Hey folks, hello and welcome to ServiceMeshCon EU. Today we're going to be talking about debugging an application with your ServiceMesh. Tap, tap. My name is Jason Morgan, this person here, also that person there. I am a technical evangelist over at Point, that means it is my job to talk to folks about the LinkerD project, encourage them to use it and evaluate it and help folks as they move from development through to production with LinkerD. You can find me on Twitter at our Jason Morgan. You can find me on GitHub at Jason Morgan. And you can find me on the LinkerD Slack at JMO. So this is about the end of our slides for today. We're going to do everything as a live demo or as close to a live demo as we can get considering the circumstances. So let's talk about what it is we're going to talk about. I've got two applications that are running in my Kubernetes cluster that are having some issues, and we want to diagnose and try and do what we can to remedy those problems with our mesh. So I've got one application, which is a web front end backed by two GRPC services, and another that is a series of web applications talking to each other over rest. EmojiVote is the GRPC application. So what it gives us is a web front end that displays a number of emojis, allows us to vote on them, view the leaderboard and see what the current state is of the voting. And it seems to be working as designed, but we're having a problem with it. I'm getting reports from my users and I want to fix it. So let's go ahead and take a look at the service map for EmojiVote. So what I have here is a vote bot which generates some traffic. It talks to our web service, and then the web service makes a GRPC call over to voting or Emoji. And to be clear, I'm not getting that GRPC thing from looking at this graph. I just knew that already because I work with the EmojiVote app a lot. So I want to debug and I want to get things going. So the first thing I'm going to do is just talk to my Kubernetes cluster and ensure that I can communicate and that things are running as expected. So I can ask about the nodes. I can see that I've got my three nodes in my K3S cluster. This K3S cluster provided by the good folks over at Civo who are actually going to be announcing something here at KubeCon. So please stay tuned for that. Now that we've checked on our nodes, we're going to just check on the state of our mesh. So the linker DCLI bundles in this check command, which will check on the health of the control plane and all of its components. And it will also look at any installed linkerD extensions and it will run their health checks as well. So we see that the results are green check mark for both, which sure seems good to me. So we're going to move on and actually troubleshoot our application. So the first thing I want to do to troubleshoot my app is just take a look at the namespaces in the cluster and see what does linkerD see in terms of the golden metrics for those namespaces. Golden metrics being success rate, volume of requests, and then latency. So we can see we've got a bunch of namespaces here. PodInfo is seeing a ton of requests, but is responding great and has 100% success rate. LinkerD, Viz, and LinkerD dashboard also both have 100% success rate. One nice thing with LinkerD, the control plane components are also part of the data plane. So we can use the same debugging techniques we're going to use today on our various applications to check on the health of our mesh or debug issues should we run into anything. Now we have EmojiVote and BooksApp that are both seeing a sub 100% success rate. So let's dive into EmojiVote and see if we can't can't get this problem fixed. So now that we know we have two namespaces with issues, right? BooksApp and EmojiVote. Let's look at the deployments in EmojiVote. And see what their relative health is. So I can see right away, VoteBot and Emoji seem to be succeeding all the time, have low latency. That's great. But web and voting are both reporting some problems. So let's dive in a little bit further. So now that we've got the statistics on the deployment objects overall, we can actually dive into each one of those deployments and see what live calls are going in and what can they tell us about the health of the application. Now to be clear, I haven't instrumented anything inside these apps. These are normal GRPC apps. I don't have tracing enabled or anything in particular. This is what the LinkerD Proxy is able to tell me about my application traffic natively with no configuration. So I can see what pod a given request is coming from, what pod it's going to, the method, as well as the path that's being called, right? And the number of requests coming in. So I can see right away that web, here my web pod is talking to Emoji, and those should all be successful. We can see the call as list all and find by shortcode. If we scroll over to the right, we see that those are both 100% successful. Great. In line with our expectations based on the statistics we've seen. VoteBot talking to web has two calls, API list and API vote. So let's see how they're doing. API list is at 100%, but API vote is at around 85 to 90. So it's not succeeding all the way. And then web is talking to voting a lot, right? And it's talking to voting, and it's hitting these individual vote, these individual vote URLs. And let's look at their success rate. So it looks like it's good for most things, but vote donut, right? So donut, what should be our most popular emoji, is actually seeing a 0% success rate. Great. Is actually seeing a 0% success rate. So let's go on. So we probably have, we probably have our problem solved already or diagnosed. And what we'd like to do now is just triangulate a little bit. Let's go check out the voting service, see what it reports. So I do a top on that voting deployment, right? Now I can see that all the calls to voting, like we saw on our traffic map, are actually coming from the web service over to voting. We see the API calls that they're, or the past they're taking inside the API. And we can see, we can see how many, and we can look at the success rate. So so far, everything seems to be going great, right? We don't have, we don't have any failures, but let's give it a minute and see what else pops up. All right. Thank you. We have vote donut coming in, starting to receive some, some traffic. And we see that it's actually hitting a 0% success rate. So right here, let's go ahead and let's go ahead and check on that, right? I can go over to my emoji vote app. I can click on donut. I see that I've got a 404. So we have a real problem. So I have more than enough to package over to my development team. So they know where to begin looking for the problem. Great. So we've got that. But let's, let's continue to dive a little deeper. Let's see if we can't, if we can't grab some of that live traffic over to this, this voting service and see what we get. Now we've got the linker D vis tap command here and tap is going to snoop in on the calls between the two proxies and get a bunch of metadata around them so that we can, we can see the current state of our environment. So we, we run our command and we can see that, you know, we have calls like this vote for running man, it's indicates that it's an MTLS call, which is the default for linker D. When you install it, you get MTLS between all, all services. We have a status code of 200, which is great. And in GRPC status, okay. So let's look for donut donut. See if I type that right. Scroll around here. There we go. We've got a donut call here. So now we've got a path of emoji vote v one voting service vote donut. And we can see that while we still have that TLS is true and the status code 200, we also get our GRPC status of unknown, which is actually a GRPC error. So okay, well, the nice thing that we got out of that last call is the particular path to look at for voting donut errors. So we check out vote donut. And let's just let's again, let's update the path that we're calling to instead of just the base URL to the full voting service vote donut. See what what all calls come in. Now this is going to populate as soon as as soon as our traffic generator votes for donut, or I can actually pop over to my web app and try voting for the donut again. Great. So we see some of that traffic coming in. We see some of that traffic coming in, we have still the TLS true status code 200 and that GRPC unknown. So I could save this off and pass it to my developers, which would be handy for them, but we can actually take we can actually get way more detailed information. So that same tap command, right, I'm going to run it again, but I'm going to change the output format from just the default terminal to a full JSON output. So we'll see, we'll see the same basic thing, but with a ton more detail and we could save this off, bundle it with, you know, with the message we send to our developers on the voting service and let them let them start solving the problem. So here, right, we see the we see the output of one of these calls right now is Jason. So I've got a bunch of metadata about the source, the destination, you know, the request information and all the headers involved in this call. Right. Great. I can also if I look down a little bit further, I can look at the headers for another request and see that, you know, we've got our GRPC status and we've got our GRPC error message right there. Cool. So save that, send it to my devs. I feel like I've discharged my duty to the team in terms of in terms of debugging emoji photo and now it's on the developers to actually get it fixed. So that's been great, right, but this this troubleshooting process actually took longer than it needed to take, right, because I was looking around, I was waiting for things to come up. Y'all saw when I went to voting service, I didn't see anything about vote donut until a fair bit of time in, right. So I had to do that kind of aggregation myself. So one of the things that's really nice about linkardy is you install it and you don't have to you don't have to build or configure a bunch of custom resource definitions in order to make the mesh work, you get all the value with a very simple install and and inject on your applications. But there one of the two custom resource definitions that linkardy does use is this service profile. So let me just create this and we'll talk about what we did. So I use the linkardy CLI to look at the proto file for my emoji service. So emoji is a gRPC service, it uses these proto buffs, and we can actually look at them and see what are the actual valid calls for this service. And we get we get this service profile object, which will allow linkardy to do some more intelligent stuff with the traffic for this application. And it will be able to do things like collect and maintain the data about the given routes right there inside the service so that we can more quickly debug issues like this when they come up. So I'm going to go ahead and create and apply a service profile for the emoji service and do the same thing for the voting service again, just using that just using that proto file. And once those are done, I'm about ready, but there's a third service that I care about here, which is the web front end. Now the web front end is not it's just the rest service, so I don't have a gRPC file to work with or a proto file to work with. And I also don't have a swagger file. So I need to actually just take a look so I can either write my own service profile based on what I know of the application, or I can also use linkardy's tap functionality to in to watch the traffic that's coming to this web service and and decide how to build a service profile based on what we see. So for the next 10 seconds, we're going to watch the web service, see what comes in and auto generate a service profile. So we have we have our new web service service profile created. Great. We're going to just give myself a reminder to go hop over to the dashboard and we're going to take a look at how we could debug this even faster if we were using service profiles. So again, looking at the Emoji Voto namespace and click on web and get my route metrics. You know, I can see that, you know, as we're coming in API list is staying at 100% API vote. Now again, it's only been a couple of seconds, but over time, we're going to see some of those failed transactions come in. And this this API vote service is going to start to degrade, right? And if I left this running for hours, it would be a lot more obvious at what the failure rate actually is. So again, gives us an indication that we've got a problem with with voting. So we look at our voting service. And again, right, instead of waiting for a vote donut call to come in, right, which it did right away. But you know, you saw it doesn't necessarily do that, we can look at our route metrics filter on the success rate. So now imagine the situation I've been paged, because there's an issue, I come in, it's it's some amount of time later. And I can just immediately look for the past inside my API and see what's what is either responding slowly or is starting to see errors, and then and then immediately go direct, direct the the right, the right ticket to the right team so that we can get get this thing fixed. So that is emoji vote, right? So that's just that's as far as we're going to go because we have some fundamental problem with our application. But now let's change scenarios a little bit, let's talk about not a GRPC application, but instead an all rest based application. So we've got our buoyant books app. And and books, let's take a look at that inside that terminal or inside the dashboard real quick. Books is is a bit more of a complicated service. Let's give this a little refresh. Books is a bit more of a complicated service. We have a traffic generator just like we did with emoji vote and three services. But web app is talking to both authors and books and authors are talking to each other. So there's some additional dependency there. And my failures with with books are more intermittent. So it's a little bit harder to to get a sense of really where my problem is. Now, luckily, in this case, I've already got I've gotten I've had the profiles set up this entire time. So we're going to just use these service profiles, because these are all rest APIs with swagger files, we're going to use those those profiles to get a sense of where our problem is. And we're actually going to do a little bit to resolve it before our devs have to get involved. So we start we just look at the routes for the web app service, right, because that's kind of our entry point to this app. So let's look at what's going on here. We can see a bunch of the calls are seeing 100% success rate, but post the books and post the books editing an individual ID are problematic. Okay, so let's let's see if we can't get this a bit more triangulated. I'm going to see how is web app doing in its conversations to both authors and books. So when I look at, you know, from this web app over to authors, let's see, let's see how how the routes look looks like every single call from from the web app over to authors is succeeding 100% of time. So we're pretty good on that route. Great. But we still have problems with web apps. So clearly, it's a problem with web app talking to books. So we look from web app to books. Yep, there it is. Post books. Jason and post book or sorry, put on a particular book ID. Jason is failing somewhere around 50% of the time. So we're already getting a lot closer to to our root cause, right? And our goal here is to drive down that that meantime to detection on the problem so that we can get this resolved as quickly as possible. Now I'm going to look now that we've seen seen this we also have that dependency between books app and authors. So let's just let's just go in and check how what is books talking to authors about and how are those requests doing. So now we look at all books app is doing is a head request on authors by a particular ID. And we're seeing that right about 50% successful. So should we clearly have we clearly have an issue. And if we look right and that was that was quick to diagnose with that was very quick to diagnose with with the routes in place, but you'll see it's a little bit harder when we look at the author service directly, right? So we look at the live calls for the author service. And we can see that that sometimes we're seeing we're seeing failures, but it's not it's not in a way that's clearly aggregated, right? I've got a particular author ID that's seeing some some failures and and some that are succeeding, right? But when I when I view it from a route perspective where linker D's been been aggregating the traffic based on the the API calls defined in the swagger doc, I see that you know the particular head, the particular head request to any author ID is failing about 50% of the time. So I've got like I've got the I've got the problem identified, right? And and that's good. And and so we're we're there right I can go ahead and alert my my authors folks that this head request is failing half the time they need to look at at the code that's responsible for that response. But I can also because it's failing about half the time and succeeding about half the time, I can actually use my mesh to solve some of this problem. So we're going to look at that service profile for the author service, and we're going to we're going to change it so that we we fix the problem for tonight, and they're able to take time and deal with it in the morning. So our service profile has the various routes for this service. And we're going to go into this head request that we saw before. So head authors ID dot jason is failing. We're just going to go in here. And we know that it's safe to retry this call. So we're going to add a field that says is retryable is retryable true. I'm going to hope that I type that correctly. And and so we're telling the mesh Hey, when you see these calls proxy, go ahead and just retry it. So no app logic has changed. No, you know, no, no fundamental issues to the code or no no changes to the code have been created, right? But instead, I'm letting the mesh take responsibility for trying to solve some of this problem. And now we look at the routes from from books to authors, right? And we can see that the success rate, while the actual success rate is staying right around 50%, the effective success rate is going to steadily climb, right? And it's going to climb all the way up to 100%. Because it through those retries, it's going to it's going to succeed eventually. We're also going to see our latency go up. But as long as it stays within reason, you know, it's overnight, we'll we'll page them first thing in the morning, they can respond to it in a timely fashion. So we'll break out of this. And again, now I can look at the routes from from the web app to books where we originally saw the issue and see what this looks like. And now our success rate has gone up to gone up to 100%. And we're feeling good about about that result. So let's pop back into the slides. Let's pop back into our slides. And that's the end of my talk. Thank you so much for staying to listen. Like I said earlier, you can find me on Twitter at our Jason Morgan if for some reason you want to see my GitHub contributions, you can find me here. And I'd love to hear from you over on the link or DSLAC at JMO. Thanks so much and have a great day. Goodbye.


Hello Normandy. This is our final interview for the HowlRound of all the harp artists. There's a whole series of them. Thank you for watching. Have you been watching them? You know already they're extraordinary and Normandy is no exception to that. The harp program is, if you don't know, a residency artist program at the Heroin Center where artists of all different kinds of artists, puppeteers, musicians, theater artists, video artists are given space and time and peer support and fellowship to advance their careers, but primarily also to work on a particular piece of art for any number of years that they really want to. If Kristen Martin who started it, she knew that the three-week model of the American theater didn't really work for most artists, and so she created this program many years ago. I've certainly been a beneficiary of it, and we're here with a harp artist right now. So Normandy, why don't you, we don't know each other really, so why don't you introduce yourself and tell us a little bit about your project. Okay, so I'm Normandy Sherwood. I'm a director and a designer and a writer, and I do a lot of different things in the theater, and my harp project is called Psychic Self-Defense, and the quick pitch of the show is that, or the challenge of the show is that it will include 45 minutes of Curtin's opening. That's my fantasy. It's like all I ever want theater to be. I try to make that show every single time I'm in the theater, and every single time I end up having a narrative, but it's all I want is Curtin's opening. So how are you actually doing it? Well, I feel like that's like, man, that's the struggle that I am facing is how do you not have the narrative wants to creep in, and so I feel like I'm... Well, I'm not saying narrative is wrong. I'm just saying like, yeah, yeah. Well, why don't you, because I've read the thing on Psychic, to tell people what it was inspired by or based on, and what the, I guess you could call it a goal of the pieces. Yeah. So it was inspired partly by this vision of the 45 minutes of Curtin's opening, but also by this 1930s paranormal self-help book called Psychic Self-Defense by Dionne Fortune, which is... Well, it's a book that's about how to defend your psyche from the attacks of ghosts or psychic vampires or other magicians, other supernatural... Pundits. Pundits. Well, exactly. So when I read that, I was like, that's funny. But then I was like, well, but actually, I really want to be able to practice Psychic Self-Defense because I think there are a lot of psychic vampires abroad in the world and corporations that want to hijack my attention and your attention and all different ways that I think we might feel under attack. So part of the impulse for the show was to figure out how can, to explore that idea and hopefully figure out a show that can be some sort of practice of Psychic Self-Defense or like antidote to the psychic hijacking. So that's where Curtin's come in. And what are the techniques in the book that they suggest and how does that apply to, how have you then turned that into Curtin's opening? Well, this is the frustrating thing about the book is that there aren't a lot of concrete techniques. It is about stories about times that the writer was attacked. The most concrete technique is that if someone is trying to bully you, you should stare at the space right between their eyes and then they won't have any power over you. That's the one kind of concrete. That's not even supernatural really. And I'm not quite sure that works. I think I tried that technique when I was 10 and it didn't work. Well, the other funny thing about that book is that a lot of the things that she describes like looking at it through like a contemporary lens, you're like, this person is in an abusive relationship and that's what the paranormal thing that she's describing. So there's sort of like an interesting slant to read it as well. But there's these kind of ghosts hanging around you when you're in an abusive relationship. Or you're attributing, you know, like, you know, feelings of discomfort to ghosts when maybe they're actually like in a relationship situation. Oh, I see. The total opposite of what I was saying. So then, so you read this book and you're just inspired and so then lead me to curtains. So the curtains, I would say the curtains are like developing independently and then the two things sort of run together. And I think the curtains are, well to me, the way the curtains offer a type of practice of psychic self-defenses. The desire to create a show that is like keeps the audience in a state of anticipation and sort of absorption about what's going to happen next. So thinking about like creating a very like visual sensory experience that is about sort of the being in the present moment of anticipation, I guess. And that that offers some sort of antidote to being grabbed in different directions away from yourself. Yeah. I mean, it seems meditative and just the idea of it seems very cleansing. And I guess I wonder about the existential condition of being in a place watching curtains open for 45 minutes. Is that in any way some kind of psychic self-defense just to be in existentialism? Yes, to get through the different cycles of being forward and being absorbed and being bored and being absorbed. But that's like part of the challenge is like 45 minutes of curtains opening. Like how do you make it, I mean, bearable in a certain way? Or how do you make it like continue to pull people in? Yeah. So that's... Well, there's a whole Japanese art form that is just screens opening that Basil made a show, but he put a narrative into the show. But it's Basil Twist, but it's just, there's a whole, on some island, he did all the research. I can't remember the actual language for it, but it's really just screens opening over and over and over again. So there's a tradition, I don't know if there's footage. There's also like maybe sort of a burlesque element of it, just this sort of constant reveal and I mean teasing of whatever is going to be behind it. Yeah. And are you... Yeah, to what degree is surprise an element in this work? Like surprising the audience or surprising... Surprising the audience, surprising you, surprising, yeah. I mean, to what degree is a curtain opens and it's the exact same curtain or it's a curtain that looks different and yeah. Well, I think yeah, it's about building surprise. I mean, you know, in a way it's sort of like you're building to punch lines that kind of like cascade, right? Like you always want it to be like there's something worthwhile behind the curtain, but also like maybe you have to build up to the worthwhile curtain. We're kind of playing around with that. I mean, I think it's all about surprise, that's what curtain's opening is, what's behind the curtain. Yeah, yeah. And I mean, I know every time I always want to have a curtain in my shows and every time I do, the designers always kind of freak out, there's always a moment of like, people are always game to do it, but there's always a moment of, oh my God, technically it's so challenging to have a curtain and also for down-down artists, you know, it's can be very expensive curtains. And so how are you doing gymnastics around all of that? The technical things of having all...  Right. Well, so the work that we've done on the show so far has been very like technically oriented, like we were able to do some work last summer in the here space in a very socially distanced way, and it was all about just figuring out strategies for the rigging and what can we make and how do we want to make it. But, you know, I mean, I think like in this sort of scrappy down-down way, we're like, we're using, we're repurposing a lot of things. Yeah, yeah. Using a lot of materials for the arts fabric and like the vast sort of curtains I have from other shows. So I think we're kind of trying to see what we can make out of what we have.  So you have worked with so many different kinds of artists. You have a really eclectic kind of career. And yet when I look at imagery of your work, there's a clear kind of aesthetic vision. And could you just maybe describe what you're obviously bringing that to all the various projects that you work on. And so just describe your aesthetics. And I guess also to some degree, what aesthetics maybe mean to you? Well, I guess I would say that like my biggest aesthetic influence is materials. Like I'm really interested in like the potential of a weird material to do something cool. And I'm really interested in things that are handmade and look handmade. Like that's, you know, that's what gets me excited in and I guess I'm just I'm really interested in objects and material and like the stuff of the theater. That's, you know, I'm a writer and a designer. But I think even as a writer, I'm always thinking about the stuff and how the stuff is going to work. And I guess I would let's see how to describe the aesthetic. It's like maximal. It's very colorful. And I sort of I used to say that like my forte was like making something out of trash in 20 minutes. And that's still a strong skill I have. But I'm working on like longer timelines still making stuff out of trash. Right. And is that a do you think that that's an economic choice making things out of trash? Or is it just because trash can be so beautiful? Or it's fun to turn something that has been discarded into something that is beautiful? I would say it's like both are all like, I mean, certainly in an economic thing, like, you know, just kind of making it do in New York over the years, like that's how you do it. But I don't know, I'm really interested in theatrical objects, like they're so valuable in the moment of the performance. And then they can become trash immediately when the show is over. And just like magic trick of the value disappearing or like the transformation that happens. I don't know. So I think about that a lot. Like, it makes me want to like bring the trash back into the spotlight. Right. Yeah, something that was of use that is no longer of use. And now it's abuse again, because you decided it's empowering. Can we see a little work sample? Sure. Yeah. Yeah, I'll show, I'll share my screen and I'll show like kind of a super cut of images from the workshop that we did for the show this summer. All right, super. I have determined to master the art of psychic self defense. Wonderful. So, so it's really, you're working with hypnosis to, right? Yeah. Yeah. To hypnotize people out of wanting to buy things.  I don't know when things open. It opens you at the same time. Like sort of get to bathing, opening, opening, opening. Are you working with closing as well? Well, no, not as much.  And what we're trying to figure out is like, maybe there'll be like a little bit of closing, but like, um, opening into different spaces that then disappear when other curtains open behind them. That's the thing we're, we're wanting to work on in our next sort of work period. Yeah. And I love how you're, you know, when you read the blurb of it, all I think is the same size curtain. And it's just one after another. But you're really, you're brand you're like, oh, no, we're going to bring in a little curtain and we're going to video curtain and physical curtain. And, you know, so you really experimenting with form and, and style of material as well.  Or do you feel like you're on a, on a track to something right now? Um, I think we're still really in like the exploratory phase. We spent a little bit of time, the group and I spent a little bit of time at a residency without a theater, just sort of thinking through some things and playing with some effects. And, and we'll have more time working on it in the theater. I think we're like firmly in the like, try a lot of different things and see what we can do in the phase of this project. Yeah, yeah. You know, the I try to keep these by at 30 minutes.  But what I wanted to ask is something I've been asking a lot of the artists, because there seems to be a social justice, a theme of, and this may be just Kristen Martin's curatorial desire, or it could be the curators, the panel that picks all the artists, you know, which changes every year. So I don't think they could all collaboratively get together to decide this. But it seems like most of the artists have some kind of social justice anchor in their work. And I'm wondering is that, and this particular one is interesting because the the idea kind of feels that like to freeze people of of the bombardment of everyone trying to steal your attention, you know, because it feels up to me like a social justice action. But I wonder, but, but the the actual execution of it is much larger than that in some ways. So I wonder about about how that plays social justice plays into your desire to even just get involved in a project. Because so many people are working that way, I certainly tend to work that way, too. But curious. Yeah, I mean, I think that like, I'm thinking a lot about like how we collaborate together, me and the team and sort of like what our community agreement is, how I am working to like create a team that is full of dear collaborators of mine, but also bringing in new people is trying to like reach toward equity in the theater space. And then like content wise, I mean, I think that like, yeah, as you say, like in the sort of grand conceptual thing, there is something about like, how to sort of like claim ownership of our own attention, and how to, you know, then be able to deploy that attention in the ways that we need to, how to be like free of certain oppressive structures. But the experience of it, I think what I'm interested in the experience of it is sort of an experience of absorption and being sort of drawn in to, I don't know, like the hypnotic place, as you're saying, as a kind of cleansing and as a kind of like refreshing. So I feel like we kind of need that these days is like brain refresh. Yeah. And you're, but you're working on this as a, forgive me for not knowing, but you are the lead artist, is that how you're defining this? And so are you, are you building an ensemble or is it just that I always come up with this with this question too, because I feel like when you apply for the devised grants, you know, you're like, well, I have my ensemble, we've been making work together for years and years and years, but we haven't called it the Wooster Group or something, you know, we haven't called it an ensemble name. And so how are you navigating just that wondering, I hear you talking about equity with your, with the workers and stuff, but also being in the center of the decisions. So what's that navigation for you? Well, it's, this piece is interesting because I'm, I began making theater in a sort of collaborative devised group. And then, yeah, I mean, was it a national theater? The United States, right? Yes. I mean, one of the great titles for a theater company of all time. Yes, please. Yes, claim it. And so, yeah, you started with an ensemble and then that is, and you branched out. And so, yeah, I interrupted you. Oh, no. Yeah. So that's where I started. And then over the last like 10 years, I would say that I've been working, you know, more in the like less devised way, I guess, like as the writer, as the director. And this piece is coming from an impulse of like turning to back toward that collaborative work a little bit. Like, I guess I am still would claim the lead artist role in this project, but it's much more being sort of thought through and developed by the group. And I think, you know, it's the quality of the collaboration is changing sort of as we work on it. And I'm interested at like emergent property. Yeah. Yeah. Yeah. It's like, marketing is not processed, but it's not devoid of process. That makes sense. Like, like what I have to do is show when I have to do show when I get to do a show. They often will want to put my name on it, you know, and I and I always think, oh, okay, well, if I but but that maybe gives me too much weight than what than what I want the art to be. But then but then nobody comes to the show if you just give the title of the show, right? So so I'm, yeah, I would love I would love to collaborate with you on a way to figure out how to convince the rest of the world that marketing is not processed. And I'd also love to collaborate with you one day. So maybe one day we could. Thank you. Is there anything you need from the community? Do you need money? Do you need people to come and sew curtains together? Do you need what what do you need in case somebody's listening to this wants to help out? Yeah, I mean, I would say I always want someone to help in our sewing the curtain factory that we're creating. Is it a real sewing me? I mean, are you you're getting together with friends and and having cocktails and sewing? At times, I mean, mostly it's been limited to the work periods we've had. But I'm like seeing that in our future, there's like a lot of curtains to sew. Yeah, there's like a community engagement that with the presenters love that when you engage the community. You can you can travel all around the country and have various people sew all your curtains for you. Yeah. So that's what you need. You want people to join you on that? Well, I mean, of course, one always needs money for all sorts of things. But yeah, but I mean, you know, and I feel like we we figure out all the ways to make that come. You know, but I think that like the thing I'm right now, like as we're making it and sort of before people can see it, although they might get a chance to see it a little bit over the summer. Where exactly? I believe as part of raw, we're going to do a little something that people will be able to see. So yes, before we finally meet the public, I would love people to be involved in the the handiwork of it. Yeah, is that part of your understanding of the art is the process? Is also the art? Yeah, I mean, yeah, I would say that like the, you know, and I mean, when I think about like where what's the, you know, the desired sort of effect I would like to create for the audience, I think about like, you know, for the for the last year or so, what sort of gotten me through is just long interrupted times where I'm sewing and just the moment of like absorbing in yourself in a in a in a task or in just sort of like a somewhat hypnotic activity. So that that I guess is what made me really want to give that experience to other people because it's been so genuine and soothing for me. Wonderful. Well, I don't sew, but I would come in and learn how yeah, that sounds great to have the COVID experience has been all kind of process and no product, but to be able to sit down and actually just make make something and and ah, we did it, you know, be very delightful. Thank you so much for talking. Thank you. Is there anything else you want to say? Not right now. Great. Great to be talking to you. Great to be talking to you, people who are seeing this and come see us sometime. Bye. Thank you.


Hey everyone, my name is Stefan and I'm the Business Development Manager here at Freedom. We currently have a video on a new upcoming Voxholt slash MMO called Trove, it's a content you see behind me. A lot of you wanted keys, so I thought, let's do this. This key you see on your screen right now is good for 50 uses, so you better hurry up and claim it now. Go to trovegame.com to redeem the code, link will be in the description below. Future content and giveaways for Trove will be on our RPG channel, which you can find at youtube.com slash rpg, so go there and subscribe, we really appreciate it. If you want to help produce content for this game and want to have your content on the rpg channel, please check out the google doc in the description below, fill it out and I'll get back to you very soon. Tell us if you managed to get a key in the comments section below, and even if you didn't get a key, tell us in the comments section below, we might be able to hook you up in the long run. Anyway, thanks for watching, hope to see you on the RPG channel, and hope to see you in Trove. Goodbye.


Hey, so it's day 23, but I'm not gonna lie to you. I, it's actually the 24th today. I don't know if you can hear in my voice, but I was so sick yesterday, I could not record. So this is coming to you a day late and I apologize for that, but it's the 20, day 23. Oh man, I don't know why, but I just, I get sick every year around this time, right around Christmas time. It's like my thing. So what I wanna show you today is how to extract an effect, okay? How to make a custom effect. So we have pulled, and I apologize, my brain is kind of foggy still, so everything might not be great. But we have pulled, we have this width state that we're using, and then also we're using use effect to kind of observe window resizing. And so if we watch this window width is 800, well, that changes as we resize the window. Now, this is such a useful thing that it would be awesome if we could extract it out into its own custom hook and just be able to use that instead of having to reconstruct this every time, right? Now I wanna show you this because it's a really simple thing. We can just take that, delete it, or cut it, I guess, and we can put it in its own function. So that function would look like this, function, use. Now use, that use prefix is just kind of the standard for hooks, and it's just a convention, but all hooks should start with use. So we'll do that. And we'll call it use window width, okay, great. And then we'll close that up. Now what we need to do, there's only one thing that we need to change about this once we've created this, and that is to return the width, okay? And now we can return anything that we want, but this particular one, it makes sense to just return the width. Now we can use that, use our custom hook here. So we'll say let width equal use window width. And there we go, everything still works like it did before. Now, for your exploration, try adding some arguments. So if you wanted to, we could, if we wanted to not have the window width directly, but we wanted to have the initial be settable, so initial width, now we can pass that in as an argument, and we could set that using something else. So obviously that still works. If nothing is passed in, we could pass in a default window width, and now you could use it either way. You could pass in a different width, or you could just use rely on the default, which we're using here, and everything still works. I'm not feeling well, so I'm gonna call that a day. Explore making your own custom hooks, and that's day 23.


Hey everyone, so I produce a lot of content on my channel, daily content, weekly content, podcasts, live streams. And I always gotta pick and choose what am I gonna cover today? What is the story that catches my eye? And then every now and then Nintendo does something that surprises me and updates things like the Nintendo Switch online. Now, when I heard about this today, I just thought, okay, cool, let me fire up my Switch and see what changed. And then it turns out nothing, at least nothing on here. Sure, we have the my Nintendo sort of achievement system brought over. I don't really know. Calling them achievements seems kind of weak, but they updated that and added that stuff. And without that story, something we already covered, we already know that there's a way to earn like platinum points locally on your system and buy icons. And okay, that's cool. It's better than not having it. It's still hidden in that sub menu that, you know, unless they, you know, you follow YouTube channels like me or read news articles about it, you might not even know they added it in if you don't regularly use the NSO section of the app Nintendo Switch Online, but there's more and we get to talk about it. And it involves your phone. Yeah, Nintendo Switch Online has been updated and it has to do with this. Now, before I tell you what's going on, I want to remind you, we do have a giveaway going on right now for Nintendo Switch OLED PlayStation 5 or an Xbox Series X to enter head down to that. Like, leave a link down in the description. And I wish all of you guys luck. Also, I got to let you know that this upcoming week here is Mario 10 week and we have sales going on right now and we have partnered with Best Buy.  If you use our affiliate links down in the description to buy those games, I get a 22% kickback from those sales. Also, I want to give a big shout out to Best Buy because they have decided to additionally offer four games this week that we're going to be giving away throughout the week during our live streams, including one of those games, possibly on the Nintendo Prime podcast this week. So stay tuned. It's going to be a lot of fun. Get some great games for cheap sales and let's get into what happens. So I'm going to get my phone open here and just read off the exact update here. I get this off NintendoEverything.com and it says Nintendo has just released a new 2.0 update for the Nintendo Switch Online app. That's right. I told you it had to do with the phone but also the Nintendo Switch Online. So it has a new design and the ability to see which friends are online and more. Ooh. The full patch notes for the Nintendo Switch Online app version are as follows. The app's overall design has been updated. Yay. Thank you, Nintendo.  You could change your online status settings. Oh man. You can see which of your friends are now online. Okay. Can we message them? No, no, okay. You can view your friend code. Okay, so now I can copy my friend code quite easily and share it on Discord. Okay, I guess that's a neat feature. Other minor changes have also been implemented. And Nintendo Switch Online app has been around for a few years and it lets you voice chat just a few days ago. They updated it to spend my Nintendo points on user icons. So look, I opened the app, right?  So you guys see what this looks like. And yeah, it is a completely new design. There's still only three games that have voice chat options. So that's cool. That's really, you know, Animal Crossing. Oh wait, we gain specific items, I guess. Animal Crossing, Smash Bros. and Splatoon 2, I guess are the ones coming out of Game Specific Services. But what's obviously more interesting now when I see that friends are online, I could tap on someone, you know, like this person here. And yeah, I can see what they're playing right now. This person in particular is playing the Triangle Strategy Prologue demo and they first played it one day ago. Let's find someone who's been playing someone who's a bit older than that. This person who is playing Dying Light Platinum Edition has been playing for five hours. So it's basically gonna show me what you have been playing and how many hours you've spent playing it and that's what you're playing right now. And then anyone that's recently offline, it's just gonna tell you when they went offline. Of course, none of this lets you actually message people, set up play dates and set up groups. There's really no point to this other than just spying on your friends when you're not on your Switch or not connected online on the go. So again, it's one of those weird updates where it's just much to do about nothing. I mean, the new design looks nice, I guess. You know, if we click on Settings here, you know, we have some alert settings now. Display online status, they said that was new. So I can display my online status to all friends, best friends or no one, which again, you can already set that on your Switch. Yeah, there's things about sending data back to Nintendo and then there's the friend code to copy. So I don't know what other things they added in. I'm not really seeing much, I guess maybe the fact that they didn't mention that you could specifically see what game your friends are playing, I guess that would be other things, but this is one of those updates that I don't understand. It's almost half-baked, right? Nintendo is giving us the ability to now see who's online and offline, see what game they're playing right now, but we still can't actually directly message them about it. Like if I click on someone and I see, oh, this person's playing Pokemon Legends, Arceus, well, I wanna message them and ask them if they wanna trade some Pokemon. Crap, do I have this person on my Discord? How? Huh? Like I still can't message them. Hold on, do I know them in real life? Who's this person? Oh, they're also playing Pokemon Legends, Arceus. Also, lots of people and my friends are also playing Pokemon Legends, Arceus. The point is, look, it's sort of a useless feature. It just, now I can creep on my friends, but I still can't talk to them. So what's it matter? And that's what I don't understand about Nintendo Switch Online. If you guys remember, this app was supposed to have an extremely cool feature that Regifizum A teased over five years, well, really about five years ago at this point. You know what that feature was? Not only would we be able to message our friends, we would actually be able to set up future play dates, create groups through the app to invite our friends into for play sessions later. So I can just be like, hey, look, we're gonna do some Platoon 2 tonight for our livestream. You know what I can do? All of our patrons that are friends of me on here, all of our members that are friends of me on here, I can automatically invite them all into a group to play Splatoon 2 tonight. That's cool. So I get a list of people who are gonna play. I know who's gonna be there. I know if we have to let the public in, et cetera, et cetera, et cetera. I can set it all up ahead of time, except no, I can't, because that feature never got added. In fact, we can't message people, let alone group, video, you know, voice chat people unless we're in specific games and we gotta go through the game. You gotta bounce back and forth in the game and the app, the game and the app. It's ridiculous. And that's not even, including the redonkulous setups out there for wired connections. If you wanna have your game audio and the voice chat in the same headset. Like there's crazy dongles for that and everything. No, I know it's got a bit easier because you can like wire one and Bluetooth the other.  Nintendo Switch Online has the bones, the skeleton to be something much more than it really is. Unfortunately, that's all it really is. It's a skeleton, it's the bones, and they just keep adding like another bone. Like, oh man, now you added a new finger, but then you didn't make it able to bend. So what was the point of adding that finger? It, you know, it's like adding a toe but then not giving me the ability to move them and walk, you know, give me the joints. Like it, Nintendo is extremely strange when it comes to their Nintendo Switch Online. That's why I said this is kind of a half-baked update. It's like this half step that gives you something that's almost useful but then really isn't. Sure, now I can like check what my friends are doing while I'm not online and just have my phone. Okay, and what can I do about that exactly? Absolutely nothing. You know, absolutely nothing. Maybe I'd be better off eating ice cream. You know what, that actually sounds kind of good. I'm, okay, you know what, I'm gonna go make myself a nice, delicious, fat-free ice cream cone. I know, and then it's not really, ah, delicious, this is damn it. You know what, I'm gonna go just drink a glass of ice cold water and I'm gonna put some sugar in it That's cool, hey, that's not good for you either. God, damn it, fine.   Catch you guys in the next video. Give me your thoughts on this down below. Half-baked update, really weird. Bye.


Tell us what's poppin We are on twitch. We are live about a time. You see this we won't be so just leave a like comment subscribe Turn on your post notification bells now. Let's continue to grow the family from Chicago to the UK Right behind me you see it you too little warning screen, you know them saying yeah y'all admitted to read it if you need to Don't forget twitch.com The username is at the bottom of the screen, you know if I give us a follow on there Catching any of the live streams. Don't forget. We do got merch and we got patreon as well. We post five days a week The link is in the description. This is talk TV gangland Britain Peter Blexley warns of organized crimes Wands of organized crimes iron the grip on UK. All right Talk to me copyright disclaimer under section 107 of the copyright act 1976 Allowance is made for fair use for purposes such as criticism comment news reporting teaching scholarship and research Fair use is a use permitted by copyright statute that might otherwise be infringing Non-profit educational or personal use tips the balance in favor of fair use No copyright infringement intended all rights belong to their respective owners In January 2022 Joe Dix who was 18 at the time was savagely stabbed to death by three young men Benjamin Gill Cameron Palmer and Hans Bihari The murder took place in the midst of a drugs and cash burglary and a year later at Norwich crown court The men were sentenced to serve a term of a minimum 20 to 21 years each When speaking to the press Joe's parents Emma and Phil Dix Said that their son was trapped in a vicious cycle when he was victimized by a gang who groomed him to sell heroin and crack And said that Joe almost lived a double life In addition to grieving we have silently coped with Joe's memorial garden being destroyed and multiple malicious communications via social media Justice may have been served However, there are no winners from knife crime We will never get Joe back The ripple effects from Joe's murder is huge not only impacting on our family and friends But everyone who knew Joe along the lo in the local community a year later in a revenge attack against the gang only the money Who had murdered Joe Alfie Hammett also aged 18 Shocked shoppers after he brutally attacked Raymond James Quigley known as James with fatal consequences in broad daylight Hammett was jailed for 24 years last week Accomplished Joshua Howell who was 17 at the time of the murder received 20 years Following the tragic loss of young lives Chief Constable Paul Sanford made a direct message to the public in an effort to reassure the local community I'm recording this message today because I'm very aware of the concern that exists throughout Norwich About the recent homicide and other knife related incidents that have occurred in recent weeks. I Want to reassure you all that this is a number of birth number one priority for our force and all available spare resources are being directed to these problems to bring offenders to justice. I Also want to say that these are not random attacks The risk of being victim of a violent crime if you're not part of these groups remains incredibly low All of that being said these are serious. I mean, that's true to an extent, but mistaken identity and maybe hidden civilians crazy, so I Mean, it sounds good to say on TV to assure public safety But you know, that's not the reality of it. I don't feel it's crimes and we are absolutely Committed to solving them and bringing the offenders to justice. Thank you Since James Quigley's murder Joe's parents Emma and Phil have described how Alfie Hammett often sent sympathetic Messages such as thinking of you without realizing he was a fellow gang member They have shared their sadness that yet more parents will now have to go through the painful grief that they can so sadly relate to In an effort to combat the escalating youth crime within Norwich Joe Dix's parents Emma and Phil have created the Joe Dix Foundation in honor of their son 16 year old boy was stabbed to death in a loop Joe Dix I Want to say man Joe Dix Your parents are gonna be your parents no matter what RIP to you But they said it themselves. It was almost like he was leading a double life So like what that man said your son was keeping stuff from you You know I'm saying Yo son you say he got groomed We will never know the truth But no loss of life is worth any of things, but I'm just saying You know I'm saying I feel like your son knew what he was into That that be my like and I say that in the most Heart felt way like but I mean that Last week five teenagers were wounded in two shocking night attacks there on the same day this weekend There was a triple stabbing in Halifax two young people and they spawned for your son The members spun they got to get back for them. They're dead. So we 121 the other just 19 two members stabbed to death in Leeds barely a day passes Without more of this bloodshed. This is the kind of response we get every time My number one priority So it's not just about policing it's not just about stop and search. So that's About wrapping your arms around the kids and putting them on the right track the death of anyone through an act of violence is an appalling tragedy I want to say how shocked and saddened I am that three people have lost their lives Just words isn't it just word salad putting arms around them Is that gonna stop kids stabbing each other? It's not is it? We all know that all the condolences in the talk of getting tough The fact is the people who want to hurt us and longer fear the consequences if they do Police numbers are down budgets have been slashed. They've stopped taking everyday crimes even remotely seriously When the Home Secretary announced last month that police must investigate all thefts It was supposed to be a huge innovation. My question be what the hell will they do before? Shoplifting is now out of control in Britain store thefts are more than doubled and they're only getting worse in America It's the same issue emboldened by absurd policies on not prosecuting minor offenders shop Lifting especially of the steaming variety with dozens and dozens of shopletters entering a store at one time has become an epidemic That's not funny what that is First and foremost, where did he get the TV from that is entering a store? He immediately pulled this off the display especially of the steaming variety with dozens and dozens of shopletters Entering a store at one time has become an epidemic Is it all might as well get another one buddy wonder that Donald Trump working saying this And we will fail twice Is it a wonder that Donald Trump got an ovation of the weekend for saying this and we the TV down He will immediately stop all of the pillaging and theft very simply if you rob a store You can fully expect to be shot as you are leaving that store There have always been horrible people, you know It's very easy to look at this situation and say oh It's just because we've suddenly been giving birth to loads more horrible people that obviously isn't the case if we look at this You know just objectively if we look at the facts if we look at the statistics the studies on what causes violent crime The single biggest predictor across the board of levels of violent crime across time and space is inequality Why it's not just because people are poorer and they want you know to access more stuff That is a problem. It's because in a society that denies particularly young men Access to Advancement then violent crime becomes something of a status symbol This is born out across sociological studies across time and space It becomes you know There's an incentive to kind of steal a kill someone and to steal their trainers because it becomes a state of Symbol because we haven't got those roots regardless of the young man Because I mean terrorists touch on a point in saying then third world countries You don't necessarily have this problem because there are actual social consequences Which I think is an important point touched on when I was a kid growing up in Ghana If you stole something in our neighborhood doesn't matter who who finds out whether it's your neighbor or someone else once your family gets to Know there will be consequences Sometimes your neighbor might discipline you the issue here is a breakdown of legal and social consequences and that's what we're missing I actually has to be ostracization and actual social consequences for stealing But it also has to be legal penalties real ones. I agree I'm gonna say I've come around I mean sorry talk to about third world countries. You look at say someone like Singapore Yeah, I was hearing what she was saying but The study of this the study of that the actual like okay You ain't you not really from or it been to any of these neighborhoods that you talking about you just looking You'd read in papers when she got to speaking and she just says she was from Ghana The land was giving her repercussions and things of that nature. Okay, a little bit different or Hong Kong I've walked the streets of these places at midnight, right? You just don't get this kind of stuff there because the penalties if you do are severe And I keep being told by the wishy-washy brigade.  I can tell you it would soon stop and you may sound like I'm Morphed into a right-wing hatebanger. I can assure you most people in this country would share that sentiment So why aren't we doing tougher things like that? What is extreme of your argument is we turn into Saudi Arabia and then we just throw away anyone who might you know Look like they're committing a crime or that we execute them I'm not saying that I'm talking about people She just really put words and pierces Not for coming out of your point there about ten years Well, we've got a prison system at the moment that doesn't work. It doesn't rehabilitate people and at the moment We are turfing people out Sorry, we're throwing them into prison and they're coming up the other side and we are there they're not rehabilitating They are going back to commit more. How are you going to stop? I think I think it goes back to what Grace is. I think it's a social issue I think that we've got to really tackle inequality You know, we've got to look at this long-term rather than thinking what's the short-term solution for everyone like, you know You sound like the same people that he just named off and It's just all talk Inequality seems to me with great respect one of those vacuous generic terms like a sort of catch all excuse What is going on here? I know lots of kids who come from poor backgrounds who do not go around stabbing people That's their parents and this can apply by the way to do lower-class people say a middle-class People I went to a fee paying school till I was 13 then state Comprehensive school. Let's go back to all say it manner of people right and parents the common theme of kids that behaved well Or at least felt shame and accountability if they were caught doing bad things was strong parenting Teachers yes, and authority yes, but actually strong parents 100% I told y'all when we was watching a white flop yesterday Like I'm telling my kid off rip the first time you do something wrong You're getting punished to the top tier in the house because that's how it is in real life And they're gonna go out believing that so if you doing something bad in real life Stop because you're gonna get punished severely That's the mark like no you got to curve it like if you have no discipline at home What makes you think your child's gonna be disciplined outside? They're not Tied by the UK Parliament in the year ending March 2023 There were 50,000 and 500 offences that year alone involving sharp instruments The bombs might not be going off anymore rest assured the gangs still operate and their grip on the criminality is an iron one of Vice-like grip and they're not about to loosen it anytime soon My name is Peter Blegsley. I'm a former Scotland Yard detective the mood. I feel like we watched Majority of my career was dedicated to tackling serious and organized crime From London to Lancashire and from Devon to Dundee There is this whole video


Welcome to Restaurants Hawaii on Think Tech Hawaii. I'm your host, Cheryl Matsuoka, the Executive Director of Hawaii Restaurant Association. I'd like to introduce Hawaii Restaurant Association's Executive Assistant, Siobhan Garcia. Hey, Siobhan. Hi, Cheryl. Hi, could you please introduce our guest today? Sure. So our guest today is Aaron Plakorakis. He is the President and CEO of AMP Restaurants Limited. Hi, welcome, Aaron. How are you doing? Thanks so much for having me. Looking forward to chit-chatting with you both. Yes, thank you. Yeah, thank you for taking the time, Aaron. So Hawaii Restaurant Association's 14th annual Hall of Fame Gala is quickly approaching, Monday, February 28th. And we are grateful for our event sponsor, Waihata Company Limited, who is this year's Hall of Fame presenting sponsor. Today, we'll be discussing what it means to receive the honor of being inducted into the Hall of Fame for the Restaurant Association. And this year, it's a little different, Aaron. This year, we're paying tribute to our pandemic champions and industry advocates. And these honorees this year, the 10, have demonstrated sacrifice, dedication, and unlimited time that they've dedicated during the pandemic in various capacities. So we also will be featuring, as Aaron knows, 14 chefs of aloha. So join us in celebrating our pandemic champions and industry advocates. We invite you to celebrate with us. And for more information, you can just check our website at hawaiuresstron.org. So Aaron, please share with our members and our viewers as a past Hawaii Restaurant Association chairman and a very well-deserved induction into Hawaii Restaurant Association as Hall of Fame. What did the honor mean to you? Well, it means so much. And I gotta say that in all other industries, whether it be basketball or volleyball, there's always a Hall of Fame. But it seems like the restaurants, we were just kinda 30, 40 years ago, it was kinda different. It was everyone's job before they got a real job. Well, now all of a sudden you realize the fact that more people are employed by our industry than probably any other industry in America. And guys like me that have been doing this since I was 18, I'm gonna be 65 and three months, by the way. We grew up in the industry looking up to the Trader Vicks and the Peter Kanlis and the Jeff Harmon and all those guys that we would look and try to emulate and look up to.  And so you got a lot of motivating young people that wanna get involved. So I think it's great to be recognized and it's great to give this new wave of talent people that they can look to and look up to and see that, hey, I can do it too if somebody like this did or that did. And I think it's really important that, and it's a big honor to be able to do that and to do what you love. And you know, our business as it evolves, let's not forget. It's pretty basic, it's hospitality, it's welcoming people, it's thanking people. It's an extension of yourself, you're living it, breathing it, tasting it, smelling it. This is what draws people like me and a lot of us into this business. It's not really money making right away. It's all about what vibe feels natural to your particular disposition. And I think that's why our industry is so wonderful. That's why I still like going in my places every night and walking through and mentoring my young people and thanking my guests. And I think it's really important that ownership is represented in our restaurants right now. So anyway, it's a great honor and I'm glad you guys are back after the two year hiatus. Actually, hey, Erin, you wanna mention your restaurants over there in Maui? As I mentioned, I was at the Sorrento's over on the beach. Yeah, well, I have the first restaurant that I opened here 24 years ago. Now at the Fairmont, Kailani was a Nick's Fish Market that just recently extended another 15 years. So this is gonna be a long haul and it's been 24 already. That's a wonderful property and very proud to be there and beautiful place, open air and very, very proud of it. Then I have a steakhouse called Sun Steakhouse at the Hyatt Regency, the old swan court that Chris Hemeter developed, the first real resort spa and resort property that kind of started them all way back 40 years ago. Anyway, I've been there 15 years almost and we got a beautiful steakhouse there. Then I have a small little place called Manolis Pizza Company and that's on a golf course in Wailia, open air, big, beautiful bar, walking distance to all the hotels here in Wailia. And then a place, it's been open 35 years in the Capo Mono Mall called Cobos. Bar and Grill, a local kind of greasy spoon type of place with employees have been there over 30 years, it's kind of a fun. So to me, I've got a variety and that's what makes it so interesting and so exciting still after all these years where you're able to be creative and you're able to be part of the community and you're able to redesign and you're able to remodel and you're able to renegotiate and you're able to mentor all these young people and be part of the community. So to me, that's why this business is so great. And right now, I think I'm having more fun in this industry than I've ever had before. And there was a time when I thought, you get to the point where you're almost at the point in no return.  And especially now with all the things that we've had to go through. And let's face it, I think the restaurant industry has been the whipping boy for this pandemic. Churches go on, Walmart's packed, Costco's packed, but all of a sudden the restaurant, oh no, you can't get everyone there. We got to cut to 50%, got to have 60 bucks, got to have a mask. You have to prove this, you got to prove that. Oh, employees cooks, everyone's got to wear masks. To me, that's dangerous. It's crazy, but we have still persevered and that's the beauty of our people in our industry where grinders, we do what it takes and we do it with a smile and we're proud to do it. We work together with each other and the harder it is, the more we get motivated. And I think that's the beauty of our industry and it's great that you're able to actually acknowledge to the people that are dedicated to this. Thank you, Aaron. Spoken like a true restaurateur. I just knew that that's, this is Aaron that I remember back in the 80s when I first met him and look at him today. I'm so just amazing. I'm a little weathered, but loving it, loving life and just feel so fortunate and thankful that I've been able to keep going in this industry and be able to just enjoy it like I have and I continue to do. Because that's what it is. It's all about life is short.  And to me, if my goal was already always, if I can make a living in the place I want to live then that's the only lottery I ever want to win. And I feel like I've done that. This to me, the Hawaiian islands always, I was born and raised in California, went to UCLA but I've been here a number of times and in 1985 I moved over here and never, but all my life I had a romantic feeling about Hawaii, the smell, everything about it. So that was my goal to chisel my way to get here and to do that and now be able to continue to operate and raise my kids here and raise a family and be part of this community. It's just, there's nothing like it. The people that, everybody's a little of everything. So there's no judging. There's no this section and that section. It's all together. We're all, I think we're all related by now probably. So that's what makes it so cool. I'm not sure what the question was, but I hope that was the answer. Your question.  When I mentioned that you were gonna be on this show, everybody so fondly remembers your enthusiasm and your zest for the association and for the industry. So, Siobhan, do you have any questions or? Yeah, I do and I actually wanna say too that's a breath of fresh air given what we've been going through.  So thank you. But I really, we wanna kind of talk about for those viewers who don't know and some of our members even who don't know what the hall of fame is, can you explain a little bit to them about past events, a little more on what your experience was with the hall of fame?  It's a good way for us to all get together and especially now that we're gonna start breaking the ice and getting together to be able to acknowledge the soldiers of the industry, the forgotten people. And it comes to everyone else, everyone's being acknowledged and there's a hall of fame for everything else but to have one for the restaurant business where in our industry where everything in these islands revolve around the hospitality industry in so many ways. So to be able to have a function that talks about and shows and highlights the people that are dedicated to this, I think it's really important and I think it's great that we're continuing it now because we got a lot of people now looking up to us and we got a lot of young people that are still not sure what they wanna do.  So to me, we have a responsibility to have our industry recruit. We're recruiting by how we act, our body language, how we treat each other, how we treat our employees, how we interact with customers.  I'd like to be that instead of the old days where it's everyone wants to have a restaurant because it sounds like it'd be fun. Yeah, it's fun when you make it fun.  Well, same thing with our business. It's just a little unique because every once in a while someone can get their mom's recipe for chili and open a place and open 10 and goes public. Every once in a while there's this grand slam so that keeps a lot of people jumping in the business. And I think we get a bad rep for having a high mortality rate for our industry. Yeah, restaurants are the toughest. Oh, I don't know how people make it. Well, we don't have to be accredited to be in the restaurant business. You don't have to have any real qualification. So I find that we get a lot of people that really aren't versed in the industry and don't treat it like a business. Maybe they like one part of it, the social aspect, or maybe they're culinarians, or maybe they're designers and they think this would be fun to have a restaurant and they don't realize that it's a complete picture that you have to kind of have a little of everything and that kind of makes it that much more exciting but makes it that much more difficult. So I think that as we have great culinary schools and we have hotel management courses in Russia, you get more qualified people that are ready, that are educated, that are working, and that now they plot their course and they have people to follow and they can now say have a legitimate chance to really not only survive but flourish. And I think that's really our responsibility as the old guys now. I still can't believe I'm a young guy stuck in this old body, but just I can't get out. I've tried to get out of it, but it just, I'm stuck. And we've got to a great point because Maui High School is one of our Hawaii Restaurant Association educational foundation pro-start school. So we have culinary students there and the instructor, it's a junior-senior program and those students are our future workforce, Erin, you're totally right, a portion of the proceeds from the Hall of Fame is gonna be given back to the educational foundation. So we can really cultivate that next generation of restaurateurs and that's so important, right? I mean, Erin, everyone looks up to you. So yes, that's so true. We need to cultivate. Well, I think it's great. And I think that the other thing about our industry is that it's so culinary-based and the base of our business is the kitchen. That's the engine that runs it. But it's also, you know, you could be the best chef ever but if you're not able to execute and you don't have the proper equipment and you don't have the venue that's getting, you don't have the parking, you don't have the right permits, you don't have the right people, you don't have the right plan, you don't have all that. You know, it's good that we can become well-versed. So just because you're a chef doesn't mean you're not interested in every part of that aspect as you see a lot of our successful chefs are. And just because you're not a chef doesn't mean that you, oh no, I can't get in the restaurant business. You can still work within a culinary team and bring what your focus or your expertise is and become well-rounded by having that experience and working with it. So I mean, I think that, you know, there's all these culinary schools but there's not really any front of the house schools other than Cornell or these where they're actually teaching, you know. So it's kind of our responsibility to do that. Because I mean, 50 years ago, unless you went to Paris, you know, there weren't a lot of culinary school options but look how that's evolved now where there's great ones all over the place including the ones we have here. So I mean, it's great to see how it's evolved.  I'll work in a restaurant until I figure out what I really want to do. So you had that. We had kind of the backwash and that's why we had a bad rep.  Because you automatically think, oh geez, the hours and oh my, the drinking and the partying and all this and that, which could be a legitimate part of it. In fact, that's one of the things that part of mentoring was for me where when I saw these Trader Vicks and Cannellists and all these guys that were in this business, I saw a lot of real impressive guys that were super talented, they got wrapped up in the business. And if it becomes your personal place to party and if it becomes something that is more than a business, a lot of really talented guys went down. So I learned young. I'm like, ooh, I like this, but I'm not gonna do that. I'm one of those guys where I don't have to exactly do it myself to learn a lesson. I mean, certain things I think you do, but when it comes to our business, it's up to us. Look, I mean, I don't just, I try to go into every restaurant I can think of. And I learn more from the restaurants I don't like sometimes than the ones I do like because always I'm looking at something that, oh, I wanna do that or I look at another place and I wanna make sure I never do that. So it's so multifaceted that you're able to, and especially now with so many different venues and so many different restaurants out there and food trucks and now that grabbing goes and delivery, that's not going away anytime soon, where people are eating at home more and taking out. And that's a whole nother ball game of, other than pizza, everything's traveling now. And food doesn't travel that well. I mean, a couple of my venues, I kind of cringe when people want it to go, the pizza place in the bus, no problem.  It doesn't really travel well to me, but that's part of the industry now that's changing. And that's the beauty of this industry.  And I remember thinking POS said, that'll never catch up. No one will ever do that. We're never gonna go to POS, no, no, yeah, you gotta have a cashier in the kitchen. I remember thinking that. And I think I probably was the last guy to POS get one because of my stubbornness, but sometimes as the technology grows, my fear is that the beauty of the business disappears. And it's the most primitive, rawest thing is our business is just about welcoming someone in our home and taking care of them and anticipating their needs. And being somebody that's orchestrating their party, whether it be romance or business or family, all these things, and they're paying for it. My God, I mean, how much better can that be?  That's all part of how we were raised. That's all part of the work ethic. And I tell my kids, I'm a servant. I like to serve people, yeah, no, this sounds bad, what do you think a doctor is? A doctor goes to medical school, he goes in residency, nine years later, he's finally a doctor, and what happens? He goes and looks at somebody's gangrene on their foot, you think that's not service? We're all servants, we serve. And for us to be able to be in this industry and serve people, guests that are paying for it, it's an honor. And for those that get frustrated, there's frustrations in all walks of life. But if you're doing this and you're in here, then you gotta put your game face on. And I remember Yule Brenner did the King and I, when nobody knows, heard of him, but you probably, he did the King and I for, I wanna say, two years straight, every night. And these people were paying, big money to go see, Yule Brenner and the King and I. And for sure he felt shitty one day, for sure he was hungover, for sure he wasn't in the mood.  So that's what we do. And we're not feeling great clicking our heels every single night when we go in. And there's times in the last thing I really wanna do is go take a lap through that place in this place. But these people are coming and paying money. And when they're paying money and it's big money nowadays, the value received has to be there. And the only way to do that is, and I tell people all the time, beautiful location, there's a great location, the food is, it's all about the people. The people are what steer the boat. You can have the best food in the world and the bad waiter will ruin a good meal. But a good waiter can kind of help a bad meal. And so it's that staff with the actual attitude and the positivity. And it starts with leadership because that's you can talk it, but you gotta show it. And you show it with that passion. And I think that it just filters down and then everybody wants a piece of it. And I think that's the beauty of this. That's why this industry to me came natural because I'm one of those. I like different things to excite me. It's not just cooking. It's not just serving. It's not just building. It's not just community. It's all those things rolled into one. I'm one of those kind of people that I like different things going on. So when you find that industry that fits your disposition, go for it. And I was lucky enough to do that at a young age. Ladies and gentlemen, this is why he was inducted into the Hawaii Restaurant Association Hall of Fame. That's exactly the reason. Well, I mean, it's wonderful. And you got 10 inductees this year. Is that what you said? Yes. Oh, that's perfect. Well, are we any Maui or Kauai or Big Island representation in the Hall of Fame? You know, actually not this year. Yeah, no, you know, we got restaurants on the neighbor islands too, you know? Did you guys order? Yeah. It's some pretty good ones. A lot of good ones. Right, last year was Kauai. I'm 2019, there was Kauai. And 2018, I know there was Maui. And this year, it's all about who turns in the candidates, you know, the ballot. So they have to be nominated. So please, Erin, you know, if you can. I think we better spread the word. Could you? Yeah, could you? Sometimes these neighbor islands, we get lost in the shuffle out here. And I'll tell you, Maui is just a wonderful place to live. I mean, I love the Wahu. I lived in Kailua and I loved it there. And I thought that was the best place ever. And I still like it, of course. But Maui, for some reason, there's just got a great vibe here and to be able to live here. And I only have the four places here now. I'm kind of lazy boy now. No more Honolulu. Did that for years and years and years, you know, top of the Alamoana 25 years, top of the EliKai 25 years. I did my job, but now I'm over here. And this is the chapter that, and it's fun, this stage in the career, where now you're mentoring the next stage of people. And you know, there used to be a point in time where you want to make sure you do it all. But now you want to do it all by having them do more. And that's kind of actually the most rewarding of all. So just take a look there. Nice, nice. So this year, our Hawaii Restaurant Association's Hall of Fame is paying tribute to our pandemic champions and our industry advocates. And these honorees have demonstrated sacrifice and dedication during this pandemic. And that's the difference this year, Erin. And on top of that, the 14 chefs of Aloha. And Erin, you remember the chefs of Aloha where all the chefs will come out? Yes, and provide all of the amazing food that night. So I just wanted to, I only have a few minutes left. Siobhan, you want to read the list of all the inductees? Yes, I absolutely do. But I also wanted to touch on real fast how Erin was asking on, you know, Outer Island support. That's where we rely on. Neighbor, neighbor, neighbor islands. Outer, that's illegal. You get sort of jail for that, politically incorrect. Yeah, but we want to make sure, you know, it's people like yourself, you know, that we want to really make sure you guys bring the representation, you know, and show the representation. And, you know, we have like a selection committee and we would love for you to be on that committee, you know, to really make sure that we showcase everybody. This year, the 10 inductees that we're saying are all Oahu, but we do have what we call industry advocates this year, which is not the typical. So these are maybe not people who are in the restaurant industry, but really did a lot for the industry during COVID. But I'm going to go ahead and recognize, we do have Denise Yamaguchi, Victor Lim, Greg Maples, Mark and Amanda Noguchi, Ryan Tanaka, Gwen Yamamoto-Lao, Sherri Minore McNamara, Cheryl Matsuoka herself, and representative Sylvia Luke. So, you know, as I was saying, some of them are industry advocates like Cheryl and representative Luke. And, you know, they really did a lot for the industry, such as the 75 million in the CARES funds, you know, and that money was not just for the industry, it was, you know, it was for the whole community. And that was for Maui, Kauai, Big Island, everywhere that those cards were accepted. So that's why you see names on there that you might not associate with. Well, I got to say this for Cheryl, who has been an advocate and probably a thankless job, you know, sometimes when you're behind the scenes and putting it all together, trust me, we do appreciate what you guys do. And during this pandemic, we were communicating and helping each other out. And it was kind of fun. I remember my years in Chicago, the restaurants were always had a brotherhood and sisterhood of people together. Well, the pandemic kind of did that to us in Maui when I was here. You know, there were over 100 restaurants we got together. Hey, if we would get together, probably 40, 50 people and say, okay, what should we do here? Oh, I'm gonna do that. Someone got the masks that were good. Okay, let's all use those.  And next thing you know, there was that closeness and brotherhood now that things are hopefully getting closer to get back to normal, that closeness stage. And I'm still getting calls from other people, asking me, what do you think we should do here? And vice versa, and I'll call. And I think that is the beauty of this industry where we're all in it together, helping each other out. And you know, it's just an amazing time for all of us right now. Thank you so much, Erin, you are so right. So we need to close the show. I'm getting my messages here from the technicians. So again, everyone, the Hall of Fame is coming on up, February 28th, information on our website, HawaiiRestaurant.org and Hawaii Restaurant Association is the voice of Hawaii's restaurants and food service industry. Mahalo for joining us today, Erin. And we hope to see you for the Hall of Fame. No, thank you very much. We hope to see you at the Hall of Fame and we wanna thank our presenting sponsor, Waihata Company Limited. And we see everybody at Hall of Fame. Thanks, Erin. Mahalo, take care.


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There it is, the Cubs have lost five in a row. The Braves just wiped the mat with him this series. So it happens, you're gonna lose a bad series, but the Cubs look bad right now. But I think the real question and the real concern is with you, Darvish, right? Absolutely. I'm just wondering, since the world, you know, remember for the Dodgers, he was good two years ago, the playoffs, he was good, world series, he was not good. What's happened since then? He's like, you can't find the strike zone. He pitches too fine with his stuff. And what I mean by that is he tries to hit the corners early in the count and he falls behind. He puts himself in hitter friendly counts. And so he'll be 1-0, 2-0, and then he has to come across the plate. And then if he doesn't wanna come across the plate, he loses the batter. So it's either a hard hit ball or a wall. He needs to trust his fast ball more, pitch and try to get early contact. One, it keeps your defense in it. And two, it keeps your pitch counts now. Every start you see him pitching, he's always has these pitch counts really high and he's only getting to four, maybe five innings. He needs to be more aggressive. He throws way too hard and he needs to throw the center of the plate, maybe a little movement with his fast ball and get some early contact. But it's gonna continue if he continues to pitch that fine. To me, it looks like my observation is he's not establishing the fast ball early in the count to get to his breaking stuff. Guys are sitting on his breaking ball now. He has an excellent breaking ball. You can tell they're sitting on it now and they're making a lot of damage with him. He's gotta get back to being confident with his fast ball and it will open up, it'll make his breaking ball a lot better. Absolutely.  That's it. I mean, you gotta get your fast ball over, right? Absolutely. As both of you were talking about it and Darvis just not doing the cubs or reeling right now, not a great start to the season for them. With the Nationals, we know about Harper to Philly. We've talked about that. We saw Juan Soto last year as a 19 year old kid come up and really be special. His kid Robles, was actually a better prospect than Soto at the time, right, big hurry. So now we're seeing him. Can those two young kids, you think make Washington forget about Harper? In due time. But you're not gonna forget about a Bryce Harper overnight. This guy was franchise player in his prime and you lost him in free agency. But that lineup is still tough. They still got a lot of length. I think it'll be fine. If they pitch well, they're still gonna be in this playoff race. This kid Soto could end up being a superstar. Robles could end up being a superstar.  And at this point, having this type of talent continue to come up, good for the Washington Nationals and great for Mike Rizzo. It's gonna be tough. They're both 21 and 20 years old. And that's hard for babies to carry a team that had a productivity like Bryce Harper did. But they're gonna need protection.  They have to stay healthy. They have to stay out of the tub and they have to hit. And then you will see these youngsters shine because they will play with no pressure. It's kind of like what you see with Albees and the Coon, your junior, because they have Freddie Freeman in the lineup to protect them. So they know they're gonna get pitches to hit and they can play their style of baseball, have their own type of swagger. We're all the chains they want to because the offense is not relying on them every single day. But I like these two guys. They have a lot of speed, a lot of talent and power. They're gonna be good for a long time.  They might have fun with these young kids, take the pressure off them. And you never know, this Washington team, I think, are still suited for the playoffs this year. They just got to play up to their expectations. Yeah, if their bullpink gets mobilized a little bit.  That's the road they're in. That sounds special, buddy. We'll shut out the match today.


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