Welcome folks, this is Tom O'Brien of TFNN. We have five days a week, we go seven hours a day, we go 24 hours a day on the internet at tfnn.com. Always remember folks, whatever you think about, you bring about whatever. You focus on growth, hope everyone's having a great day, safe day, let's make it a great night folks. Be impeccable with your word, replace fear with love. The human mind is like a fertile ground with seeds that continually being planted when you're impeccable with your word. Your mind is no longer fertile ground for the words that come from fear. Your mind is only fertile for the words that come from love.  Make it wise, let's take a look at it out here. We have the Dow Industries down 179, Nasdaq off 10, S&P's down 13. Gold, gold contract flat, 18, 19 and ounce. You got the silver contract down six cents, trading out of 2013. Light sweet crude, down a buck, 76.49, notes and bonds. A 10-year note, trading flat, one at 10.30, the 30-year, up 11 at 125.13 and Kingdollar. Kingdollar's up 54 ticks, trading 105, 669. Euro's at 105, yen is out here at 137. The British pound is at 118 to one at US dollar. Our phone number's<PHONE_NUMBER>. It was a call, folks. One note's going on in your world and the world of the S&P's, let's take a look at them. What do you have? Well, you know, the market took a huge amount of energy to get down there yesterday, folks, but the bottom line is that that being said, and we're building cars to a lower price, but I want to show you that we've been in an ABC structure intraday all day, okay? We broke the B point this morning, we broke it with volume, and so you get a monster ABC that's happening right now.  So bottom line, you get 460 at the top. At the bottom, taking the aspect, what do we got here? We got approximately 3982. Yeah, 3982. 3982, so you get a 78A to B, and then we take this off the C, which is 4003. Oh, one second, sorry, one second, I gotta get this again. I've had this all day, so it's 4059, yeah, 4059 versus the 4003, no, that's, yeah, with 3939. You can see it, but you broke it with volume. It's bottom line, you get an ABC structure down. I don't think you're gonna get the whole thing out here today.  Why? Because we've been in this downdraft for so long. We've been in this downdraft since last January, okay? So we're talking about, what is it, match, right? So you're talking about 15 months who have been in ABC structures on the way down. That's the bottom line. That's how this whole market has actually operated. We go to the gold contract. The gold contract's in trouble right now. We'll see what ends up happening out here Thursday and Friday, but you're coming into your swing point, you're coming into the end of the week, and we're coming in, and the volume continues to expand in a month's away. So we got down to 1813 today, 1810's the B point. 1810, you need a contract volume of 185,000 in order to get a confirmed ABC structure on the way down. What you have out here is that we're already at 180, and that's a big number after the number of yesterday of 246, and we can just go straight right to the dollar because the dollar's the name of the game. We take a look at this dollar and what you're gonna see, the dollar moved higher yesterday with conviction in a month's away, not in a small way, and then on top of that, bottom line, you're going sideways out here today. You can see that the dollar basically, these two numbers that we've been looking at, but after I had Pat Besselon yesterday, it was kind of intriguing because he was bringing up the 109, he's bullish the dollar, and the 109 276 folks is the 618. If we go to the bottom line, the 618 inside of the dollar, oh man, get out of the way because that'll be one fast and furious trip downtown. We take a look at some of the higher volume equities out here today, and this is what we have. You have Tesla is down six and a half dollars. We've got Advanced Micro up two and a half dollars. Let's just, this is, I'll go inside the NDX first. We go inside the NDX. Well, that's interesting, I haven't seen that one for a while.  Rivian, that's a dead cat bounce. Taken away from it, Serious Satellite down four and a half, Datadog down four, Tesla down 3.6, and Regeneron down three and a half. We go into the Dow industrials. We take a look at the Dow industrials. What do we have with the Dow industrials? Dow industrials, point wise, Goldman's putting 11 positive points, Caterpillar five, Apple three. Taken away from it, United Health minus 29, Big Mac minus 20, Merck minus 19. Big numbers folks, that's the real bottom line. We go into the, let's go take a look at the GDX and see where the GDX, because that's getting close to a B point also. I think they're above, yeah, this is wild man. So the GDX, the B point on the GDX is 2663. We hit 2668 today. The B point, this is what's so sick. The B point, you only need 20 million shares. Yesterday we did 34, today we're only doing 16. Now you didn't hit it yet. Bottom line, I expect what are we gonna do. We're gonna get into that number. We'll see whether we're gonna take it out with volume or not. If it happens on a Friday, we're gonna blow it away with volume, because every Friday you have option expiration. That's the bottom line. You have the larger options, what not larger. We do them more now and basically on the weeklies, just as much as the monthlies, but bottom line is that every Friday you can expect high volatility. Dow, Dow industrials right now down 165. We'll get the Nasdaq off eight. S&Ps are off 11. Stay right there folks, we'll come right back.


But it was great that New Genes talked to here, public media kind of called out in this way. Both, you know, we're sort of used to in our travelings within the public media world to either be beating up on ourselves or patting our own back, and to hear called out in a way that actually sets up a promise and a purpose within the context of the broadband plan. And to point the way to this discussion, which is going to try to talk about some of the challenges of this transition that we as an industry are in, and not dissimilar to some other media moments that are happening. So my name is Jake Shapiro. I'm Executive Director of PRX, the Public Radio Exchange. In many ways, we're one of these born digital new public media enterprises. We operate as an open distribution platform connecting independent producers with local stations, really as a hybrid between broadcast and digital opportunities, and trying to focus on the intersection of technology and talent, really trying to nurture new voices and content. And there's been a long-term interest in this topic of the transition of public broadcasting and public media into the participatory culture. We're at a nexus of opportunities. We've seen disruption in other media industries that we've observed in music in particular, which has been an interest of ours. And in newspapers that I know the Knight Foundation's report has really focused on, where that's coming up. To Eugene's point about mediated versus unmediated, I think one of the themes I'm hoping will emerge from this conversation is if you take seriously the role of being a mediator still in this age, how are we addressing that through the public media system? A word about when we're describing public media, there's definitional issues that are bound to come up. We have here with us really a group of public broadcasters. In many ways, we're, I think, all discussing public media as radiating out from and well beyond the boundaries of what public broadcasting has traditionally been constituted to be, which can include and has been referenced public access, television, low power fms, other nonprofits engaged in public service media activities. There's an interesting question, especially as we get into some of the opportunities ahead as to where some of those boundaries end up getting drawn, especially as you talk about potential reform or even legislation that might change some of the definitions. So what I'd like to do, you know, what's one thing about this panel is that rather than policymakers or policy observers or academics, we have a bunch of practitioners here who are really engaged in the day-to-day of building a next kind of public media architecture, infrastructure, operations across the spectrum of roles. So in order to get our heads around the opening of where this transition to digital public media is headed, I'm going to ask each one to sort of introduce themselves and then doing so and address the topic as they'd like, but also talk about a project or a particular initiative that is illustrative of what we think this next incarnation of public media might be. And I guess I'll just start to my left, so please introduce yourself, Rob. Sure. Robert Bull, I'm with the Corporation for Public Broadcasting, and my role is to lead our digital strategy and investments. I think one of the essential themes that I see, and I'm relatively new to public broadcasting, I came from an organization that worked in public media with low-income populations and then moved into this role about 10 months ago. And one of the great things that I see happening, one of the reasons why I was so attracted to coming over and working in public broadcasting is the two mediating influences. One was that you have the power to broadcast. The power to broadcast means that you can reach everyone in the United States with free, universally accessible content in general. And that is not necessarily true in the digital world, that digital content costs money to get access to and to utilize. So the ability to mix broadcast and digital platforms seem to be a great opportunity for where public media is going. I also saw organizations and people like these that were starting to turn public media from a purely broadcast environment to a more of a platform approach where there was other types of collaborations, other types of voices, and other types of opportunities to get information out into the world that are nontraditional. And so those two things are sort of in full swing. In terms of, I so desperately want to talk about the public media platform, but I know Kinsey is going to want to talk about that, but I want to talk about one thing that I think is a little unusual or it's a little changing. And that is what some of the role of where PRX and where a number of other folks are in developing a series of very flexible applications, whether they're on mobile platforms or online, that allow people to engage and participate. WNYC is a good example of that in New York that's doing work about sort of uncommon economic indicators where they're actually asking people from the community to start to crowdsource knowledge about what's happening in their community. It's all centralized around a broadcast, a radio broadcast, but it is being visualized on the online space which is generating even more broadcast. So that opportunity to really sort of have this engaged conversation in that space is really adding a great value. And it's an example of very flexible, very agile tools coming to bear in an industry, a broadcast industry, which can also mean a lot of capital and a lot of inflexibility because some of the rules around that broadcast. So there's a lot of very interesting sort of dynamic happening. I'm Marita Rivera. I'm a vice president at WGBH, the public broadcaster here, and I'm the general manager for radio and television, which now means you're the general manager for mobile video, broadband, et cetera, et cetera, et cetera. I find this a moment of great opportunity and interest. So while we started in public broadcasting, thinking about radio and television, it's been well over a decade since the work we've done really has moved on to create specific projects for many media devices and using many tools. So I think I'm here from the perspective of producers, kind of the editorial side of what's happening in public broadcasting. And Jake suggested I use as an example a large national project that we're beginning to work on called World 2.0, which is an online civic engagement project. We're really asking the public to help us define some of the issues of the day. And we're really looking at how we might target, in fact, a younger, I'll point a finger at 36, but a younger population of people and put in front of that group opportunities to begin to become more engaged and share information about what's happening. When I was thinking about this, I wrote down four or five things that I think are distinctive as we as public broadcasters, the traditional public broadcasters have engaged over this time. I think we use our strengths as curators. When we talk about news and journalism, news is the primary example of curation. And we're past grandmasters at taking very complicated issues and be able to present them back in ways that allow people to address them and digest them. Public broadcasters have a national base. As we've done work with many of the new media providers and partnered with new media providers, we realize one of the strengths we bring is that there are stations and communities all across the country. And being able to partner outside traditional public broadcasting means that we share a number of things, but one of them is that particular reach. We can use our current investments, that's what this project imagines. We've put money into building the National Black Programming Consortium. And that consortium has connections with the African American community all across the country. There are opportunities for us to take investments that we've made in that and many other communities that we've developed over time and think about how we bring them back together, reformat them using the capabilities we have now to have that voice part of the issues. Obviously, we're looking at creating a grammar that attracts people. That's what we do. We try to take some of the data and the things that might otherwise be dry and turn them into the possibility of bringing people in. If we can't do that, we're out of the business. And finally, I just say that we're looking at obviously right now a kind of transmedia and really distributed model of programming. So these are kind of five areas that I think some of them are unique to public broadcasters, established public broadcasting. But for us, they've all been part of what we've been experimenting with and what we're intending to bring into the World 2.0 project to look at a broader group of people coming together to empower themselves and talk about the issues of the day. I'm Sue Schartt. I'm the Executive Director of AIR, which is based here in Dorchester. It's the Association of Independence and Radio. It's an organization that's 21 years old. It's one of the oldest and largest professional membership organizations in public media. And what we have just briefly in terms of the organization, it's a very broad group spanning ages from about 18 to 70 years old. We have practitioners who have been in the business for 35 plus years who helped lay down the pipelines from the earliest days of the industry to the youngest and most emerging group of media practitioners. And hopefully we can talk more about that a little bit later. We had a project this last year, Makers Quest 2.0, funded by the Corporation for Public Broadcasting. That was a tremendous demonstration project. CPB came to us and asked us to help figure out how producers, how individual-inspired producers could help lead the industry through the transition from public radio to public media. And what we saw emerge was really some just tremendous fodder and tremendous information and models for us. Briefly, I would welcome, invite you to look. There's a brief video at mq2.org, which will give you more of a scope on the projects. But briefly, what the principle behind the project is that the change is happening from the bottom up. It's individuals who are leading the change. It's the craftspeople who are leading, who are on the front edge of what's happening. And so what we did was we basically turned to them and these nimble, not risk-averse, very crafty people who figure stuff out for a living and said to them, how can we blend traditional platforms, the power of the converged audience that we have in public radio, which is tremendous, with this new circulation system, these new digital tools and pathways. We gave them five months. We gave them $40,000 each. And they came, I won't, again, won't go into detail here, but what we saw come out of this were they invented new formats. Participatory documentary, they went into the communities. We partnered them each with incubators, so they were incubated, sort of seeded. Four of them at NPR, one of them at KPCC in Los Angeles, one at KUOW in Seattle, WNYC. And so they had this relationship but retained their independence and their freedom to invent. So that's a project that I would say demonstrates the new face of the public media journalists where we still see these gifted individuals, again of varying degrees of experience too. Some were very inexperienced and some were much more experienced, but basically in the role still, as Jake is mentioning, as a mediator, still the person who is gifted at identifying good stories and good storytellers and then figuring out how to get that story out, but the whole landscape in terms of the tools that they can use is what's changed. And this is what they figured out. They don't have to go out with the microphone themselves and ask somebody a question and gather half an hour of tape and go back and cut it up into four minutes and put it out on the radio station. It's a whole different participatory model. These are participatory models that they invented that are tremendously exciting. Hi, I'm Kinsey Wilson. I'm Senior Vice President and General Manager of Digital Media at NPR, which means that about half of my time is spent sort of on the operations of NPR's digital media operations and the other half is sort of gazing into the future and trying to figure out what NPR's future and station's future digital strategy will be. I've been in journalism for 30 years, been in digital media for about 15, and like Rob, I'm relatively new to public media having been there about 15 months. A couple of the speakers made reference to the enormous technological disruption that's going on, and for us from where we sit, it's created both an imperative and an opportunity. The imperative Eugene referred to in terms of public broadcasting having to move from sort of its 20th century analog broadcasting model to its 21st century digital future and make sure that it can make that transition. The opportunity is one that I think has become much more evident just in the last couple of years as both the technological transformation has accelerated and the challenges to the business model around journalism have become accentuated. And we see an opportunity that one of our board members at a meeting the other day summed up as saying that we need stronger, more vibrant news organizations in more places. I would add to that, that reach larger and more diverse audiences across all platforms. It's an ambition that even just a couple of years ago probably would have been beyond the scope of public media, but because the technologies and the tools have become lighter and because monopoly or near monopoly news organizations that completely dominated the local market are beginning to see their franchise erode and the opportunity is opening up for lots of different players to come in. There is a real opportunity for public media to step into that space. So our efforts have been focused really in two directions to try and help stations figure out what the best opportunity is in that space and where the appropriate divide is if you will between services and guidance that can be provided at a national level and economies of scale that can be provided at a national level and where the opportunity is best left to the bottom up kind of creativity that Sue was describing. And so we've got two projects underway. One is aimed at sort of understanding the audience proposition. What will attract people? What is the best editorial journalistic audience play for public media in these local markets? Because there are lots of different choices that you can make and it's very hard for individual properties to figure that out one by one. So we're trying to provide some guidance there and have a project underway in 12 different markets that actually launched today with the signing of a contract with the CPB around that that will be attempting to in essence do rapid prototyping over the next two years of some local news sites in those markets. The other sort of trailing behind that but began with what Eugene referred to as the NPR API is an effort to create a common platform and think about networking public media content however that's ultimately defined in some sort of common repository. The larger goal of which is to encourage the kind of innovation that needs to go on at the local level to in essence stimulate open source development on top of that repository and give people the tools with which to invent the next generation of news gathering. So one piece is sort of intellectually focused on what the audience proposition is, the other very much on infrastructure and platform and common standards and economies of scale. In a way that sounds almost just striking me now that the analogy to what might be the collected assets of public media made available through an open platform is the data.gov proposition where then you hope and encourage further innovation to happen on top of that collected content. And then the sources of that content unlike not being government sources this is where I think the conversation gets interesting is and you're talking about the first incarnation of the platform thinking about NPR content or the related partners national producers but then we might get to where Sue's purview into a much broader range of individual creators or others who are not necessarily holders of licenses to bits of spectrum. So one question that I would like anybody to jump in on go through first is as we think about this transition we've talked about a few of the assets already that we bring forward with it existing knowledge and expertise even in storytelling and this mediation role some powerful relationships community organizations across the country that are already in place and providing valued service over broadcast. One of the ones also that is interesting in contrast to the declining trust in other institutions nationally government congress being examples that were just brought up is the trust in public media brands the ones that are best known is actually very high and in many ways growing. But what if you were looking at it and the two of you who are newest to the system as we call the system might have particular insight in this are the are the hindrances we have you know you can mention another asset that maybe I didn't mention that we're bringing in but what are the ones that you actually see as obstacles to public broadcasting playing a fundamental role in the new space. I think I think there are two that I would I would say I think one of the really you were talking about one of the great one of the great assets of public broadcasting is localism and I think one of the great challenges of public broadcasting is localism meaning that we have 800 plus independent businesses with their own boards with their own you know balance sheets with their own infrastructure that can work together and have the opportunity to work together but sometimes it's hard. So you have uneven distribution of capacity whether it's a small little radio station done by two people in Marfa Texas to GBH or some of the larger producing stations. So I think that's one of the one of the big challenges and I think CPV's role in that challenge as well as NPR and PBS and other big organizations is to start to make some systematic wide investments in things that Kinsley was talking about in terms of public media platforms and another project I would cite which would be one that I'm working on is called the American Archive which is not a news based archive though I think Eugene's point about helping and trying to help improve the ability for people to get access to journalism content is very important. The American Archive is a much larger archive than just journalism and we have to understand that public media is you know something that is very much involved in education and arts and cultural life and it's amazing actually I have a little thing right now for the American Playhouse if anyone remembers that I just got a book with all of the American Playhouse productions and it's you know it's every significant actor, producer, writer or director in today's Hollywood scene has created over the age of 35 has created content for the American Playhouse series like every single one and they didn't do it for commercial interests they didn't even really do it for themselves they did it for the American public but it's hard to get access to that material because of the myriad rights issues so I think if I was going to talk a little bit about some of the big challenges it's that question of how do you even capacity and I think technology infrastructure equal access to very robust flexible technology infrastructure whether it's something that is put together by an NPR or PBS working together or whether it's something put together by outside entities like Google or Cisco or whatnot are very important as well as this addressing of this digital rights issue that American public has made significant investments in this fantastic stuff but you know what you can't get access to it. Just on the obstacle side I guess to build on what Rob was saying you know as I look at sort of this transformation over the last 15 years over and over again you see that the organizations that have the greatest difficulty are those whose legacy structure governance whatever profoundly inhibits their ability to sort of make this transition to take the risks to make the investments that they need to because their loyalties are divided or structurally they're simply not set up and organized to do this and I you know clearly that's one of the challenges that public media faces. I'm quite optimistic though and particularly coming having come out of the newspaper industry and having watched what occurred there. Public media is generally operating from a position of strength public radios audience has grown 67% between 1998 and 2008 while programming most other news programming has declined on other platforms traditional legacy platforms. We are not rocked back on our heels as we're trying to make this transformation. We actually enjoy trust reach a vibrant news organization and can build from there and I think have become aware of the necessity of moving quickly at a time when we're still strong and that unfortunately newspapers when their cash flow was at its zenith in 2002-2003 were not as quick to act and are now finding it very difficult to respond to the technological challenges that they face. I would just add one sort of another dimension to what Kinsey is saying here in terms of the legacy and the culture. You know a public radio is an institution that is a phenomenal success story. I mean it's a 35 year old institution that has basically just had straight straight straight growth and audience in revenues and in penetration and just evolving into the you know the very respected institution that it is. It boils down to the people and understanding that the people who started this whole enterprise 35 years ago are in large part still the ones who are with it. They've written this way they're the architects of success and here they are at a point at this incredibly you know this time where there's this tremendous seismic shift going on and what they were hired to do and what they did extremely well was build this you know this amazing institution and now suddenly they're supposed to somehow you know change everything or help it through this whole transformation and I think it's a really basic kind of awareness that we have to have that they did their job. It's not their job to necessarily come up with the transformation. The answer to the transformation and the agent the agency of transformation isn't those who are sort of holding the you know sort of holding the keys to the kingdom so there needs to be a very sort of it's kind of simple but it's a powerful kind of awareness that needs to happen within the institution and I don't think our industry is alone. I'm sure this this is this happens you know all the time with industries that enjoy tremendous success. It's really hard for those gatekeepers who did their job and they did it extremely well and who are sort of looking at you know retirement you know they're they're they're moving out how to make that transition. The other thing I would just add quickly is that related to this is there's a tremendous gap in infrastructure and investment. We have this so we have this legacy at this institution that is under siege with the economy and and tremendous amount of money being pushed into it to keep it short up to keep the lights going to keep the electricity on at a time when we have such a need again of this nimble kind of risk taking energy and enterprise and there's a real gap in the infrastructure and how we actually fund that how we actually make that happen in dollars and cents. So Rob I wanted to hear from you and also from Rita in the parallel of assets versus obstacles the fundamental piece of the architecture of broadcasting is a local station a local entity and there's a lot of ways of thinking around and beyond that but what is that role going forward. Yeah that's actually why I wanted to follow up I think there's a couple of things to be said I mean again I wanted to reiterate I came from the digital media world where I had no ability to transmit and now I'm working in public broadcasting where we do have the ability to transmit and that's a really incredibly efficient thing to do you build a tower and you sink some costs into that but the cost of adding more clientele to the get that signal is pretty much zero you know you the cost to transmit to one is a cost to transmit to a million and that is not true that's not the same scale in digital media and so those local institutions all of that those local organizations are truly these amazing anchor institutions in the community you know they have the ability to collaborate and to curate they have the ability to work with the local community in new ways and provide content and broadcast into schools and healthcare clinics and to people's homes and so I think that before we give up on the infrastructure that we spent the last 35 years building we should realize that there's still a lot of energy and a lot of power in that and that infrastructure is tied to staff on the ground as Maria said in every community in the country including Marfa, Texas you know when there are two dedicated people out there trying to tell the public story and I think that's a really important you know a really important point I think just lastly in terms of localism and stations there is a transformation that's going on in those stations we have to balance really savvy media executives who understand how to run a media operation with people like me who are coming in and who never run a broadcast media operation and who understand how to do new things in new ways and there's that balancing point that's important. Rita? You know I am you know so wrapped up in the notion that our stations are the opportunity we have to provide and to provide for voice in our community at a scale that's not really available to us in many other instances and I find this what I'm dealing with partnerships now people inside and outside traditional public broadcasting that question of voice to me is one thing I hope we don't see at risk you know as we as we move toward new ways of engaging with the public and it's one of the real opportunities I see certainly in a local community with the tools that we have now we're finding as a station that this is when we can go to Dorchester this is when we can stop talking about you know populations in our community who have no way to talk to us to themselves I think becoming the vehicle for those kind that kind of dialogue and shared information is is very exciting to me it's very exciting because that's we can do more of that now than we used to be able to do and I see that with our local television you know our basic black that's suddenly doing live programs but the dialogue is right online that they're community video reporters that they're bloggers we look at somewhere we call the lab open calls which are doing locally and then nationally which are calls for people to upload video to really participate in the dialogue that's that's being addressed through the other platforms so I would say that the ability for those local stations to continue to partner with organizations outside of themselves is critical. So it's I want to move from the broadcast portion of the event to the participatory portion of the event so if you have questions again please go to the microphones on the side and also if you're watching the stream I did manage to get online and if you want to tweet a question in or we're wanting to open the panel before us we're going to iterate so just tweet me Jake Shapiro just at Jake Shapiro and hopefully I'll see you here in the direct message while while we're gathering at the microphones I wanted to ask this a question about the business model as a strength so we you know often describing limited resources of public broadcasting and the strains between the undercapitalization of the tax-funded dollars and the strains that public television particularly has to do around pledge and underwriting and sponsorship but in some ways and Kinsey you were sort of alluding to this that diversified business model and certainly the direct reliance in relationship we have with people pledging money to support something that they value could be seen as a strength do you see that actually is something that is not only to carry forward but map beyond what we've done so far I think it not only could be seen as a strength I've increasingly come to appreciate just how essential our diversified revenue model is to our independence to our ability to be able to report without your favor and to being able to weather the kind of technological disruption that we're going through now again having come from commercial media one of the things that that you're seeing happen right now is the extreme dependence on advertising revenue really drives all conversations at a moment like this where revenues are declining whether they're trying to make adjustments in the business and we're fortunate in having a relatively even mix between in the case of NPR it's about 28% of our revenue comes from corporate sponsorship little under 50% comes from licensing which at the station level comes from listener support licensing meaning state fees the stations paid for the programming right and then the remainder from foundation and gifts and a very small proportion in our case comes from the federal government so that may change over time how that business model translates in the digital era remains to be seen I've got a lot of ideas about how that can happen but it is absolutely a source of strength let's start with the Eric wolf from PBS actually but this is actually more of a personal personal question personal background Eugene in his talk talked about the notion of public media as a source of social cohesion I think or societal cohesion the media today is more and more fragmented right the right listens to Fox the left listens to MSNBC somebody else listens to CNN people people go into their corners and listen to what they want to hear can you all talk about how you see and Maria I think you just started to maybe touch on this how you see public media being having an opportunity to provide societal cohesion as we get into a more and more fragmented world we work hard we work hard not to be put in a box and I think it's essential that we maintain that maintain that as we move forward if there's if there's any box we're trying to get out of it's the it's the tone of voice box you know it's the it's it's the creative box it's the grammar box I don't know what you're talking about that's a different box from the you know how we are being viewed and I think this point about being trusted purveyors of information is core because as media proliferates yes you've got five different six different ten different things you're looking for we need to make sure the public media public broadcasting remains one of your five choices if that's what you have and people will will I think respond to that as as the cacophony goes on so our role is to think about how we invite the participation how we invite some shared the development of shared space with other communities so it isn't all just us talking talking talking talking but really providing the space for those communities to talk to one another we attract people but they have no way to talk to one another and if we agree with the view that intelligence has been passed out evenly among communities rich poor ethnic you know trans media at whatever national part of our role is to convene those people who want to bring intelligence to bear on on some of the many issues in front of us and I think that role for us is being is becoming more possible because of the tools that we have at hand Nolan Bowie again I'm a former public interest communications lawyer long-time advocate for public broadcasting I support both public broadcasting stations here in Boston I say that is background as we all know not all media are regulated in the same manner by government broadcasting is much more deeply and widely regulated than all other media what makes broadcasting different is the legal fiction of spectrum scarcity the so-called scarcity rationale justice Clarence Thomas in a concurring decision this summer in August release in a case title FCC versus Fox more or less invited a challenge to the broadcast regulation based on an attack on First Amendment grounds and the first amendment grounds and the citizens united the court seems to treat the First Amendment the sacrosanct almost as if it was absolute the same rationale if applied to broadcasting would probably hold bracket this court would hold broadcasting regulation as being unconstitutional I'd like to ask the panel in general to regard a more consistent way of regulating broadcasting consistent with First Amendment goals and principles what they think should broadcasting not be regulated as a common carrier first come first serve non-discrimination no censorship and a separation of the owners of the stations of the conduit from content to give everyone an equal opportunity to speak who wants to jump in on that one I'd like to phone a friend I mean I'm no policy person at all I mean just very briefly from a broadcaster standpoint you know we have an 11% penetration into the American public and we do that we do that you know by virtue of what we put out we reflect who we attract as an audience and I think it's you know it's clear that we have a tremendous opportunity now in this age that we're in to penetrate beyond the 11% I think we're all committed to doing that and finding ways to do that using again the momentum that we have going right now to reflect a more broadly a democratic more colorful and diverse America I think that I don't know if that exactly answers your question but could we do that great so is the question in a way when the transition starts and public media is serving perhaps equally or even more so through digital channels that the broadcast that it retains the spectrum that it retains should be managed differently than it's currently managed so that we should actually you know one stations perhaps are primarily now serving audiences through digital platforms then the existing spectrum that we've operated in a certain programming approach here suggesting perhaps might be operated differently right I'm going to switch to the next topic because we don't I don't think anybody here is ready to jump in can see here okay hi I'm stiff and to miss here I'm the director of citizens market we're a new nonprofit in Boston and we're interested in connecting consumers with information about corporate behavior both large companies and small local companies my question is really for any of the panelists we've heard a lot of really interesting things today about how communities engaged the public sector but since you have your ear down to the ground with what communities are doing I wonder if you have any interesting stories about changes in how communities are engaging the private sector this might be local plants from large companies are also local companies themselves have you seen any shifts or interesting things happening in that area thanks you know actually kids I wouldn't mind prompting where NPR I think there's a big focus on accountability journalism soon seems to be the next area where a lot of public media stations are thinking about investing even more resources and I'm wondering as definitely from NPR or from NPR what you see about that I mean I think there's a huge opportunity at sort of the intersection of data and journalism if you will and and that's one of the focuses of you know we're starting to put some energy into investigative reporting and accountability journalism I was involved in the project actually my former employer at USA Today where we did very elaborate mapping of the point emissions from manufacturing concerns all over the country and they have to report to the EPA but the data that comes out is virtually unintelligible when you get information about each individual emitter but you can't draw a picture of what's happening environmentally on the ground and we worked with the University of Massachusetts to divide the country up into one by one squares and and look at what the actual impact was and look at prevailing wins and look at the cumulative total of that and then mapped it against proximity to schools because that's where young kids are for extended periods of the day and it drew a very different picture it took government information on the one hand it was publicly available but for all intents and purposes is not actionable in any way and transformed it into something that provided a series of stories around at an individual moment but actually lives on today and is a continuing resource for those communities to use and is a way for them to hold individual corporations accountable so I think it's just one example of a different brand of stories if you will that we can start developing over time. I actually two more very quickly one is a lot of focus well not a lot but there's increasing focus on hyperlocalism in terms of journalism mention every block that ostensibly came from public media and then was went out in through the night foundation and then went into the private sector but there are other examples of hyperlocalism where they're trying in Philadelphia W-H-Y-Y Christa Tullo was running this project as one of the premier civic engagement journalists in the country ran the editorial page at the inquire and worked with the city on helping them structure the budget process with community engagement and he said trying to apply those same lessons to working with seven neighborhoods in Philadelphia around how do you get the community to work on both commercial and government solutions to building that community to be a better place and I think another one I would say is Lens on Atlanta which is a project that's out of Atlanta PBS it's focused on a public broadcasting Atlanta I should say which is focused on trying to give a platform to citizens to talk about everything as mundane as in like why is there this huge pot hole in my street to what's happening in my community and why I don't like it what is the great part about that I think what's the sort of the brilliant part is that Milton Clipper and the folks at PBA are using their journalistic cred to take those stories and those conversations and turn them into questions from a journalistic point of view it's almost in some ways crowd sourcing community engagement into journalism versus the other way around and asking so why is there a pot hole in the street or why store are you doing these things so I think those are examples where we're getting a lot of experimentation what we need to do now is invest in what works and start to build capacity throughout the system so we have another question over here you wanted to jump in so please go ahead this is the one more question and I have one tweet that's coming in a while I can't compete with the tweet my name is Danielle and I'm here from MIT from the Urban Studies and Planning Department but I'm also from the community media and the youth media world and I know this come up a couple times that there's a difference between a mediated and an unmediated space but I wonder if folks on the panel had some opinions about is there a leadership role that public media as is defined by who's sitting at this panel here could play in getting people to use more social media and community media like public access stations and collective enterprises that aren't quite as mediated to have there be more public interest and more legitimacy to those endeavors that's a great question I mean it ties a bit to a phrase that Eugene had used which is this vision of a new public media network which I think implies a more expansive sense of who we are beyond perhaps the entities constituted here hopefully partnering with and actually helping showcase and elevate some of the groups that are doing amazing work in other domains where some of the both the audience reach the platform and technology some of the journalistic skills and training that can come with it really could help I think raise up a much broader segment than we've seen to date let me throw it to you guys to talk about where you see that as the opportunity what is the vision of the new public media network? some of that is what we think about when I was talking about world 2.0 and I really think about it as partnerships with groups outside of ourselves who themselves are creating community to really look at individual youth media of Oakland comes to mind just because you talked about young people but youth media right? youth media who would partner with us on this guys at Bayback or one economy or there are people we talk to who's own work could be expanded and exposed and could attract more people because we're partnering in that case there are the authorities not the public broadcaster the public broadcaster has the platform and the opportunity to really bring people more people to the question but I imagine I'm imagining the kinds of things we could get back are going to be pretty tremendous even in our smaller efforts at WGBH kind of the open lab open call we did with a NOVA program attached to an Adobe youth program to really come back and talk about heat and climate change and I always find that in those sorts of partnerships the kind of questions the approach the perspectives the whole thing is much enriched and I see us doing more of that and not less I think we're moving in that direction. So there's a segue for Sue maybe to jump in that question the tweet that came in was asking you about how do you recruit new producing talent. Asking me that question. Yeah. Well over the last two years we've had a 22% increase in and growth in the organization and over the last nine months or so we've begun to actually survey these people to say who are you and why are you coming to us. So and I'll answer that question in a second but just to give you some insight and maybe to respond to that question a bit is what we're seeing emerge is 67% of the new members coming are under the age of 34 55% you know we're an organization of independence in radio 55% are primarily oriented to broadcast radio but we're seeing this growth in online orientation 30% of the new members coming in are oriented to online and then there's subcategories of print and other sort of forms of media. So and other in 25% are non Caucasian so we're seeing emerge I think it's kind of I interpreted as kind of reflective of the larger world of people who are again taking tools into their own hands and and I would say that they lead us as Maria is suggesting they sort of have the power to lead us to these other places and these other collaborations and partnerships and the opportunity and an exciting opportunity is for again how we create the pathway for this group into the legacy institutions the the tweet in terms of recruitment it's sort of viral it's sort of I think it's very much word of mouth with our organization the mq2 project we it was a competitive it was a competitive call out to producers to get grant money so we reached far and it always helps to offer grant money recruiting technique money that's a good recruitment tool so we're winding down and I thought I would give a chance with the panelists to offer some closing comments one of the things that we didn't really get to touch much on but it's been interesting as it's bubbled up elsewhere is that part of the landscape that's really exploded over the last number of years as we've been observing the media transition are these other platforms we're talking about building a public media platform but here we are with YouTube and with Facebook and with Twitter clearly enabling a huge amount of public participation of distribution of a lot of things that you know when public broadcasting was created four years ago we felt was actually the thing that was missing that we needed to address those circumstances have changed where do you see as you think through on the positive side of public media's leadership role in this where we need to be creating that capacity and where we're really hoping to leverage others who are building those platforms so just briefly I just say you know five years ago February YouTube launched and Huffington Post launched five years ago not not this month but recently you see the acceleration of those platforms is incredible I mean they're top I've an eight-year-old and so they're only five years old can you imagine when they get really dangerous I think that you know I think that the challenges is for public media to work outside of itself and start to innovate with these technology companies and young people and collaborate and and it's a very exciting time right now because public media and large measure is excited to do that so this is going to be a critical couple of years and in fact I have to give some kudos to Eugene and the rest of the folks at FCC are really very thoughtfully trying to engage public broadcasting in this work so one of one of the things that struck me coming into public radio is is the extraordinary loyalty of the audience and the level of trust and the extent to which people not only have an affinity for what we do as broadcasters and but potentially for each other and and it is in a sense a latent network if you will of people who imagine that they have something in common with others who listen and shared experience most of which we've not yet succeeded in bringing online the opportunity in the platforms that you mentioned is to do precisely that and to recognize that our job is to make sure that we're connecting people and that we're getting information in front of them wherever they're consuming information we've seen a shift just in the last year as the percentage of referral traffic that's coming in from a variety of different quarter searches still the highest but RSS used to be second and now it's social media that has displaced RSS so you're moving from sort of more mechanical distribution platform to one that's based more on individuals and networks and I think that's only going to accelerate and I see these you know these are tools for us that our work is really our work which has to do with voice and connection and education and dialogue and these are tools and the more than the better I mean it's really how do I use YouTube and if it's Facebook how do we use Facebook so we're content creators and we're engaged now in serious partnerships with people who are they said very much outside public broadcasting with our publics and that's what the excitement is and I think where we can use whatever's out there how we adapt and how we structure our content to fit that particular framework that's fine that's kind of why we're in the business and I find the partnerships to do that I've been very you know I work with everybody at this table or Corporation Republic Broadcasting PRX, AIR, NPR, PBIA I mean they're not that many of us out here so we're running hard we're running hard and I think are happy to feel that we're now part of a much larger community of people who are also running hard so you know bring on the YouTubes bring on the YouTubes okay well we'll close I suppose with that thank you to our panelists and thank you everybody here thank you Chris


Stevenson hangs on for an 11-10 win tonight over Widener, Glenn Clark, MC McFadden now joined by the head coach, the Mustangs, Coach Paul Cantabene. Coach team got tested tonight and they answered that test and they finished it off. Is this the type of thing that maybe can be good for your team as you go into the postseason? I always think playing a good close game is a good thing, you know, I think that's always good for your team to get tested and do some things. We did a good job. I just think at times you just make a few mental mistakes that we didn't need to do some things. JT went in the end there. We didn't really need that and you know, Louis got lost in a play he usually doesn't get lost and they give him that goal to get the 10th goal. But you know, we toughed it out. You know, we did a good job and I just think that it's always good. Widener always kind of plays us tough in the regular season. We'll see if we see him again what happens. And you know, they bring a lot of spirit and their fans certainly bring some interesting comments as well.   That's always good around the playoff time to get your team ready and focus in those situations and we practice them a lot. So, we'll take it and you know, we move on now to conference play and you know, but we always get some tough games and we know that the teams and you know, you don't go on streaks like this in your conference without playing some tough games without teams doing that. And I think we kind of have a better idea about what they're about. And I think if we see them again next time, we'll be fine. When we spoke at halftime, you said you needed to tweak the defense a little bit. They looked like that you did that and they looked like they played very well. Well, I didn't think they can beat our polls.  So, we kind of made it tough for the the shorts to get the ball and I think our polls did a really good job. And they got a couple, you got a couple of goals off bounces and stuff like that. But I think our defense did a much better job. They don't have anybody that can really blow by you, but they let them maybe let them hold the ball and meticulously work you down. And they could do some things. But I think once we made it tough for their shorts to get the ball, they kind of changed things around. And I think our middities did a good job and then our polls did a great job. There were probably a couple in there that he wanted back, but I thought Sam Ross was really good the night. And obviously came up with a huge one at the end.  I think that's more of us, you know, not sliding really well and kind of giving them some good shots that they probably shouldn't have got because of our kind of some poor slides and stuff like that. But Sam did a good job. He's one of the better keepers in the country and, you know, he made some saves when he needed them. And that's what he does.  He had a bad thumb to and stuff. And he got in practice, but he'll get a few days of rest and be fine. But Sam did a great job. And Justin in the second half was great. And that's a pretty good kid. And, you know, he did a great job. I think he won 12 others, 14 faceoffs, whatever it was in the second half. And that's why we have him and he helped us out to do that.   It's senior night. And this this this thing that you've been through this season defensively, we've almost sort of tops talking about it, because it's been so long since your three guys went down. But the job that they've done of hanging in there this year and battling after losing your top three defensemen, can you just for the totality of the season, tell me what the effort has meant to you? You know, I think any team that loses five of the top six, you know, close defensemen at the start of the season would, you know, be in different situations. But Tom has done a great job being a leader for us in that situation and helping us out. And, and, you know, he was really just, you know, raised the level as a scene. You expect them to do that. You know, we're so young, we're playing so many freshman polls or sophomore polls and you guys in there. And he's done a great job making that a conclusive unit. It took us a few games to get there, but they're more like a bend. Don't break defense. And I think they do a really good job understanding their strengths and weaknesses. And we understand what they're about. And I think that we're giving them a good chance to be successful each week. And Tom's the leader of that defense. And he's done a really good job. And we're glad that he's here. You know, he's been through a lot in his career and to finish his last two years here. I think it's been a real blessing for him. And he's really fit in well with our family and we're happy for him and his family and everything. And it's been great to have him in the win on senior night with a great defensive effort for a kid like him and what he's been through. I think it's a pretty special moment for him. Coach, congratulations. And the win will see a Wednesday night for the semifinals. Thank you. It's Coach Paul Cantabene.


What's good, YouTube? This is what you were back at y'all again with another art video if you're new to the channel. Go ahead and hit that like button. Come and subscribe. Make sure you click post notifications so you will be notified every time you watch y'all some heat. In today's video, I will be teaching you guys how to get better at drum. You'll feel me. So first thing we're gonna do is we already found our pitch that we're gonna use, and we're gonna sketch it out.   Let me fix that. I made a mistake and got set my pen. I'm over here moving. Moving around, things. You feel me? You want to listen? Let me set my pen. Be with me. I ain't going nowhere. I know y'all miss y'all getting scared. Y'all like, where'd she go? So, what we gonna do with our pencil? We gonna start out with our pencil tool.  And you gotta understand when you're drawing, you gotta see the picture and just realize all this is just shapes, bro. So you gotta break it down slowly. Don't just go in. When you're drawing, a lot of people, they try to go in automatically adding details. They don't supposed to do that, man. Supposed to go in trying to see how everything gonna be laid out. Okay, she got her head like this. What we doing now? We just shaping everything out. We just getting the feel of placement. You know what I'm saying? Where everything gonna go. Proportion. We just creating this little map. And as you notice, I'm not being, a lot of people when they sketch, they do this. That ain't sketching, bro. That's you trying to draw it, bro. So don't do that. No, we trying to figure out how everything gonna be. So you wanna just have it already, everything flowing. Then you wanna also remember, just like I told you, all this is just shapes. We just, we looking for the shapes. The shapes gonna let us know the placement of everything. Holy bill, we slowly. There gonna be a lot of erasing. Because with your sketch, you trying to get all your proportions right. So we can, we can spend as much time as we need to on this part. Till we get it exactly how we want it. Don't move past this step until you get it perfect. Don't rush to the line work. Until you got your picture, your artwork looking semi-close to what you're doing. Don't move to the next step. It's kinda like, it's kinda like sculpting. You know what I'm saying?  That's what you're doing when you're drawing.  Exactly how you think it should be. And I go into drawing with a mindset of man, like I won't be denied. Like if I, I won't stop until I get it looking like the picture. A close to the picture. As you guys go in with that mindset, be like, man, I'ma just keep drawing. I'ma keep erasing. I'ma keep switching things around. Training my eye to draw exactly what I'm seeing. I'ma keep going until I get it looking just like the picture I'm looking at. Artists will. I notice on my picture, I got, I got her nose too close up. You know what I'm saying? Cause I see it got like space here. Pull this part down some close up.   I ain't trying to advertise these things. Cause you know what I'm saying? They ain't paying me to advertise. But the little, the little thing you put on your hand, I used to be like, all right, you don't need this little thing. Bruh, this the most comfortable thing if you drawing on a little tablet, bro. I'm trying to take, let's get right back to it. Just like I said, we're going to keep building this picture until we get it. But you see how I started out? I started out with, with shapes. And after I finally got the shapes exactly how I wanted, now I'm going back in and I'm adding my detail. And just like I told y'all, man, you practice this every day. Training your eyes to draw exactly what you see. Now that we got the sketch, you know what I'm saying? We finna go in and practice on adding our shading, you know what I'm saying? The shadows and stuff. Making the line work, I mean the sketch. And just got a little practice in. If you want to get better at drawing, that's what you got to do, man. You got to put the work in. You got to train your eyes to copy exactly what you see. You got to keep building. You know what I'm saying? It's kind of like sculpture. So you got to stay shaping the picture until you get it exactly how you want it. Make sure you stay tuned, bro. He coming soon. And I'm out this thing.


Hi, I'm Elena. I'm from Spain. I'm in year 10 in Calvin Grove State College. I'm here in Australia for three months during my school holidays in Spain to improve my English and soccer. I like the soccer accent in Calvin Grove because we do a lot of things in training and I improve so much. We improve our skills, our dribbling and our shooting. In Spain, we don't wear uniforms, but here in Calvin Grove we do. So it looks better and professional. We move for different classes and for different subjects, so that makes me meet different people. Since the first day my teachers, they helped me a lot and international staff too. So I appreciate that. I'm proud about being the first Spanish international student in Calvin Grove. I love my home state family. We've been doing a lot of things together. We've been to Gold Coast and in a picnic to the city and I'm having fun with the kids. I'm not really homesick because I'm having a great time. I'm from Queensland and I enjoy these schools.


And that practices to in each moment discern if the action you are planning to take or the action which is emerging is emerging from the truth of the system or is it from that loud ego stuff. And you start discerning. In the beginning you can't discern. After a while you realize that the truth actually is a very subtle impulse, whereas the ego is in sentences and is loud.


You know him as one of our generation's favorite comedian, actor, writer, producer, and former late night television host. After grinding out stand-up comedy freers, he became the host of NBC's The Tonight Show with Jay Leno from 1992 to 2009. After the Jay Leno show was canceled in January 2010 amid a host controversy, Leno returned to host The Tonight Show with Jay Leno on March 1, 2010. He hosted his last episode of The Tonight Show on February 6, 2014. That year, he was inducted into the television hall of fame. In these videos, we don't reveal any addresses, so please do not show up at any private residences because it's not safe for anyone. Before he made it big, Jay Leno slept in his car and crouched in empty LA homes. As a comedian and former host of NBC's The Tonight Show, Jay Leno has enjoyed a successful and lucrative career. At the height of his time on The Tonight Show, Leno reportedly earned as much as $30 million a year, but he wasn't always bringing in steady paychecks. When Leno moved to Los Angeles in the early 1970s, the first thing he bought was a 1955 Buick Roadmaster, which he still owns today and is featured on his CNBC show Jay Leno's Garage. The car only cost him an astounding $350. However, Jay Leno still couldn't afford an apartment, so he slept in his Roadmaster. And in between nights in the car, he squatted in empty houses. I would drive around to open houses. I'd go there on a Sunday, you know, open from 12 to 4, then around 3.30 I'd look around the house, and then I'd slam the door and duck in the closet. When the realtor locked up, I would live in the house for a couple of days. When the realtor showed up again, he'd apologize to move on to the next house, he says. However, everything panned out for Jay Leno, as today he is known for being one of America's best clean-cut comedians and popular late-night television hosts. His net worth is worth a whopping $400 million, which has led to some pretty killer real estate. Hey guys, it's your boy, Marlon Palmer, and we're bringing you another house tour here on Famous Entertainment. Now, I noticed 95% of you watching are just not subscribed. It's unfair. So be sure to hit that subscribe button because we post a new video daily. In this one, we'll take a look at Jay Leno and a few mentions he has called home over the years. If you like these videos, ring that bell for notifications. We've also done house tours on the likes of Jason Statham, Keith Urban, and we'll link to some at the end. Follow me on Instagram at daddoomicfly and let me know who's house tour is next in the comments down below. Let's get into the video. Jay Leno has owned a house in Beverly Hills since 1987. The five-bedroom, six bathrooms, and 6,400 square foot mansion last sold in 1987 for $2.4 million. Today, it is an estimated value of $9 million with an estimated mortgage of $43,000 a month. This LA complex includes two sizable estates in Bel Air where Leno calls home, though he has a precious car collection living elsewhere. Leno purchased the uphill house at 3,400 square foot five-bedroom number in 1997 and added the downhill property 10 years later. Probably just for the pool. Well, definitely for the pool. If there's one thing Jay Leno loves, it's his car collection, and that's probably also what this pad is for. This house has a six-car garage that is a modern showcase complete with a high-tech turntable, making backing out of the garage seem a thing of the past. Now, as impressive as his real estate portfolio is, probably his most prized possession is the Burbank garage. Away from the spotlight, Leno's 66 can often be found working in the sprawling hangar, which houses about 150 cars and 117 motorcycles, and yes, he drives them all. Jay Leno has lived here with his wife, Mavis, since 1987. Meanwhile, he bought the home next door in 1987 for $55,000, although he still lives here at his current address, which we will not reveal because it is not safe for anyone. Now comes the holy grail of homes. No captivated with Newport, Rhode Island, was Jay Leno that he bought his nine-acre 14 bedroom, $13.5 million estate on the spot in 2017, totally on impulse. He claims my wife and I were driving on ocean drive, and she said, look at that house. He recalls at the time, at the same time, a gardener happened to be exiting the gate. So Leno jokingly asked his wife that they should find out if it was for sale. Turned the car around and knocked on the door, and they said it was, but it's not currently listed. So I said, get the owner on the phone, and I bought it on the spot. Now one of the reasons Leno wanted this spot was the viewing. Can you blame him? Leno claimed you don't get water in California, not for anything less than $150 million. He bought the estate fully furnished too. I didn't have to sit there and look at swatches and be like, let me see that fabric on the wall. I'm not a spontaneous purchased guy, but just living in California for the price of a condo on Wilshire Boulevard, you get a home in Rhode Island. The Newport mansion has a whopping 14 bedrooms, 12 bathrooms, and is 15,851 square feet. While the property was last sold in 2017 for $13.5 million, it is already estimated today at $15 million. The estimated mortgage is around $71,000 a month. Since 1935, an iconic seafarer has reigned over its gated ocean front peninsula, built to complement the curve of the east coast to crescent-shaped residence boats, expansive ocean views from every living space. Of sturdy rubble stone construction with limestone coins and a slate roof, seafarer has embraced every aspect of its dramatic ocean front site for 70 years. The grounds aid gated entrance to the Long Estate Drive introduces the 9 acres estate. In addition to the main house, the manicured grounds are home to an ocean-facing pool, a carriage house, expansive terraces, a walled garden, a tennis court, a six-car garage, and a beach from which to swim or kayak. The main house on the first level double steps to the formal entry hall welcomed one to the thoughtfully preserved residence. All features include a main salon and formal dining room with Louis 16 details, a grand staircase featuring direct-to-aust style, wrought iron railings, and French doors leading from the main salon to the enclosed seaside logia. The home further benefits from an impeccable chef's kitchen that is open to informal living space, a paneled library, and a den with full bath. The upper levels are a compromise of 8 ensuite bedrooms, a pool, room, and ample storage. The luxurious master suite amenities include a sitting room, his and her walking closets, an oceanfront terrace, a marble bath, and a fireplace. Seafair is served by two elevators, central air conditioning, a service kitchen, and a full service on-demand generator. The estate originally known as Ter Mer was designed by James McKenzie Jr. for Denver Mining Air, Werner Zavola Reed Jr., who became the vice president of Chase Manhattan Bank and in 1981 was appointed ambassador to Morocco by President Reagan. McKenzie, a New York City-based architect noted for his residential designs, was also engaged for the 1949 improvement program for the Statue of Liberty. Newport Road Island just 90 minutes from Logan International Airport in Boston, 30 minutes from Quonset Airport, and three hours from Manhattan is home to numerous cultural and sporting attractions, including world-renowned jazz folk, classical music, and film festivals, the Tennis Hall of Fame, golf, yachting, and polo. It's also packed with lux amenities including a carriage house, walled garden, and tennis court. The windows bathe the home in light and provide incomparable vistas of the water below. The dwelling's curved design ensures expansive ocean views from every room. Outside, Leno and his guests can relax in the walled garden or take a dip in the ocean-facing pool. The residence also comes with access to the beach. Alright, that's all I got for Jay Leno and where he calls home. After looking at a few of his properties past and present, what did you guys think? Be sure to rate his homes in the comments down below. I gotta say, who's scared about living in LA when you can have your own castle in Rhode Island? I would rate it an 8 out of 10 from what I can see. Thank you guys so much for viewing. Make sure you guys follow me on Instagram at daddumicfly and I'll catch you guys next video.


Hello everyone. We're about to start the next session and it is a pre-recorded session. The session is on structured data across Wikimedia and it's a 45-minute session on successes and learnings. It's all pre-recorded but you can send us any questions at the end and we can always follow up. But we'll start the recording now. Thank you. Folks in Singapore and good any time of day to folks anywhere in the world. Welcome to this appetizer session that comes right before lunch. We'll do our best to keep it light and tasty, don't worry. We're going to talk about the structured data across Wikimedia program, a three-year effort that involved quite a lot of people, ranging from the Wikik community, of course, down to the Digital Public Library of America, all the way to Wikimedia Portugal and the Wikimedia Foundation. There we go with our lovely speakers. A special mention goes out to Carly Bogan, Program Manager at the Wikimedia Foundation. Actually she's not going to speak today but I really can't imagine structured data across Wikimedia succeeding without her. In alphabetical order we then have Dominic, Data and Partnerships Strategist and the Digital Public Library of America, Giovanna, Program Officer at the Wikimedia Foundation, Marco here, Software Engineer at the Wikimedia Foundation and last but not least, Sofia, Project Coordinator at Wikimedia Portugal. This session breaks down into a few parts. I'll start with a helicopter view on the program, briefly describing its goals and products. Then I'll do a deeper dive into data pipelines, which serve as a backbone to power image-suggesting products. In the third section, Giovanna will talk about events related to culture and heritage. Next is Dominic, who will showcase the digital asset pipeline and the view it tool. And finally, we have Sofia presenting events organized by the Wikimedia Portugal. Alright, let's get started. Program overview. First of all, what structured data? There are a ton of definitions out there but here's the one I prefer as a technical person. It's all about content that should be readable both by humans and machines alike. Let's pick some examples from the Wikimedia ecosystem to understand the concept a little bit better. Some text from a Wikimedia article is unstructured data. It's perfect for humans but much less readable by machines. Wikimedia infoboxes are semi-structured data, an interesting trade-off. Quite easy for a human eye, let's say, not so hard for a robot even. Wikidata is a great example of very structured data. It has a human-readable interface where contributors can edit very small pieces of data and, under the hood, it's a completely machine-readable knowledge graph. Amazing. And then, easy part of the program name, across Wikimedia. It just means that we aim at scaling the availability and consumption of structured data up to all Wikipedias. Actually, some data pipelines go beyond Wikipedias, reaching out to all Wikimedia projects, although no products are built on top of them as of today. So, structured data across Wikimedia, as though it was all made possible by a grant coming from the Sloan Foundation. The grant started back in 2020 and ended in 2023. Specifically, we can see it as a follow-up to a previous grant, which enables structured data on commons. The high-level goals of Asdow are all about content. First, we want to improve content search. Second, we want to make content machine-readable and build connections across projects. Third, we want to shape more structure where data is especially structured. Typically, Wikipedia articles. These deliverables act as a concrete mirrors to the goals we set. So, first, we modernize the Wikimedia search experience. Second, we propose the addition of relevant media to content pages in the form of image suggestions. Third, we build the necessary infrastructure to enable structured data-intensive services in the form of data pipelines. Finally, the implementation of deliverables led to the birth of several specific products that we will describe later in more details. Let's list them here. We have media search for commons, search improvements for Wikipedias, we do it to data pipelines, which include image suggestions and section topics. We add an image tool for Wikipedia newcomers and image suggestions and notifications for expert Wikipedia contributors. As I said, a lot of people got involved during the grant period. First of all, the Wikicommunity, of course. The Digital Public Library of America was responsible for the ViewIt tool rollout. Wikimedia Portugal set up various events to raise awareness on this program, and then you can see, of course, several Wikimedia Foundation's teams. I am a member of the structured data one, which was the owner of most products. Image suggestions wouldn't be there without the key joint work with the research team, who built the prototype algorithms that we refined and put into production. And no product could have seen the light without the extensive collaboration with search, data engineering, Android, growth, and Glen. Okay, now let's have a quick look at tangible products that made their way through Wikimedia projects. So they're all in production. Media search. Media search is now the default search engine interface on commons, and is essentially a modern image search. It has increased search sessions by 50%. It's extensible and can be plugged into other Wikimedia projects. For instance, it's also available on Visual Editor and Portuguese Wiki News. Then we have search improvements that landed on the special search page of seven pilot Wikipedia's, namely Catalan, Dutch, Hungarian, Indonesian, Norwegian, Portuguese, and Russian.  Also thanks to more accessible connections to sister projects. Let's just mention the View tool here and stay tuned for later. Dominic will give more details on it. Data pipelines are the fundamental pieces of infrastructure to let structured data flow across Wikimedia projects, and I'll dig deeper in the next part of this session. Data pipelines enable the development of end-user products that suggest images for addition to Wikipedia articles. The first one was built by the growth team at the Wikimedia Foundation and targets Wikimedia newcomers. It's live on Arabic, Bengali, Czech, Farsi, French, Portuguese, Spanish, and Turkish Wikipedia's. And as of April 2023, we counted more than 41,000 images added and not reverted through this tool. That's a pretty much amazing result. Besides new newcomers, we also send weekly image suggestions to experienced contributors through eco-notifications. Users that meet certain expertise criteria can regularly receive notifications like this one in the screenshot, and so far this tool led to the addition of more than 2,000 images. The set of pilot Wikipedas that got search improvements also got this tool available. Okay, cool, cool. Let's move now on to the next part of the session, which will zoom in into some details of the data pipelines. Okay, let's take a breath and maybe have a drop of your favorite beverage. I'm absolutely addicted to Japanese green tea, cold brew, in a beer glass actually, but it doesn't matter. Alright, so what's the idea behind a data pipeline? The Wikimedia Foundation's machines hold so much data that it has literally become a lake. We at Asdow made several scuba dives into this huge data lake and built pieces of infrastructure that carry what we need to feed our products. I'm typically referring to image suggestions, but I think it's important to mention here that we could be at way more applications driven by data pipelines outputs. So before image suggestions, let's first talk about section topics. You later see that this data pipeline serves as one of the inputs for section level image suggestions. But please keep in mind that there's a whole lot of other opportunities that could leverage the section topics data set. Such a complex project is better explained by an example. Here's what we call a section topic, which is essentially a piece of data. And let's consider the English Wikipedia article about Attila, the Han Emperor. And more specifically, this section titled Solitary Kingship you can see on the top of the slide. Among all the blue wiki links that you can see in this section, we picked this one in green, boxed with green color, about a member of the Roman army. And we call the corresponding wiki data island that you can see at the bottom of the slide a section topic. A section topic comes with a score telling us how relevant is that topic with respect to the rest of the article content. Okay, so now just imagine that this scales up to all wiki links available in all sections of all articles of all Wikipedia language editions. And there you go, the section topics data pipeline. So without too many technical details, let's see how this data pipeline roughly works. It takes as input the raw wiki text of all Wikipedia's and the wiki data item page links, which are two data sets that live in the data lake. The first step is to gather the content of top level sections through a wiki text parser. A lot of effort goes then into filtering sections that are not good candidates for relevant topics. We'd like to let machines read as much unstructured text as possible here. So we focus on textual sections and typically skip tables and lists. The core part is the extraction of wiki links together with their mapping to wiki data items. So what we call these section topics. But many wiki links such as dates and years typically are not really meaningful. So we may want to filter them out as well. As a side note, filters are completely optional. So we can reproduce, I mean, we can generate a full row data set for hunger data consumers like you. The final step is then to compute the relevant score of every topic to enable a ranking of section topics. Okay, that's it. Now let's move on to the next data pipeline and let's have a closer look at the core infrastructure that is responsible for image suggestions. Meet Alice and Slice. Alice stands for article level image suggestions, while Slice is section level image suggestions. The goal behind both of them is very simple. To recommend images for wikipedia articles and sections that don't have one. The main data sources we leverage are common images, of course, wiki data and wikipedia's. First, let's understand how Alice works through an example. On the left of this slide we have an English wikipedia article about genus of fishes with no images. This is a suitable candidate for illustration, right? The corresponding wiki data item at the top of this slide holds an image property that links to the common image you can see on the right, this fish. Cool, that's one good signal for us to suggest that image. And well, it turns out we're also lucky enough to have the same image of the same fish appearing as a lead image in the Catalan wikipedia article, which is the equivalent to the English one we have. So the signal here for a relevant suggestion gets even stronger and we're definitely confident enough to go for that fish image and suggest it to the initial English wikipedia article. I hope that the previous example has shed enough light on the mechanism behind Alice and let's zoom now in a little bit more. Relevant image connections come from two wiki data properties, image P31 and common's categories P373. As you have seen, another signal stems from wikipedia lead images. And finally, this isn't mentioned in the example, but we also use the picked statements from the Structure Data on Commons project. So the first obvious step of the pipeline is to gather all image candidates from Commons that match the given connections. Then we assign a relevant score depending on the connection, namely wiki data images get the best score. Commons categories and wikipedia lead images follow while the picked statements are the least stronger connection. This is according to a manual evaluation we made. And finally, we collect wikipedia articles that don't have an image and match them against all images for suggestion. Okay, after Alice we have slice, section level image suggestions. This is definitely the most complex project, but also the most interesting one in my opinion. So let's describe it again with an example. On the left of this slide, you can see an English wikipedia candidate section about the design of boomboxes. This section contains a wiki link to SHARP, which maps to the SHARP Corporation section topic, as explained before. And this topic, or wiki data item, links to the SHARP Corporation's Commons category. And there we go, here's an image suggestion, a set of boomboxes called ghetto blasters. Moreover, it turns out that the equivalent article section in the Japanese wikipedia also contains the same image. Great, it's an intersection of signals and this suggestion looks like a very relevant slice then. And so we send it to the section, to the initial candidate section. Now, let's take a closer look at the machinery behind slice. We leverage two principal algorithms, section alignment and section topics. So given a language and the wikipedia article section, the former retrieves images that already exist in the corresponding section of other languages. While the latter takes the sections wiki links and looks up images that are connected to them via several properties, typically wiki data ones. So the connections are the same as Alice, except the depict statements which were not useful enough for this purpose. Okay, but let's see what section alignments section alignment is based on a machine learning system that automatically aligns equivalent section titles across wikipedia language editions. All we have to do is to extract section images from all wikipedia's and then combine them with the alignments to output image suggestions. The section topics algorithm first take as input to the section topics data pipelines output. And the goal here is to build a visual representation of wiki links in wikipedia article sections. So we achieve so by following two paths. The first starts from a wiki link and traverses the corresponding wiki data item down to the comments image that stems from the wiki data image property. The second one instead just looks up the wikipedia article's lead image from a given wiki link. So it's important to note here that we apply these paths to both the wiki link and the article it belongs to. This is to ensure that the suggested image is both related to the wiki link and its article thus ensuring relevance of a suggestion. Fantastic! That's all for me folks. I really hope you enjoyed these parts of the session. Now I'm gonna pass it over to Giovanna but of course let's not forget proper attribution to the images I used in my presentation so you can see the attributions here. Cheers! Have fun!