point to point and if we've got an algebraic variety say we can then define the dimension of each point to be the dimension of the corresponding local ring where we can define the dimension of the local ring using say Hilbert polynomials as I mentioned in the previous piece of paper so yes another definition of dimension you could try is what about dimension of the tangent space this seems to be an obvious way to define dimension I mean if you've got a smooth manifold its dimension is just the dimension of a tangent space at each point and we can define the dimension of the tangent space if we've got a local ring R then the tangent space is well it's really the dual of M over M squared as a vector space over the field K which is R over M and for notarian rings R this is finite dimensional and the trouble is it gives the wrong answer and it gives the wrong answer in some very easy cases for example if you just take the variety Y squared equals X cubed so it's just a cusp then the tangent space at the origin has dimension equal to 2 and obviously this is wrong because this is just a one dimensional object and the dimension at this point ought to be 1 and what's going wrong is there is a singularity at this point and it turns out the dimension of the tangent space is the right dimension at non-singular points and it's the wrong dimension at singular points in fact this is one way to define a singular point if the tangent space has the correct dimension then you can say that the local ring is regular or non-singular at that point so the dimension of the tangent space can't be used to define dimension but it does actually give you useful information because it tells you where your variety is badly behaved so this is the number of generators of the maximal ideal M there is actually a variation of this that works we can ask the minimal number of generators of a system of parameters sorry the minimal number of elements not generators so what's a system of parameters? well a system of parameters is something that generates an ideal containing M to the N for some N greater than 1 so if we took N equal 1 then this would just be the number of generators of M but it may be possible to find a set of generators for an ideal containing M to the N that has fewer generators than M and it turns out that this actually gives you a good definition of the dimension of a local ring we don't ask for the number of generators of the maximal ideal but only of some ideal containing a power of the maximal ideal and this then works then there are some more homological definitions which make use of homological algebra and there are several ways of doing this you can define a homological dimension as the dimension beyond which various homology groups vanish well what do I mean by homology group? I mean some sort of group you define using homological algebra for instance you can look at the groups X to the I of M N and ask do these all vanish for I bigger than something or you can look at the groups Tor I M N and ask if these all vanish if I is bigger than something and you can ask for the minimal length of a projective resolution or an injective resolution or a flat resolution of modules so there are several variations of these these all give reasonable definitions of dimension they're not all the same and they're not necessarily the same as the dimension of a ring defined using curl dimension although they quite often are if the ring is sufficiently well behaved and doesn't have singularities so there's quite a lot of homological dimensions that I'm probably not going to discuss very much further okay that's the end of a sort of introductory survey of definitions, possible ways of defining dimension what we're going to do in the next few lectures is actually start proving things about these definitions the main three definitions we're going to be using are first of all the curl dimension secondly the dimension using Hilbert polynomials and thirdly the dimension using systems of parameters and what we'll do is we'll prove that these three apparently totally different definitions all the same for notarian local rings


Going on everyone Sam here with late sports cards We're in 22 23 p.m. National Treasures basketball hobby four box full case break number four picker team style read off list for names and our teams Got Bernard H with Blazers Cn with the Cavaliers C Chan with the Pistons Chris F. Pacers Chen Wei W. Grizzlies Dave C. Nick's Greg M. Nuggets Hank K with the Timberwolves Incuk K Clippers James L. Nets June H Spurs Kenneth G Celtics Lee Wan-Wai Suns Naren a with the Rockets or in W Warriors Peter M. Mavs Lakers Robert S. Bulls Sean M. King's Magic Thomas C. Sixers Raptors Tony Z with the Heat Troy S Box Tyler B. Pelicans Wenschen S. Jazz Yiming G. Hornets Yong S. Hawks and UH with the Thunder so good luck Everybody let's do some more NT. Cavs gone in number nine. Thank you, Alexie. Appreciate your brother Let me drop you guys a link again to number five breaking next Hawks Nets Cavs Nuggets Hawks Nets Cavs Nuggets four to go on the next one. Here we go. Here we go. NT time Good bye. It was a time. Good bye. It was probably a time 15 minutes before we got walked in here. It's a gold wet mop. There. It's just a mildewy. It's moldy, musty. Formanda. Alright Jamal Murray 299 on the base. Nice one there Nuggets Jamal Murray got a pretty plate of Franz Wagner from Obsidian Rookie. Nice one there. Congrats to the magic Congrats magic. Nets gone in number five. Thank you, Rujan. Down to three to go now. Three to go in number five everybody. Rujan. Thanks Rujan. Davion Mitchell that is 40 of 99. Going to the Kings. Congrats Sacktown. Nice one there at Kings. We've got for the Sixers, Sean Bradley. Game used Timeless Treasures Jersey to 99. Nice one there Sean Bradley for the Sixers. Next up is rookie Jersey Nikola Jovic 299. This next one is nasty. Hey let's go. It's going to Greg too. Nice one there Heat. Congrats 3499. How about lowest number of RPA of the day so far? Two of five green. Peyton Watson going to the Nuggets. Nice one Greg. Congrats on that one buddy. Two of five Peyton Watson. Nasty RPA. Nasty. So cool man. Peyton Watson on the RPA to five. Get that one magged for you. Got to a 21 of 99. Jamerant for the Grizz. Nice one there Memphis. Congrats Grizzlies 21 of 99. Next up is going to be a clutch factor Jersey Auto to 49. Andrew Nemhard. Congrats on that rookie Jersey Auto. I know. I know JT. Nice one there. You can make this this one coming up right here. Penmanship. Nice one there. Going to the Timberwolves. Anthony Edwards 7 of 25. Yes we do MQ. Not today. Well we will have some baseball later but we're starting with basketball today. We just kind of go in order of our schedule. Nice one there. Ant-Man 7 of 25. We've got great signatures for the Mavericks. That is going to be 13 of 25. Jason Terry the Jet.  I love it. Grads on that the Jet. Career ended by LeBron. Got thunked on. And then 275. Definitive Inc. Tony Cuckoo. Nice one there. Grads on that Bulls. Congrats Bulls. Very nice. Very nice. Empty. We get someone to get him out of here. Please. Anybody. Trying to work here. I gotta deal with this guy. Anthony? Yeah. Anthony is not really distracting. What are you talking about? Three to go everybody. Three to go on number five of NT. Meaning we'll only have four left after that. Three to go. Three to go. Three to go. Three to go. It's a massive card so far today too. That is a Cat 299. Carl Anthony Towns. Sometimes. Nice one there. T-wolves we've got. That's sick. Derek Rose from Photogenic. Nice one there for the Bulls on the printing plate. Congrats Chicago. Very cool one there. Got Jalen Brown to 99. Grads on that Celtics. 73 of 99. Jalen Brown. Got Tremendous Treasures. 17 of 99. Tyrese Maxi game used. The Franchise. Javier with the Cavs at number five down to two. Hawks and Nuggets in the next one. What's up Kyle? How you doing buddy? What up? What up what up? Kyle R. Different Kyle R. Not our Kyle R. Derek White, 21 of 99. Jersey Auto. Blake Snell, one side young. Good. That's legit. Grads on that Celtics. Derek White on the NT game used. Jersey Auto. Game Gear. Nice. This is cool. Timeless Treasures. That is going to be 299. Jimmy Buckets. Jimmy Butler on the green. Jersey for the T-wolves. That's T-wolves. Jimmy Butler. Two of 99. Bob McAdoo. Treasure signatures. Going to the Knicks. Nice one there. Bob McAdoo. Again just the Hawks and Nuggets available in the next one everybody. Hawks and Nuggets. That's it. Game used Jersey for the Knicks. 6 to 25. Julius Randall on the Jersey Treasures. Brinkstruck was seen at Snell's back door probably. What a time to win the side young for that guy. 63 of 99. Jalen Brunson. Nice one there. Congrats on that one Knicks on the Penmanship. Nice one Knicks. Congrats on that on the Penmanship. And going to the Blazers again. 2 of 49. Shade on Sharp. Colossal Material autographs. Congrats on that one Portland. There you go. That is awesome. Hell yeah. Very nice trail Blazers. That is Bernard. Good stuff Bernard. Bernard hitting the chat earlier and then now just hit the Sharp. Bernard having a good day. I legitimately, even as a Yankees fan, I would be shocked if Cole did not win the side young in the AL. 2-10. Pascal Siakam. Nice one there for the Raptors. We've got a Trey Murphy for the Pelicans on the, um, printing plate. Trey Murphy. Nice one here. 44 of 99. OG Anonibi for the Raptors. Congrats on that Toronto Timeline Treasures. Timeline Materials I should say. Game used. OG Anonibi. Very nice one here as well for the Sixers. 2.99. Decayme Matumba. That's cool. Game used Sixers Jersey from Matumba. T. Chow picking up a Breakers Delight spot. Cole Reagan's. Chill, chill, chill, chill. Uh, 36 of, uh, no, 96 of 99 is Patty Mills Jersey Auto for the Nets. Yeah, noir plate on that one. Good call, Greg. Uh, David Roddy 2.99. Congrats on that Grizzlies, rookie Jersey. Congrats Grizz. Nice one here. Another true RPA. 76 of 99 that is going to the Timberwolves. Wendell Moore Jr. Congrats on that Minnesota. Three colored true RPA. 76 out of 99. Wendell Moore Jr. Get that into a mag for you. Rookie Jersey for the Blazers is going to be a Shade On Shark. Shade On Shark. This one I believe will go to Utah. That is, yes, validating marks of Jordan Clarkson. Going to the Jazz. Nice one there. Congrats Utah. Yeah, dude. And going to the Sixers. 26 of 49. James Harden. There we go, man. Congrats on that Philly. 26 of 49. James Harden on the National Archive Inc. Congrats, Philadelphia. Love it, man. Get that one into a mag. Congrats to the Sixers. Love hitting Harden, man. Not signed until this year since like 2016. So good to see him back in products as with Mellow as well. Mellow is kind of the same situation. Empty, empty. That is a pretty solid Harden right there for sure. Uh, that is going to be a Deontay Murray at 75. Greatest basketball zone double. Yeah, I would agree. I would agree. Franz Wagner, uh, for the magic on a select plate, select auto plate. I know, God, Sean Marion. I think arena, I think Gilbert Arenas is going to be in products next year. I know he signed stickers for Panini. I saw him, a picture of him signing, um, signing stickers. That is going to be Time Lord, 30 of 99. Robert Williams. Time Lord. This one there. We've got 82 of 99. Brook Lopez for the Bucks. Nice one there. Milwaukee. Nice. We've got a Michael Thompson 40 of 49 for the Lakers. Congrats on that. Clay's father. 40 of 49. Michael Thompson. Nice one here. 73 of 99. Rookie, uh, Jersey for the Jazz is Oshai Gbaji. Vaughn, this is cool. Vaughn, you're going to like this one a lot. That's dope. Going to the Celtics. Uh, nine of 99. Jersey numbered. Raja Rondo. Game used Jersey auto. The season sets to start finally rolling out good. I know we need hoops to come out for sure. Nice one there. We got the process. There is again Joellen Bied 87 of 99. Congrats on that. Yeah, that's a cool one. I knew Vaughn would like that. Joellen Bied. Got one of five. Jalen Green. Going to the, uh, rockets. Nice one there. Houston. I think it is. Yep. Going to Mr. Oren W. 15 of 49. Peerless signatures. Steph Curry. Cooking up, baby. 15 of 49. There we go. Hell yeah. The chef himself. 15 out of 49. I've said that three times, but still an awesome card. 15 out of 49. The chef. The chef. Hell yeah. Say it three times for the guy who's known trading threes. Like what I did there. Grats on that. Steph Curry. 15 of 49. All right. Quick recap, everybody. Yeah, yeah. He's pretty good for sure. We got Joellen Bied, Oshai Bajie, Rook Lopez, a Robert Williams, Shade On Sharp, David Roddy, Kame Matambo, that is, uh, Oji Nabe, Julius Randall, Jimmy Butler, Tyrese Maxi, Jalen Brown, John Morant, Nikola Jovic, Sean Bradley, Davion Mitchell, plates of Frans Wagner, Derek Rose, Trey Murphy, and Frans Wagner. Kind of weird. Two Frans Wagner. Two Frans Wagner is in the same case. What's number five out now, Sean? Two still? Two, yeah. Jalen Green, Ray Jean Rondo, Michael Thompson, Jordan Clarkson, Patty Mills, Jalen Brunson, that is Bob McAdoo, Derek White, Tony Cuckooch, Jason Terry, and Andrew Nemhardt. Magged Gods. We had Wendell Moore Jr. on the RPA, 299. Hawks and Nuggets, everybody. On the last one, you could be, uh, get something like this, two of five, Peyton Watson RPA for the Nuggets. Shade On Sharp, two of 49, going to the Blazers. Nice one there. Got Anthony Edwards, 7 to 25. Really cool, James Harden, 26 to 49. And then Steph Curry, 15 to 49 for the Warriors. That'll do it for the break, everybody. Thanks again for the fil,t. Number five coming up.


I would love to welcome all of you here this afternoon. We have a real special treat. We have three of the staff that worked at the straight theater here with us. I want to welcome, hello, Resner. I want to welcome Ginny Resner. And I want to welcome our Luther, welcome Luther. I'm going to have a private nickname for me. My name is Rebecca Nicholas. I'll be moderating this. And I got to let you know what a treat this is. Just having the three of you on film together is historical. A lot, too. Well, you're more than alive. Looks like you've got a lot, a lot of running and a lot of stuff to keep doing and inspired by it, I'll tell you totally. So here we are today in 2005, talking about the 60s and the Haydash Berry. And of course, you can't talk about the 60s and the Haydash Berry without talking about the straight theater. That was a loved part of the 60s and part of the Haydash Berry. And just about anyone and everyone that was there in that time passed through those doors, has additional stories to tell. But now that we have you all together, we'd like to know the truth. And as you see it, so I'm going to turn it over to you. And I would love to, in the very beginning, just through the memorabilia that you have with you, be able to tell some stories, share some experiences, talk to each other, remind each other, oh, you forgot this. You forgot that. You know, it's the way it is. And I mean, right here on this stage, I think there's more memorabilia than exists totally on the straight theater. We've already learned a lot of things. We learned about the hard work in opening it. We learned about many, many volunteers through the times. I'm way interested in any photos you have, any information, any names that you can give us, any events, things that happened, memories, funny stories, private information, whatever you want to tell us. We really appreciate it. So I'll start with you, Noel. Well, I get a good starting point. I already showed this picture before. Sure. I'd like to see it again for sure. On the outside of the theater. That's the street scene back in the 60s. While we were still putting the place together. That's great. We have painted the marquee here. No, that's exactly where I was going. One side of the marquee was painted. There was a design that was penciled out by Dennis, your friend, Dennis Stearns. Tell us about Dennis Stearns. Well, Dennis was, he was a young painter. He wanted to, he had a design. He wanted to paint these flowers, and this really beautiful vines. Scrolling vines on the marquee of the street theater. And he was up there one day in painting, and he came down and someone had borrowed the ladder. So we spent the rest of the afternoon up there trying to figure out how to get down. He finally figured it out. Did he have a Bosun's chair? He used the Bosun's chair to get up to the third top. And he ended up painting. But you know, like a lot of things there, it was an unfinished, you know, production. Because it was always a question of getting, not just getting money, but people finding the time, you know, because it's not like today when, okay, we're all going to work now and we're going to get this thing done.  So, but the point is that only the one side of it ever got painted. And so that this side, you know, was blank. Which was the side one? The, the. West side. Side that would be the west side did not get painted. The side as you were coming down Hate Street did get painted. I don't know that it actually got completely finished. You know. Wonderful. I love it. You know. But Dennis now designs, you know, professional recording studios. He's a master contractor, you know, genius kind of guy actually. Amazing. I think it's important to be able to also kind of give people an idea of what the structure of the theater is at that point in time. Luther created a drawing that kind of outlined the layout of the theater, who was owned and operated by what the productions were and what the audio is. And it's, it's quite a, I think an interesting little piece and an historical piece because it really does give us some context. Platinum. Platinum. Her tilted towards us. Towards you. Perfect. It's, you know, this is pretty small and it's hard to see. So what, what was that used for? Was that used as a handout or? What did you create? Yeah. I have no idea. I don't remember. See, that's what he used to do, you know, in the middle of the night, you know, he'd just start drawing something. Because Luther's a very accomplished artist. Yes. He would have been a hugely successful cartoonist if that was all he wanted to do. Right. Because he really had a genius for that, you know. Well, like I found in his interview very humble. So I would love to point out some of it. So just to, to give you an idea of some of the physical reality of what we were dealing with, it was a 4,200 square foot dance stage and auditorium area. And, What was its capacity, did you know? What was the capacity? I think you could get like 12,000. 12,000. But that was only after, see, it was a movie theater. Sure. And we tore all the seats out in order to create a dance. Absolutely. Half the seats. And so, did we end up with 4,200 square feet? I don't know. Well, it sort of says to. Yeah, that's what it says to. Yes. In any event. It must be true. Okay. Owned and operated by Jim Wilson, Bruce Darzel. Is that right? Darzel. Darzel. Gene Williams, who is Reggie, Bill Resner, Hillel Resner, Brent Dangerfield, Luther Green, and a cast of thousands. Sure. And it had a projection room and electronics lab. And the productions were, are of the highest quality, include movies, concerts, plays, dances, environmental circus, experimental trips. Director Luther Green, Associate Director Hillel. We've got the stage manager, master ceremonies. You were master ceremonies as too. Who are a lot of hats? You wore a lot of hats, right? And then we also had a school of performing arts. There was dance, modern dance, drama, mime, children's workshop. And it says it had the greatest system in the universe, audio system in the universe. It featured a six channel surrounding sound at 200 watts. Sure, you got surround sound, 1967. Exactly. How did you go about getting equipment, the audio equipment anyway? What did you get all that stuff from? We got some A7s, I'll take A7s that were loaned to us by Owsley. Stanley Owsley. Yes. And they augmented our, our little university speakers that we had there before. And I think eventually he took them back. So. Well, we always had the speakers. We had some speakers. We did, yeah. As a matter of fact. We had to have had some speakers. Two of the, yeah. Two of the A7s in the old studio. So I took them with me. The really odd thing is that there was a sound booth that was down to the right of the stage as you faced the stage. Typically at a concert, the mixer would be in the center, mixing, but somehow for whatever reason, I guess we wanted the seats. Didn't want to give up space plus people would have probably been all over them. We have this booth that's over down on the side. Of course, it also gave them a private place where they could, you could do things in the booth. You could do things. Exactly. I remember you had Blue Cheer playing there and they had Marshall lamps. Oh, yes. That's one of my favorite recollections of the street. What Blue Cheer would do is they had these great Marshall stacks. The computers in. And what they would have us do is they would put, turn down all the lights to black. And all you would see coming in, all the audience would see would be the pinpoint lights on the amps. Okay. And they would walk on stage. They would lean their guitars up against the Marshall stacks and then they would turn them up to 10. And walk away for like five minutes. This is why I now support hearing through my foundation, you know? And these, these Marshalls would be like warring. Just like a, you know, like a 707. Right. You know, you can probably hear it out in the street. And then they'd come out and start playing summertime blues, right? Right. Did the lights go up at that point? Was there a lighting? Did you have lighting? Did you have trust with lighting? Yeah. Were there spots or anything to put lights on? Yeah, we had some spots. And Brett, Brett found a big discount deal on some, some military par spotlights that we fashioned into floodlights. And put them every so often. So we were basically operating with found materials. Found materials, yeah. And we had access to like, you know, the SRI laboratory in a few places where we could get a few goodies from time to time. The studio instrument, right? No, the Stanford Research Institute. Oh, wow. So. I saw a whole other depository. And did you give equipment for the Mitchell brothers as well? Didn't you get something from there? Who were they? The Mitchell brothers who were running the O'Farrell Theater and were showing the films behind the green door. Oh, I think we got a projector. A projector for them? Yeah, we got a projector from the Mitchell brothers, yeah. Yeah. Eventually, what did we do with that then? We made it into a time capsule. Yeah, we actually created a straight theater time capsule back in the 70s. No, in the 80s. Early 80s. We created a straight theater time capsule, which was painted gaily, you know, out of the housing of a 35 millimeter movie projection unit, right? Yeah, for where the arc lamp goes in and it's got the little windows to share. It lifts up like a seagull wing, you know, Mercedes Benz, you know. And we invited all kinds of people who we knew from the old days over to my house out in Lafayette. And everybody had to bring something to put in this thing. And Victor Moscoso was there and just a lot of folks. And we created a time capsule, which the plan was that in the 20th anniversary in 87, I guess that's when it was, we would announce to the world that it would be on Earth. And unfortunately, you know, once we had done it, we want to make a wonderful videotape of everybody holding up the thing that they were putting in the time capsule. Oh, wow. Did someone have a copy of them? Right out of magic mushrooms to love bees. 20-year-old mushrooms he donated to the... Yeah, those are draft notices. Right, that's right. But so we had so much fun doing that that once it was done, we didn't have to, you know, discover the time capsule because, you know, we had our fun on that. So it was auctioned off at Butterfields. Yes. So yeah, we did. I would love to see some of these posters. If you wouldn't mind maybe holding them up one at a time. Now we can. Maybe some of the bands that are listed on there are bands that... What is this one? Now what does this one say?  This is one of the rarest Rick Griffin posters out there. Oh, it's wonderful. Does this work? How do you want this? That's fine. But these go for $400, $500 if you can find one. And I think you're underestimating it at the moment. I think so, too. Yeah, you know what? Because of eBay. Everything's gone up. So we'll take that poster and put it down on your table, flat, and then we'll hold up the next one. So it's hard to read. This is Randy Solis, OK? Randy Solis, you can be straightening out a little bit. Oh, I'm kidding. If you carry it lower, there we go. Much better. OK, but keep them together or keep the outside. What is this event? And Randy also, in addition to several posters for us. Did this one, Randy Solis? Yes, the LAS. And Randy created a giant canvas that was above the freshman stand as you came into the straight theater, which was basically OK, this is another poster that's not here, but was a giant zodiac? It was beautiful. It was absolutely gorgeous. It was commissioned by the Sandovars. And how big was it? It was always must have been five by five or six by six. I mean, it was above the refreshment counter in the straight theater. He's a great artist. Wonderful. This is what's on the back is even more interesting. Oh, my god. Yeah, that's my brother's contribution. I've saved this because it's the only one I've got. But there are some others. Two dollars in mission. This was a benefit to raise money for the straight theater. At the Avalon Ballroom. And John Helms, he was helping us. He wanted us to succeed. Who did this? This was done by, what to say, Jacob. I don't remember who Jacob was, but. Because it looks like a Wes Wilson kind of thing. And the Grateful Dead played for that. The Grateful Dead, they were always at the theater often because they lived right up the street. Well, and they rehearsed in the theater for a year. While we were renovating it, they rehearsed. And so every day there would be kids, street people hanging out with their ears pressed against the doors of the theater, the fire doors, and trying to get in whenever a door would open to come in and see the dead. Right. But it wasn't the dead as people know it today. It was the beginnings of the dead. This is with pickpand. Sure. Yeah. What is this now? What is this, sabotaging? It's a kaleidoscope. This was Ted Hunter. This is a Ted Hunter. This is by an artist named Ted Hunter. And it's kaleidoscope. Kaleidoscope came out from LA. Kaleidoscope was a great band that featured David Lindley. Oh, OK. The guitar player, David Lindley. And they played kind of fusion music, kind of world music.  James Cotton was banned. They were awesome. Oh, he was there often, James Cotton was banned, right? As was Paul Butterfield. Paul Butterfield was not there a lot. In fact, this might have been the only time. Or maybe I'm thinking of Harvey. Oh, no, I mean, you're thinking of Charlie Musselwhite. Charlie Musselwhite. And this one here, we're looking at, it's in color, of the Strait Theater. It's a two-day show. Can you have the dance happening? Can you remember this event? The Congress of Wonders. What's the Congress of Wonders? Yes, Lutheran. Oh, the Congress of Wonders was a three-person comedy group that was actually very funny for their time. And they did one of an aging Jerry Garcia on a park bench reminiscing about the old days. They had Lone Stranger and they had some great skits. And there's some tape of them that you probably want to insert here. They predated, well, they were probably contemporary with the committee. A little bit after, it was an ensemble thing, you know? And Reggie actually managed them for a while. I'd love to see something else. And we have a look at it. Well, there's the Luther Green, black and white, famous poster. Well, let's see it. It's the one I'll sell on eBay. Now that's wonderful. Another thing I didn't mention, and the flyers, rather than the posters, probably demonstrated better. Work it out. We kind of didn't have money after a while to pay for real poster artists to do real posters. And so you got to where we would all take turns doing flyers. And he did a lot of them, because at least he had some artistic talent. This is what I call collage. I mean, you realize you don't have computers in these days. And you're doing your own four-color separations, if you will, color. And now they have leprosythes. That was leprosythes. It's like press time. OK. How much will? We have 10 minutes. Yeah, this is a good one. There you go. This is a cost. $2.50 to come to a dab. This is a classic. Grateful Dead, The Sons of Champlain. This is a classic flyer. Wonderful. Now, Janice Joplin played at the theater. A lot. With the Quicksilver as well. Now, as I recall, and I'm not certain with Big Brother, if I recall, did she ride in there one New Year's Eve on a motorcycle? No, that wasn't her. But on New Year's, the two New Year's that we celebrated, I guess, we tried to do something outrageous. And one year, I think it was the first year, we had the Hell's Angel rode in through the theater doors and down the aisle on his Harley with a naked woman on the back. That was very cool. This would not happen at the film scene. This is the thing about The Straight, because where it was, and because of the chaos of 8 after 8, you know, anything went. Anything went. And then I think the next year, unless I have these tears turned around, it doesn't matter, we lowered a naked woman from the ceiling from way, way up above the proscenium stage right down to the stage. She danced that. Everybody's dream come true. You were arrested at one point. We talked about that, the new dance concert. Exactly. Oh, OK. Blutes are good. Oh, this was really good. This was a big deal. OK, magical mystery tour, Beatles movie. Let's get it on camera. Yeah, we did have a point over. This was kind of toward the end of our stay there, wasn't it? It was like 1968. And we were trying to figure out how to remain open and trying to raise money. And didn't this show at the Pagoda in North Beach? Yeah, I did.  And they got thrown out of their premise at 50 Green Street. And they were on strike or something like that. And so they were looking for a way to get some money. And so Tom, through connections, got them and us as a co-benefit of the first American screening of Magical Mystery Tour. And this is great. So we said this is coming in on a plane in the afternoon of a certain day. And so we set up the first show at what time, midnight or something. And so Milo Melvin from K-PX and I were driving down to SFO to go to the customs shed to pick up Magical Mystery Tour, which they didn't want to give to us. So after going back and forth for about two or three hours and Milo back at the theater. The place is packed. It's got Magical Mystery Tour needles on the marquee. And you haven't had a good film yet. People are standing everywhere. And people are starting to stamp on the floor because the bands aren't playing anymore. And there's a line going all the way down to the panel of people waiting to get in. And you're in customs trying to get to the movie. So we finally, somehow, we got the print from the customs officer. And we got it in my car. My one was driving. I was in the back seat and I wanted to examine it. And it's a timing print. And in England, they had tied little thread nuts and all the perforations where they wanted a timing change for some reason. So the print is insurable. So I'm sitting, my one's driving 100 miles an hour.  Oh my goodness. So we made it to the theater, came in, showed it. Cheers go up. We showed it for like 24 hours solid. And we set the house record for the hate theater for all time. We got $25,000 or something in a 24 hour period. Wow. And so half of that went to Camp Yx. And then we got the other half and it kept us in business for probably another four months or something. That's a great story. The telegram from the Beatles, which is addressed to Chet Helms, right? It went to the Avalon for some reason. Here you were having difficulty. You know you have our support and our love for what you and yours represent. John Paul, George, and Ringo. You can imagine how like I made you feel like in 1968, okay, to get a kind of, you know, telegram. Totally can relate, totally can relate.   Just, I mean, it's hard to, in a moment, it's easier when you're just talking with each other. If you, each of you, I wanna ask, if you could say one more thing that people should not forget about, the straight theater, what happened there, how you felt about it, what it means to you, what would that be? And I'll start with you, Luther. Well, if it was there to do all over again, I would just wish that there would be possible in this day and age for it to be there to all over again. Absolutely, I would do it again. Right. I'm really grateful for you giving us the opportunity to be interviewed and tell our story because it's my impression that the history of the straight theater in the Hade-Ashbury during that period of time has never been accurately recorded. And there's been many stories told and lots of material written, but it's never been accurately recorded. So I just want for people to know what really happened in the theater and how it evolved and the struggle of what those of us in the community were going through because we really were on the front line on Hade Street. Sure. Yeah, and from the standpoint of the person that was booking the bands and dealing with the music, Bill Graham and Chet Helms had the city locked up. We could not get a lot of the big acts. We got a few sometimes for whatever reason that we were able to, not just because of money, but because Bill particularly didn't want other people booking the bands. He wanted to have them at the film warm. And there was that tug of war going on between Bill and Chet. And we're kind of over there, basically serving as the proving ground for bands that are hoping to play at the film warm or they have a lot. And then they've linked some of those people to stay alive. There was some pretty good talent in musicians that never... It seemed like you were accessible that the people could get to you. They could experience much easier. They could be part of it. They could volunteer. They could try their new act. They could play in their band and hope to get to the film warm or the Avalon. You were way part of the community. It was, even though it's a private endeavor, but it was the community helping and keeping it going. And you were right there in the middle of it. And that's why I mean so many people we speak to, the straight theater means so much to so many people that you guys have no idea the stories we hear, you know? And the more and more that we set the record straight, add information, all this hard work and all this fun will not be forgotten. And it shouldn't be. By us it won't. It shouldn't be because of, because who would influence what it was for people? And beyond what you may even know yourself. You know, if you ever stood in the corner of your venue and you watched smiles on the faces of people, your hard work made that happen as it was a beverage for some people, place to go, place to be. Place for people to be creative, whether it's in plays or dancing or in playing music or reading whatever, it was a place where people were not intimidated by it being what it was. They thought it was theirs. It was theirs in the community.  We are going to continue doing interviews. We will continue to add information to the files and be documenting more stuff in total, including you in this so that the record is set straight. And as more and more players come our way, we'd love to interview Reggie and we'd love to interview a few more people as they're given to us to document. Your work in this period, yes, maybe it was fun.  But did it really happen? Did it really happen? That's the next segment. Or was it alternate universe? This is what we asked ourselves.  We have about two, three minutes left on this tape. And, you know, if you want, if there's anything else you'd like to share, tell us, tell the people of the, our great-great grandchildren in the future to view this and see what happened in this Bay Area in the Haydash Prairie during the six days.  If you want to share anything else for a moment about the future, I've asked you each individually. Well, I would share one thing from my experience with experimenting with drugs during that period of time. It was common to have gurus or people that kind of counseled you when you use substances, especially if they were mind-altering. And I have no idea if people will be using mind-altering substances, you know, 100 years from now. But I remember my first experience that my older brother was the first person that introduced me to cannabis, to marijuana. And the first LSD I ever had was given to me by Luther. And it was pure LSD or Sandos laboratory, the best that you could get. And then Reggie, who was part of the theater and my brother, I went with them to the Big Sur State Forest and had my first LSD experience. And so my counsel to people in the future is just only get your drugs on people that you really trust. And it's a spiritual journey. Yeah, and it's a spiritual journey. So be with people that you trust and have it still continue. Because drugs were used in a very spiritual way in the beginning. And it got very confusing toward the end in the Haydashburg because the nature of what people were using changed. I also feel that it's a specific time, the time of the 60s, this cannot be reproduced. We can each tell our story and at least we're getting the accurate information. But there's something to be said about, you had to be there, you had to be there. And it was a specific time, to take psychedelics and to drop out, turn on whatever it was. And that it's not always a good time to be taking these drugs in the environment and the changes of our world. This is a once in a lifetime decade that happened. And it's happened, you know. So I relate to what you say. And if anything more, the focus of that period of drugs and hallucinogens was about the music, was about being part of a family, feeling safe. And we're not in the 60s now, but we have felt the effect of these six days with so many things in the world. And each of you know that, each of you have your own, from recycling to the evolution of the industry and venues and theaters, you can go now to shows where 300,000 people can attend the show. And you were part of the beginning of this because before the straight, before the Avalon, before the Fillmore, you went to a club to see a band. And now you had a venue of 1,000, 1,200 people. And now you can go to a Coliseum and be part of 300,000 people watching the show as the sound systems, as the public assemblies were created and what happened within your world that you touched upon, not only touched the Bay Area and the hate, but the world. So we want to thank you so much. Thank you for letting us tell this story. My pleasure. Thanks for hearing.


How to make the narcissist powerless to affect you? Being involved with a narcissist can cause you to suffer from extreme anxiety, sorrow or pain. It can cause you to fear the potential threat of danger or harm. To make the narcissist powerless to affect you, you must avoid dwelling on anything that they have done. You must release the fear and anxiety of what the narcissist might do to you. Release your feelings of worry, nervousness or unease regarding the result or outcome. Release your desire or concern to do something or for something to happen. Understand that no one has the power to control you or affect your life unless you give them that power to stop giving the narcissist your power. You must avoid dwelling on anything that they have done. You must release the fear and anxiety of what they might do to you when you dwell on what they have done or have fear or anxiety of what they might do to you. It feeds them. It gives them energy. This then gives them the ability, influence and power to affect you with whatever you are fearful or anxious of. It gives them the ability, influence and power to affect your emotions and trap you within the reality. It makes it very difficult for you to think efficiently and fulfill certain tasks or functions. But when you release your fear and anxiety, release your pain it leaves the narcissist powerless to affect you. Let go of the need to do something. Let go of the need to achieve a certain result or outcome and watch your fear, anxiety and pain fade away. Focus on changing your emotional state. Focus on freeing yourself from your fear, anxiety and pain. Focus on what you want rather than what you don't want and leave the narcissist powerless to affect you. Thank you for watching. I hope this video resonated with you. Please like, comment, share and subscribe. Click the bell icon to receive notifications for my future videos and I will talk to you soon.


Alright guys, so in this video, I'm gonna be responding to comments from one of my both from the most popular video on this channel Which is how to induce a lucid dream in nine seconds I've actually changed the title of this recently to say how to lose a dream now Even if you have never done it before because I felt like this would reach a broader audience And it's also more relevant to the actual technique in terms of you can do it in nine seconds But most of the time it's gonna take you up to two or three minutes. So this is more realistic. So firstly I'm very impressed and sort of humbled I guess by the amount of comments that I've received on this video. This has got You know eight thousand Almost nine thousand comments on this one particular video Which is a huge amount of people just commenting and sharing what they think about this stuff And obviously most of it is gonna be like interactions between the other comments, which is fine But so let me just break it down and just go into some of the comments here so that we can start to reply to some of these Alright, so one of the the most common Comments that I get on this thing is some comments about clickbait or about how the video title is a bit weird That's why I sort of changed the title because I felt like the nine seconds Title was a bit misleading in a way, but yeah, we get comments like how to lose a dream in nine seconds looks at title shakes head So yeah, I totally get it. That's why I've changed the title Actually, we're gonna put the camera back over here So one of the other most common there's probably the second most common comment You know with thousands of upvotes is if you move any muscles, it won't work So they're saying like essentially how do I move turn over to turn my alarm off if I can't move any muscles? Well, what I meant by that video initially what I actually meant by that was Turn your alarm off and then from that point on don't move any muscles after that So by the way, if you haven't seen the original video click the link in the description and watch the video So you actually understand what I'm talking about I'm just answering questions on this particular video like comments, but if you've not seen it you won't understand So so I explain how to do the file technique the finger-induced lucid dreaming method And one of the things I say is to set your alarm for say four in the morning Wake up turn your alarm off and then go back to sleep And it's that particular point that I meant to say when you go back to sleep when you try and do the wake back To bed that's when you should not move any muscles So I sort of get why that was a bit confusing and there's loads of people saying the same thing Pretty much like how do I do this if I can't move any muscles completely understand? it was a slight misunderstanding a slight Mistake on my part not explaining that fully and then there's loads of people saying I still see your shadows in my room referencing the song Well, that was quite loud referencing the song by juice world I think lucid dreams good song another another thing was in the first few seconds of the video I said I said something like whatever you're doing stop doing it and you know pay attention to this video Because I felt like with social media and things like this you have several tabs open You have your phone on your you know in one hand You've got all sorts of things going on if you're not paying attention to what is being said in a particular video You won't really get the benefit of the video, you know You'll just be half listening to it You won't really understand what's being said and therefore you won't be you won't learn anything really So that's why I said at the start, you know put away whatever you're doing But people have said things like whatever you're doing stop doing it and then clicks off video as in as if say They just stopped watching the video and I said that so hopefully hopefully not many people did that Mario Mario 64 said I Swear, this is the most the longest channel name. I've ever seen before and To earn us I I don't know why my channel name is that long if you look at it now It's literally how to lucid calm colon lucidity slash expanding consciousness now before it used it used to just be how to lucid calm and I felt like that was more it was just too much of a It just didn't seem like a holistic channel name people couldn't look at that and immediately tell what it was about Whereas with this one if you see that channel name you sort of know that it's about lucidity It's about consciousness It's about you know lucid dreams and that sort of thing because I want people to be able to look at the channel name and Immediately think that's gonna be about this or you know, I'll learn things about consciousness if I go on this channel I wanted it to be more like self-explanatory I guess yeah, there's loads of comments where it's sort of like Not really asking a question just sort of commenting on the general video or like what they've done few people are saying that It's a scam because the video is is more than nine seconds long This is referring to the original size of which was has lucid dreaming nine seconds I assume people would have realized that the video wasn't gonna just be nine seconds long But you never know sometimes people take things that literally seems a lot of people Google the words lucid dreaming after the song Was released and actually brought a lot of traffic to my channel Shortly after that song was released because people were typing in what is a lucid dream? You know how to lose a dream that sort of thing there aren't actually many questions in the comments section that I can answer So I guess that's just gonna have to be the end of the video. There is actually I did actually make another video sort of the same topic I Did actually make another video which was like part two of this and That was how to introduce a lucid dream in 2.5 seconds because it's it's a slightly different technique But it's similar in terms of the the approach that you can use and there's a few comments on that as well people were just You know explaining what they were doing people saying more like two and a half months meaning that I Apparently I take a long time to get to the point in my videos sometimes probably true Yeah, I do like to embellish a little bit people saying the video starts at two I love those comments where they say the video starts at whatever it is I guess people don't like to have the context, you know We're our attention is quite limited I suppose so we don't like to waste time listening to the intro I guess so that is the main comments on that video I would like to see more comments in my in my future videos Just let me know what you think let me know what questions you have and if you actually ask direct questions in the comments section If I see them, I'll try and make a video response to them, but Fun comments are fun as well. I guess I don't like So I'll see you next time done. Thanks for watching guys this video and this channel was supported by my patreon followers Please consider giving just a dollar a month to support this channel or just click the links in the description You'll find links to various lucid dream products articles techniques and tutorials if you did enjoy this video Please click the notification bell and subscribe and I'll see you next time Why are you still watching that you should have clicked one of my related videos by now right or subscribed or gone onto my website or something like that


Hi everyone, Joe for jazby's casebreaks.com coming at you with 2023 Bowman Chrome University Football. 12 box. You can see right there number five. Six breakers to light or jumbo or HTA edition whatever you want to call it and six hobbies and from a fresh case. So both will be from a half case from a fresh case. All card ship. A lot of great stuff here. We've got Christopher shadowing me today. He's going to help us out with the break. This is going to be awesome. Big thanks to this group for making it happen on Tuesday the 24th. Figure team five. Thanks everybody for getting in. Don with double last spot mojo, Penn State in Tennessee. And let's roll. We've got six on the left side, six on the right side.  One, two, three for the left side, four, five, six for the right side. And it's four. One, two, three, four, five, six. This side we will save for next time, which is break, which will be break six. All right. So we'll mark that. You can kind of see with the blue sharpie there. Mark six on those boxes, set these back here and we'll do the, we'll find out which side of the hobby case we'll do once we're done with this. All right. Good luck everybody. Here we go. Ladies down to their last six outs, boys and girls. Bottom of the eighth, Alec Boem up to bat. He had a homer earlier today actually. Can the Diamondbacks make the improbable happen? Yeah. I think before the playoff started, before the playoff started, they were, they were probably the longest shot team to get to this, this point anyway. All right. Alec Boem strikes out, slams his bat on the ground. He's pissed. Oregon just gives unlimited, well, it's not unlimited. Someone's going to pay for it eventually Chad. Jeez, that was as low as can be. He definitely did not want to chase that. In you it too. He's still slamming his bat and now it's just in pieces, throws it against the bat rack. He's not happy. All right. Bryson Stott, that's up to you. Up to you now. That was my kick on here. Christopher was, was, was saying that Bryson Stott homer today. Yeah. Yeah. You can't swing at that, but that was just a good spot. The soft one. By the pitcher.  You don't want to throw it from behind. All right. They got to get at least a couple of runners on if they want to turn over the line of it. All right. Good luck everybody. All card ship. And look at that. We're starting off with a big kahuna. Sam Hartman. For Notre Dame. That's gonna be for Omar. That's a short print right there. That's good. That's awesome. Then we got a Connor Colby mini diamonds to 150. Sounds good. And the autograph is Drew Pine for Arizona State. And Arizona State is a college that's not on this list. So that'll go to the combo spot. William picked up the combo spot, not numbered. And keep the auto separate or actually keep the, that short print and the auto separate for me so I can do a recap at the end for just the autos. Thanks. That's a case hit right at the big kahuna. I think so. I think they generally, I've seen two in a case before. But they're shorter printed. Six out of 99. Richard Reese from Baylor. That'll also be for William. The autos. There's a Choudours Sanders. And those parallels. We can keep, yeah, keeping a separate pile. I don't think I'll be showing those for the, out of 150 Jitaevian Sanders for Texas. That's going to be for Michael Osia. There's another Choudours Sanders base, Bowman first. We're looking for low numbered cards of that. That'd be pretty awesome. The second autograph, two autos a box, Blake Fisher for Notre Dame. That'll be for Omar. Refractor auto four at 99. Drake May, Bowman first. Dallas Turner, purple mini diamonds at 399. Drake May will go to Michael. The Dallas Turner will go to Michael Gulucci. And wow. Diamondback strike out the side. One more inning at this point. Gankle, wow. I did not notice Rex. I have noticed now, but I'm sure that'll change once I'm no longer in the room. You'll put Christopher through the paces, I'm sure. I did not either, Chad. Don't worry, Rex. He'll be privately informed of all the troublemakers in the chat. So he will not be fooled by your nonsense. Folks, we've got some trouble. Rex is one of them. You keep an eye on that guy. That guy will try to convince you that, oh, Joe told me that I was supposed to be in this break for free. He'll give you that. He'll give you that. The last of free stuff. Oh, Joe said it was totally okay to give him a free hobby box, 50% off. Oh, man. Yeah. Yeah, Joe said it was already paid for. Yeah, he's just going to get a lot of that from him. You guys do know I have Joe's number. Eric, you're low key piss. Oh, because you didn't get in this break? 35% off. You should have gotten into it. Just on principle alone with that kind of discount. For a couple hours. You only want his hits in auto, but we're going to show off with a recap. That's true. Yeah. He'll use Nick's name usually. Oh. He'll use Nick's, because he knows that I wouldn't.  I would never do that. Philly's game. You said this stuff is unreal. I thought you meant the break. You meant the game. All right. Onwards, we got Emmett Moorhead to $2.99. It's a cool shot of Antonio Gates Jr. It's Jared Verse to $3.99. And Kade Klubnik, Clemson Auto, going to Michael Gulucci. Refractor Auto, $101 out of $4.99. Do you want to put this into the recap? No. Just the autos in the case hits. Yeah. And maybe Bonix. Yeah. And Shudder Sanders. Yeah. It's sort of the top names. And Travis Hunter. Bonix, not his first, by the way. I think he was in a previous year. And Marvin Harrison Jr. as well. Just that would be, we'll put that in the recap too. Oh boy, Rex. Wasn't that his last name, Moorhead? If they were twins, wouldn't they have the same last name, Rex? Come on now. You'll also have to deal with Rex's so-called comedy as well. Oh, he's a comedian. He's a comedian, yeah. So am I.  That Moorhead player has a twin brother, less head. What are we supposed to laugh at? Uh, uh, uh. He's drawing Travis. I quite learned that. Yeah, he's quite learned that. Twin cousin, okay, fair enough. Different dads and twins, Eric? Hmm. You might have to ask your parents about how that works. No, Rex, you are no Norm McDonald. I can't believe you just compared yourself to Norm McDonald. And Rex thinks my ego is big. Waxing lyrical about a TC documentary yesterday? I barely remember what I ate or wore yesterday, let alone what I talked about yesterday. I'm just going to leave that one alone, Eric. About player signing? I'm not sure what TC means. What is, what's the abbreviation for TC? Well, it is a family show, Eric. I appreciate you cleaning that up as best you could. Oh, trading cards. People say people use TC for trading cards? Yeah, like TCG, trading card games. That's true. Here is Jalen Berger. I don't know why he was flipped around, but there he is. Ricky White to 150 out of doing an extra work. Pretending that we were hitting something. Michael Williams, Georgia. That will be for Chad, picked up Georgia, 53 out of 99. There's a Travis Hunter in that 1955 design. But yeah, I think, I don't know if, yeah, I would have, I would like to see the documentary about just how, you know, how like these player contracts work out, like how they, how a, I guess basically how a set gets made. Everything from, you know, getting the photo assets, the design, you know, yeah, all the licensing stuff, how they, how they decide who they want in there, the autograph process, how they get secure autographs and get the auto assets and when they do that, how they do that, how long it takes them to start to finish and then send this to the factory and see that, that process of it being printed. There's Will Howard Orange Shimmer, five out of 25. Kansas State, that goes to the non, the all schools, the combo spot features all the teams that are not listed. No, they definitely do not look at Google to look at those pictures. They usually have like actual photographers that go out and take these photos or they'll buy them from, you know, like Getty Images or something like that. But usually they have their own photographers. We'll go out and take these photos, these game photos to 399, Wisconsin, Drake May, just a base. A second Drake May. Yeah, there's not a lot of, not a lot of documentaries about that, but I just, even if it was, even if it, I mean, it doesn't even have to be a documentary. This could be, this could just be tops themselves. Their marketing department can just produce like a five minute piece. Just a quick little step by step on how a product is made, you know. Yeah, those photographers probably do get press passes and probably have a lot of access around the sideline areas to take photos.  You really don't, right? Because you're working. I mean, I would love, I would love a six part mini series on Netflix. Hour and a half long episodes. Give me that. I mean, Duncan, maybe, maybe you and I have to produce it. You know, maybe, maybe we'll have to set up a production company and start working on that. I'm not really watching the game to catch the right picture, but it's like, you're not like taking just general picture of the game. You might have an assignment. All right, think about that. You'll probably have to, probably, you're probably going to some random, random preseason pit game, right? And you've got a list. You got a whole list of players you have to look out for. It's like, all right, you got to get a hundred shots of, of Solomon to shield. So all you're doing is tracking Solomon to shield. It's linebacker the entire time. You know, maybe he's not a starter. Maybe he's not playing every snap. So then all of a sudden you're like, ah, I got to watch for this guy to come into the game. Then I got to take pictures of him. I can't miss him. I'm not coming back to this pit game. Yeah. It's not as easy as you think. There's Jaden Dolora, 38 out of 50 for Arizona. That's for the combo spot. He looks good for a recap. Yeah, it's not so bad. There's Marvin Harrison Jr. Should be a top five pick. That's going to Ohio State. That'll be for Bennett. So you can find some numbered cards of his, some lower numbered cards, maybe some autos. There's Dorian Singer to 199 for USC. That'll be for Josh. Or Otto Jalen Wright, Tennessee. That's going to go to Don. One of his last bottom mojo teams. There you go, Don. It's one of his last bottom mojo teams. Here's a purple shimmer. Kate Klubnik peeking out there. Yeah, if they don't get the picture, do you think they maybe don't get put in the set? No. They probably just get fired. It's like, yeah, you can't follow the instructions. So we'll get someone else who can. I don't think it works like, oh, if we get a picture then that guy's in the set. I don't think that's how it works. They have a list of players that they want to get and they go out and get them. 24 out of 25, Phil Maffa. Orange shimmer for Clemson. It's going to be for Michael G. Yeah, you got to add patches, securing relics. Relics might be a little bit easier. I suppose like, Javante Barnes could just send in his jersey. I'm sure they have someone who probably talked to an equipment manager or something like that. Donovan Smith, 61 out of 399. All right, two more hobby boxes and then six breakers of light boxes. All right. This is it for the Phillies. 9th inning, here we go. And the Phillies make a comeback for the Diamondbacks headed to the World Series. Stadium Club does have the best photography. Stadium Club, I think for the, well, for the active players, obviously they'll get shots from that year. But I actually talked to someone at Topps who secured the assets for Topps Stadium Club. And so they've got a huge archive of photos. You know, because obviously, they're not just taking one photo of Dorian Singer and just in that position, there's probably dozens of photos of him from that game, right? So Stadium Club also has a huge slash tops, has a huge archive of photos that they can look through and use. So that's why they're able to get, you know, find unique images of that. It's a month-long process, but I mean, it's kind of cool, part of the production, because Stadium Club does pride itself on finding some unique photos or something like that. Hobby box and we'll do the breakers of light boxes, which are just one pack of boxes. They'll be much quicker. But more parallels in there too. They're all refractors in there. All right, Bucky Irving for Oregon to 399. That'll be for Kevin. Purple Mini Diamonds. Marvin Harrison Jr. in the 1955 design. That's for the Ohio State University. That's for Bennett. Frank Orr Jr. Michael Trigg, 84 out of 99 for Ole Miss. That'll be for Eric Leal. There's Jace McClellan. Magenta Mini Diamonds for Michael. 119 out of 150. Drake May in that 1955 design. Beautiful. Yeah, we like that set. Another Drake May base. Bowman first. Rubin Owens. Awkward at 299. Looks like a different pack. It's Chase. I've never seen one just out. That's his regular base. I was breaking the stuff yesterday. And I thought, is that like an image variation? But no, it's not. That's cool. Yeah, Duncan. Both of these baseball series. After the first two games of the ALCS and NLCS, it looked like they were on their way to being sweeps for both series. But both series ended up going seven games, which is exciting. All right, Casianos flies out. That's out one. And the Seawold guy's been lights out in the ninth too. So I don't think it's going to be tough. Casianos takes his gums out with his glove hand, throws it on the ground. Brandon Marsh. One for two. Single and a walk. 350 average. One home run. Some RBIs. And he pops it up. Out of play. He's in trouble. Mow and two. Well, if the Dimebacks do hang on and win, we better see like Corbin Carroll gets ALCS MVP or NLCS MVP. That'll be good for the hobby. It's good for the hobby. It's for the hobby. The stock of that card? Good for the hobby. Parts. Yeah. It's like music to my ears. We could probably do ASMR of this. Just have the crinkle of facts. There's Marvin Harris. Junior. We've got C.J. Donaldson Jr. to 299. West Virginia. That'll be for the combo. William. Davy Martinez. Oregon State. That'll be for William. Combo. Yeah. Pizzle was here earlier. He was excited. And that Brandon Marsh to the warning track. Wow. That is insane. Just like that. Phillies are down to their last out. Brian Thomas Jr. They have any last pack magic left in them? Hunter Deckers to 399. Logan Diggs. And we've got Jalen Berger. Michigan State. That will be for the combo. That will be for William. Last out goes to Jake Cave. Talk about pressure. Marvin Harrison Jr. Nice. Parris Jones Yellow to 75 for Virginia. And that my friends is that for the hobby. Now let's get into the breakers to light. Jake Cave. Wasn't he with the Guardians at one point? Where was he? He wasn't always affiliate. Always look like. G-Box. Yeah. So they're basically the premium versions. So you don't get as many of those inserts. They're all refractors. All right. So just like we did last time. One, two, three for the left side. Four, five, six for the right side. And it's five and go right side. Then we did right side last time. Then I'll mark these. Definitely hard to see against the dark background. But we just know that. I marked them six right here. You can kind of see. Right there. All right. Got you. And then long fly ball to right field. Diamondbacks are going to the World Series. Geez. Good for them. Even though they beat our team. Yeah. I told one of our customers who's a big Diamondbacks fan. I was like, well, like I kind of don't want the team that beat me. I don't want them to lose. Because you know what I mean?  You better go all the way because I'll just feel like you just got lucky. Diamondbacks, it was a suggestion. You want to win the World Series?  We bring the Johnson and Gonzo. Bring those back. I think we got two autos. We do have two autos in your two autos box. We've got a die cut auto in here. You're going to be busy for this one. All right. All right. All right. All right. So these are just refractors. There's a Travis Hunter refractor. That's pretty nice. Will Howard, 10 out of 25. Travis Hunter going to Collin and Colorado. Will Howard, Combo, William. Raheem Sanders to 299. Arkansas, that goes to William. Combo spot. We got Alton McCaskill for Colorado. That's a 399. That will be for William. Check that for Collin. Drake May, early risers. Insert that is going to North Carolina. That's for Michael and your autographs.  One of the bottom is 100 Deckers for Iowa State. That's going to be for William. It's for Combo spot. And the die cut autograph behind Jared verse is numbered as well. 22 out of 25.  Alabama wide receiver. Michael Gallucci. There you go, Mike. Very nice. And there's Jared verse defense event for Florida State. 399. That'll be for Michael Keith. I don't know much about that Alabama wide receiver. I don't follow college super closely. He's on Alabama. I'm imagining he's pretty good. Exactly Duncan. We're on the same page. Duncan singing the same thing too. He's like when teams he supports get knocked out. He wants them to keep it up. Right? Just so you know they're not a flash in the pen. At the end of the day at least you can be like, I guess they were deserving of it. I guess they were deserving enough to beat the Dodgers. They did have that hot start in the beginning. Donovan Jackson. Donovan Jackson again. This time it's numbered to 299 for Ohio State. That'll be for Bennett. Jam Griffin to 399 for the combo spot. That's for William and a Shaddour Sanders. Early risers answer. That's nice as well for Colorado for Collin. All right. Your autographs behind Rubin Owens. We have a CJ Donaldson Jr. West Virginia. That will be for William in the combo spot. Then we've got Joe Milton. Tennessee quarterback. That'll be for Don. Last bottom mojo. 29 out of 50. And there's Rubin Owens 299. That's for Texas A&M. And that will be for the combo spot, William. Remember gang, second half in the store. Second half of this Reagan store. So this is pick your team five. Your team six available. We've got Dallin Hayden for Ohio State to 25. That'll be for Bennett. Tyree Chappell to 399. Texas A&M for William. Oregon State's Damien Martinez to 399. That's for William. And Caleb Williams. Early risers as well. All right. Your autographs. We've got Joe Alt. Your gentlemeny dimes for Notre Dame. That will be for Omar. 73 out of 150. And then we've got Ty Simpson for Alabama. Michael Vellucci. TY Simpson, Ty Simpson. Thank you, Simpson. 132 out of 499. And his teammate Jason McClellan. 245 out of 299. All right. Three boxes to go. Well, let's post a way too early poll. Who wins the World Series? Rangers or Diamondbacks? Well, the East Coast just, Fox hates this. The East Coast is not going to tune in. You think New York, Boston, you think they're tuning into Diamondbacks Rangers? Especially now that we got basketball season? Yeah, I think, I think, I think Fox as a TV network did not want this match up. They sure they were hoping for a... At least one Coastal team. I think they were bummed out that the Mets and the Yankees can use this one. Or the Red Sox. All right. Next box. These are not numbers. There's Nate Wiggins. There's Braylon Allen running back for Wisconsin. That's to 150. That'll be for James. Will Johnson from Michigan to 150. That's going to go to Alex. Roman Wilson's going to help us out. Roman Wilson-Aqua, two autos behind him. First one is... First one is whatever, grab this first autograph. It's going to be Mayan Williams, Ohio State. That'll be for Bennett, base auto. And then we have Marshawn Lloyd for USC to 499 Refractor Auto. Sweet. That'll go to Josh. And there's Roman Wilson right here to 299 from Michigan. It's going to go to Alex. Christopher, do you have a college team that you support? Oh, absolutely. I am for Penn State. Penn State. My dad is from Pennsylvania. Got it. So I grew up watching all the Navy Line games at home. And yeah, so... But ever since I grew up in California, the early 2000s, I was a huge supporter of the Matt Line hearts of Reggie Bush, Wendell Weitz. That was a fun team. That USC Thunder and Lightning class. Yeah. Until Vince Young broke our hearts. Right. That national championship game will always be a nightmare. Down Hayden to 399, Ohio State, Mini Diamonds. Cooper Legas for Utah State 399. It's for William and the Combo spot. And Marvin Harrison Jr. Unexpected Delights Early Risers insert. All right. Montrell Johnson for the Gators up there reveals a Will Rogers, Mississippi State. Green to 99. 23 out of 99. Combo spot. William. And then another die-cut autograph. That's Walker Howard. 21 out of 25. I saw zero die-cut autos. The last couple breaks of this I've done. Others two. Ole Miss quarterback Eric Leal. And Johnson is out of 299 for Florida. That's for Omar. Last box. Last box. Here you go. This is for your team five. Your team six is the second half of these cases. So get after it, ladies and gentlemen. You might have a chance to run it back if we hustle on it. We got Matthew Golden in orange. 21 out of 25. Justice Allison to 399 for Wake Forest. Marvin Harrison Jr. Some color, finally. 62 out of 399. That's for the Ohio State University. Bennett. All right. And our final two autographs. Good luck, everyone. First one will be Jared Verst. Defensive end for Florida State. Michael. Michael P. with that one. 91 out of 99. And behind blue, Joe Milton is Will Howard. Kansas State quarterback refractor auto 425 out of 499. That's going to go to the combo spot. William. With Will. And there's Joe Milton right there. 194 out of 199. That's for Tennessee. That'll be for Don. All right. There you go. Nice 12 box break in the books. No randomizers, anything to do. We've got some recaps here. I think he's going to see that. All right. Little recap. Thank you, Christopher. There was the sugar sanders. So a quick little recap.  Now. Some nice stuff here. But we did not see the sort of monster name autographs. There he is. Joe Pizzle. Congrats. That's his team. Yeah. Maybe that second half. Maybe we'll see some Drake May autographs. Maybe Marvin Harrison, Jr. Haven't seen anything like that. Maybe in the second half. But a lot of nice stuff here. We've got the Ramblin Man Aqua to 150. And of course the big kahuna. Short print for Notre Dame. Nice. So there you go gang. Pick your team five in the books. But thanks Christopher for helping us out. I'm Joe. And I'll see you next time for the next break. Bye bye.


A major architecture change in OpenShift 4.x has to do with Kubernetes operators. Operators are not only used to deploy and manage stateful applications, but also to set up and manage OpenShift cluster itself. In this session, we will understand the use case for operators, how to extend Kubernetes, and then see how they are used in OpenShift 4.x cluster. Let us understand the use case first. Let us say an application deployer, mostly application operations person. Deploy is a complex or stateful application into a Kubernetes cluster. We may be able to use templates or health charts or some scripts to automate initial deployment. The application gets deployed for the first time, but how do we manage changes to it? So how do we update or patch for changes? How do we back up any data? How do we deal with lifecycle management, version changes, et cetera? All these are manual tasks that require application operations team to know how to manage the app moving forward. And when it is manual, we also know that it is all error prone. How about if we take all this operational knowledge of these applications and put them into code? This is exactly the use case for a Kubernetes operator. So an operator represents human operational knowledge about an application codified into software so that the application can be managed automatically with Kubernetes itself. And in order for Kubernetes to manage the app, operators are built upon the core Kubernetes concepts of resources and controllers. So what are these resources and controllers? Resources are objects like pods, config maps, in a Kubernetes cluster, or in case of OpenShift, additional object types such as route, build, et cetera. Resource controllers, on the other hand, are the ones that act upon and manage these resources. As an example, a deployment or a deployment configuration in OpenShift manages the pods to be created for an application and their configuration as well. A replication controller manages how many replicas should be run at any point of time. So if the number of instances go down, it will make sure that those many number of replicas are always running. A daemon set ensures one instance per node, et cetera. So these are different kinds of controllers. So resources are the objects and controllers encompass logic on how to manage these objects. Entire Kubernetes architecture and also OpenShift are built around these concepts. Commands like kubectl can access Kubernetes objects like you can get the list of parts or you can use short form notations like cm in this case for config map. In the same way, OpenShift CLI, which is OC, understands OpenShift objects like routes in addition to the other Kubernetes objects. But how about you want kubectl or OC to understand your own resources? Perhaps you want to create your own kind of database and you want kubectl or OC to understand it.  If you use kubectl commands on these, Kubernetes will say, I don't understand what you're talking about. So can we extend Kubernetes so that Kubernetes can understand these custom resources that we create? Welcome to custom resource definition or CRD. CRD defines a custom resource of your choice and let's Kubernetes know that you should now understand this new resource. You just create a CRD with this kind of a simple definition for fancy DB, let us say. Note that this definition includes singular plural and even the short names and we are also defined the kind and creating CRD is as simple as running a kubectl create with that YAML. Once you define a CRD, if you try to access that resource, Kubernetes will not complain anymore that I don't know this object, but instead it says, I don't have any resources with this name fancy DB. Remember, so far we only defined a CRD with that kind fancy DB, but we did not create any resources of that type. Now we create custom resources. Let us say we create a CR called silly app DB of kind fancy DB that we defined a CRD for earlier. You can create any number of resources of type fancy DB. Once you create a CR, if you inquire now it will list the CRs. So with custom resource definition, we just added a term to Kubernetes vocabulary, but we did not tell Kubernetes what to do when a resource of type fancy DB is created. Now that is our logic for fancy DB. So now if you go back to our discussion on Kubernetes resources and controllers, just like how Kubernetes resources are managed by Kubernetes controllers, we need these custom resources to be managed by custom controllers. This custom controller should know not just a crud operation for our fancy DB, but also how to handle failure recovery backup restore storage management and things like that. Operator is such a custom controller. It observes the current state creation of a CR and knows the logic of how to spin up pure application. So it observes the current state, analyzes the current state to the desired state that is defined by the CR and acts to meet the desired state by creating or updating the application. The logic of how to create or update the application is provided by whoever writes the operator. All the human operational knowledge to deploy or manage an app will be codified into this operator. Operator itself runs as a pod on a Kubernetes cluster and interacts with Kubernetes APIs to manage this application. Operators can handle any level of complexity. You could just have a basic operator that just deploys an application or a little bit better one that will manage upgrades or a full lifecycle operator that can handle backups, failure recovery, etc. Or you can even go for complex ones that can manage your application based on the metrics that are that it can collect. So there is a maturity model for operators itself. Operator SDK is a tool provided by Kubernetes operator framework. This is an open source project using which you can generate scaffolding code that deals with Kubernetes API interactions and the developer for these operators, the person who writes this operator can write their custom logic into that generated operator scaffolding code. Currently the operator developer will create a container image for an operator and make it available for others to use. Currently operator SDK supports three kinds of operators a helm operator for creating operators for Helm charts for those who are used to writing Ansible playbooks. There is an Ansible operator and for those who are who want to write complex operators with go code you can use a go operator vendors because the industry are all aligning behind operators. There are several operators created by software vendors. If you go to operator hub.io, we can see several such community operators from different vendors. We also have red hat certified operators. As I said at the beginning, OpenShift 4.x is completely rearchitected to work with operators. There are two kinds of operators that we can think of at a broad level. You have operators that are managed by an operator lifecycle manager or OLM for short to deploy applications that run on OpenShift. These include all vendor provided operators and the operators that we can write for our own applications and expose to others in the organization to consume them via OLM. The other kind of operators are the ones that are used to manage OpenShift as a platform. The OpenShift platform itself is managed by operators and these are called platform operators and they manage the cluster and the cluster upgrades. So back to a cluster that we created earlier, OpenShift integrates with operator hub by default. You can see a bunch of different kinds of operators and there are red hat certified operators too. So while vendors provide their operators, they can also get them certified by red hat. See how easy it is to install an application using an operator. We will install Eclipse J using its operator. I'll create a project, name it J. Go to operator hub, search for Eclipse J. This is a community operator. Let's install it. We are installing this operator into a namespace called J and click on subscribe. It shows that the operator installation has succeeded. Now let's go and check the workloads. We will see an operator pod running. This means that now we installed an operator and the custom resource definition CRD for J is also added when this operator got installed. Now that we have the operator installed, let's create an instance of Eclipse J and this is the custom resource. The kind is J cluster. This is the CRD that we are referring and we are passing a bunch of parameters to Eclipse J on this cluster. So I'll create the CR. It will take a few minutes for this application to be installed. If we look at the running pods now, it is spinning up a PostgreSQL database. The PostgreSQL database acts as a data store for key cloak that provides SSO functionality for Eclipse J. So even SSO is getting installed and once SSO is ready, the J operator will go ahead and install a DevFile registry, a plugin registry and the J server itself. So the J operator is smart enough to understand what to install first. So it's spun up a database first and then the SSO server and then the other dependencies that are required for the J to start running. Not just that, if any of these systems need to be upgraded, the J operator will automatically handle the upgrades as well. So this gives cloud data functionality for your applications running on the cluster. So you are just doing a click button install of the software that you want rather than going via a user manual to understand the dependencies and what to install first, how to make the resources available and all those whole nine yards. So the life of the operations person is significantly simplified due to operators. So right now Eclipse J is up and running along with all its needed components and it is managed by the J operator. Let us now look at the platform operators. If we go to administration and look at the cluster settings, there is a list of cluster operators here and everything that runs on the cluster by default, whether it is the web console or a registry or ingress or any of the Kubernetes and OpenShift components are all managed by these operators. Now, if we have to upgrade the cluster, these are these operators will manage those upgrades and the custom resources that are managed by these operators are all here in a different video. We'll look at how the cluster upgrades are done. So to summarize, we have looked at the use case for operators. We understood the architect. We understood what custom resource definitions are, what custom resources are and how operate manage the custom resources. We also looked at how OpenShift users operators, not just to deploy applications, but to manage itself. I hope you enjoyed this video. Thanks a lot for watching.