I think it's time to get started. I'm Cliff Lynch, the director of CNI. And it's my pleasure to welcome you to this project briefing session that is part of our spring 2020 virtual meeting. Our virtual meeting is now about midpoint. It will run through the end of May. And there's plenty more to come. Today, we have a really timely conversation here. Mike Furlow from Haudytrust and Stuart Lewis from the National Library of Scotland will be talking with us about initial steps to building a global registry of digitized works. This is something that clearly has been badly needed for a long time. It's challenging in the sense that it's not immediately obvious who should take charge of such an effort or how to do it sustainably. But nonetheless, it's really important and certainly recent events and the closure of most of our libraries our inability to get our physical volumes during the pandemic has really underscored the importance of efforts like this going forward. We'll hear from Mike and Stuart, and then we'll take questions at the end. There's a Q&A tool down at the bottom of your screen. And I invite you to enter questions as they occur to you during the presentation, although we'll deal with them all at the end. But certainly, there's no reason to wait putting them in. Diane Goldenberg Hart from CNI will materialize into existence at the end of this and will moderate the Q&A. And with that, I'm going to turn it over to Mike. And it just remains for me to thank our speakers very much for doing this presentation and to thank you for joining us. Over to you, Mike. Thank you very much, Cliff. And thanks to everybody for joining us this afternoon or this morning, depending upon where you are. I am really sorry that we were not able to meet together in San Diego at the end of March as we originally planned. There is one positive thing that came out of us not being able to meet in person. That is that Stuart Lewis is able to join us. Stuart and I have worked together on this project over the last year and a half to almost two years now. Stuart, you want to say hello and just wave around? Yeah, good evening from Scotland. So I'm going to start this off and then Stuart will come back on and we'll trade off on topics here. Let me give you a quick roadmap for this presentation this afternoon. What we will do is take a few minutes at the start to talk about a project and the background for this project to develop what we are calling a global but with quote marks registry of digitized texts. We'll explain how this global digitized data set network came to be. And I'll talk a little bit about the reasons that brought us together. And at that point, Stuart will join us to talk about the research we did into why we need such a service, what it could be used for, the use cases for it. I'll come back and talk about some data analysis and aggregation that we did as part of the project. And then Stuart will wrap it up and lead us into conversation about what a sustainable project and a scalable data set for this service might look like. Let me comment about scope to start with. This was a project that we did for a year. We had one year to a funding. So we had to scope this pretty carefully. And as a practical matter, we focused on texts. Most specifically texts manifested as books or book-like materials, that is monographs and serials that have been digitized at your library through your own local efforts or through mass digitization programs over the last 20 years. So the project was led by our PI, Paul Gooding, in information studies at the University of Glasgow. And I should have said at the outset, thanks to Paul for letting us borrow some slides that he had used in previous presentations here. We've added a few things and pushed them around. The network itself included HathiTrust. I was a co-investigator for the project. It also included the National Library of Wales, the British Library, and of course, the National Library of Scotland. Research Libraries UK joined on to this project as well as an advisor, as an interested party, given the interests of the research libraries in the United Kingdom and this particular effort. So we came together, as I said, with funding. It was from the Arts and Humanities Research Council. They announced a program in the fall of 2018, titled US, UK Collaborations in Digital Scholarship and Cultural Institutions. And this followed on from several earlier programs and efforts that they had. And the real focus for them was to look at digital scholarship. How could existence of digitized materials support researchers and their needs? But the impetus for this project began with more of a library management kind of question. And it came from Stuart initially. In the fall of 2018, he got in touch with me and said that the National Library of Scotland was exploring its digitization strategy. And it was trying to figure out how to prioritize materials that should be digitized. And it was curious to know whether HathiTrust could help to avoid duplication of effort. Really were there ways for us to work together to help identify things that were held in Scotland and the National Library that had already been digitized and therefore did not need necessarily to be digitized again? And my response on this was, let's absolutely work on this because we at HathiTrust had a really strong interest ongoing in understanding the scope and extent of mass digitization. The collection that we hold in HathiTrust is substantial. It represents a very large portion of what's been scanned through mass book digitization programs. I'm going to exclude for the moment the kind of work that has been done by Perkwes, Gail, Adam Matthew, and many other vendors, really high quality work and at fairly significant quantities. But when I was thinking about mass digitization and putting this slide together, I was thinking about work like Google, Internet Archive. We have in HathiTrust today about 17.4 million volumes. That's a book on a shelf. That's about 8.8 million titles, both book, rather monograph, and serial. But that's not everything that's been scanned, and it's not even everything that Google has scanned. The HathiTrust collection is largely representative of North American mass digitization programs, not so much of Europe, not so much of Asia. And so to get at Stuart's question about how to understand the scope of digitization and how to identify those materials that had already been scanned, that really required further work, and that's what led us into this project. So at this point, let me hand it over to Stuart to talk about how the investigation got underway and the work that we did in the following months. Thanks, Mike. Yeah, so as Mike said, we had just one year of research funding from the AHRC, so we had to be quite careful about the scope that we had. Obviously, there was no way we could build a global data set of digitized texts in that time. So we had to look at what we could do. So we really tried to initially look at two questions. So the first one really being how feasible is it to aggregate these records? We all know that aggregation of metadata on one hand sounds very easy, but actually the devil really is in the detail. So actually, how easy or feasible would it be to do that? And then secondly, if it is feasible, where would the value come to users? Who would the users be? And how would they use it? And then ultimately really, would the cost of developing such a resource be outweighed by the value that it could bring? So we can just go on to the next slide, Mike. Thanks. So we had a number of objectives and deliverables that we wanted to look at or we wanted to deliver. So the first was we wanted to undertake a trial matching of data from the UK libraries who are partners on the existing Huttitrust data set, so actually could we, obviously it's not global. It's a tiny, tiny proportion, but can we at least aggregate our different data sets together? We then held a number of workshops to explore what would be the benefits and who would those benefits be, what would they deliver to people? We then wanted to actually deliver a data set, prove that we could aggregate this data, so create a data set that we can publish. And then we wanted to look at, so if this is successful, how could we actually move this forward in terms of actually concrete steps? What might they look like in terms of creating then a truly global data set of digitized texts and any services that they could deliver as well around them? We'll have the next slide again, Mike. Thanks. So when we first submitted this grant proposal, we really sort of concentrated around what we thought were three sort of main use cases of this. So obviously the primary and most simple use cases is simply I'm a reader. There's a text I would like to read, a known text. Is it digitized somewhere? Can I access it? Right now, we can use search engines to a certain extent. We can search the big sources. We can go to Hattitrust, we can go to the internet archive, we can go to the British Library, we can go to national libraries. But at some point you just have to give up. So if we had a single data source, then people would be able to search that and find out very, very quickly if their item has been digitized or not. The second use case we were looking at is all around digital scholarship and scholars who are looking for sort of corpora of texts that they can work with. So I'm a scholar. I want to look for anything that talks about London in the 1850s. It would be so much easier if I can just search all libraries, find all those digitized materials and download them in one go, rather than having to search all these different libraries and put that set of texts together. So that's sort of another big use case. And then the third one being around, generally really actually around collections management. Obviously the one we looked at there was as Mike mentioned earlier, if we're doing our own mass digitization programs, how do we, for example, reduce duplication? So we're less likely to duplicate works that are already openly digitized elsewhere. Or indeed there's other sort of, other, you know, whether it's print retention things, other collections management uses for that data as well. So we first did this through team meetings in Chicago. We did a lot of sort of brainstorming around the sort of traditional agile user stories, you know, as a X, I want to do Y so that I can achieve Z. And so we came up, we really sort of expanded those three initial use cases quite a lot. And then we took those to a workshop in London in June last year. We had an audience of things about 30 or 40 people from a whole range of backgrounds, sort of some scholars, some librarians, different groups, archivists and so forth, metadata experts, different people and just looked at what their use cases would be and then sort of undertook, you know, an investment exercise. Everybody was given a sheet of colored dots and really saying, you know, where would you get most value from this? And then obviously we were able to use that group also to look at discussions about things like feasibility, stakeholders, how we could move forward and so forth. And so yeah, really sort of five themes emerged out of those sort of expanding on the use cases, one around, you know, efficiency, cost, impact, value, you know, what is particularly around collections management, how can that help us within the library sector, discovery and access? There was a lot there around readers. There was questions that came up about provenance as well and really understanding. So it's great seeing a big list of digitized texts but actually where have they come from, you know, that's, and how did they get there? That would be very important to some users. There were the research case studies as well, particularly around digital scholarship and creating corporates of different, you know, texts from different libraries. And then finally actually how, what else could we do with this? You know, some of the more exciting parts actually came around when you say, well, now we have 20, 30, 40 million texts digitized, can we actually do things at a scale that we never could before? Some of those can be very simple, you know, can we load them into our discovery systems as a single data set so that we can make some of our print collections available digitally as well. But can we, are there things that we can do with those texts that we can only do once we have aggregated them? So for example, once we have the OCR, does that make it much easier to do matching and deduplication than it does if we're just looking at metadata, for example. So we looked at those areas as well. And then finally, we undertook a survey as well of the sort of wider community as well. Obviously we wanted to get many more voices than those that could attend the workshop. So we did an open survey, we had a number of responses. So that brought in sort of more use cases we hadn't really considered before around teaching, thinking about where this data set sits in relation to other services. And again, like with the workshops, they did seem to be a real clear interest in pushing this forward as an idea. But at the same time, there was some caution came about, not everybody understood the concept. There were sort of a lot of questions very valid about, so you're talking about a global data set, but you've only got a very small subset here and things like that. How do we do balance between larger and smaller organizations and different types of collections? And obviously with any discussion like this, it all comes down to metadata and quality and the analysis that allows or doesn't allow. So there was those sides that we had to consider as well. And so yeah, back to Mike to talk about then sort of based on those results sort of what were we able to actually do with our own data and aggregating it together. Thanks Stuart. In this part of the presentation, I'm gonna be summarizing the work of several of my colleagues at Hathi Trust, Natalie Fulkerson, Josh Stieberman, Martin Wehran, Heather Christensen. There is a lot more to say about the work I'm gonna be talking about here. They could give a much more detailed briefing on some of the analytic work that they did. And I will show you a link to a blog post where you'll be able to find out more about this part of the work in just a couple of seconds. But you recall the original inquiry that led to this project, right? It was how do we determine what has been scanned and how can that inform digitization strategy? So for librarians looking to analyze collections, there was a real issue there. It seemed to be about the ability to cluster titles, identify that they're equivalent and deduplicate, right? Avoid that duplication. But duplication isn't always a bad thing. For a general user or a scholar relying on such a resource, you would expect that some of them might want to find duplicate copies to hedge against the potential for errors in digitization, missing pages, defacement, something like that, or even to examine textual variants. So part of what we were exploring in this part of the work was how could we better do clustering of titles? How could we potentially better inform and represent such clustering in a resource like a registry? And I will say that in a year, we can only really skim the surface of this. The first thing we did was rely on an existing process that we have in HathiTrust to analyze holdings against bibliographic data that we hold. So to say very briefly, all of the HathiTrust member libraries give us information about their physical holdings. And then we periodically analyze those holdings against the HathiTrust catalog. And we use those matches that match data to help inform our collection development, our shared print program. It supports some access services such as our current emergency temporary access service. It informs fee calculations and so forth. So typically what we're doing is looking at identifiers in records to cluster and match on it in order to do this. So our first step was to gather metadata from our partner libraries in this project. And you can see here a pretty wide range of quantity of records provided to us. The British library provided us only records for items that have been digitized. And I believe all of this was from their Google partnership. And just many more records that they could have provided, many more items have been digitized by the BL and what we were working with. National Library of Scotland in Wales provided us with extensive records for their collections as well as for print records, print holdings as well. And then HathiTrust had about 17 million items at that time. As I said, we have always tended and HathiTrust rely on identifiers and specifically an OCLC record number to be able to match bibliographic metadata against holdings. We've relied on this because the vast majority of the collection of HathiTrust has this identifier in our bibliographic data. And it's very common in our member libraries. But our member libraries are largely North American. And what we determined very quickly in this project was that these record numbers, these identifiers are less common to rare to non-existent in the records that were provided to us by the national libraries. They seem to be more common in the records for print or rather undigitized materials that were provided to us. When we were able to do matching or rather when we were looking at this, it ranged from 1% of the records had OCLC numbers in them for the BL to about 30%, I believe, for whales. So it's pretty wide variant there. And obviously that's only gonna get you so far if you don't have the presence of these identifiers. We have at HathiTrust also done some work with other registries and looked at other identifiers to try to provide these kinds of matches. For example, LCCNs, ISNs, ISSNs and so forth, ISBNs. The problem and really the problem of the OCLC ID too is that these identifiers really date only to the 70s at the late, maybe the 60s in some cases. You're not gonna find them in very early 20th century or 19th century records unless they have been updated unless they have been modified throughout the period. In our collection, for example, only 15% of the records in HathiTrust have ISBNs. So while we did some record matching, using that it was not sufficient to tell us a whole lot about overlap. So obviously normalization is gonna be a significant undertaking for any registry that like this that gets developed. I'm gonna talk real briefly here, very briefly about four other methods we explored to do item, title and record matching. The first two methods relied primarily on string matching in titles. That has a benefit of being quite precise, not very computationally expensive, but variation in cataloging practices, variation in titles and so forth might exclude true matches. You may not get all of your matches in other words. We also explored some statistical methods including a back of words approach and some machine learning and machine training approaches to help us identify potential matches as well. That turned out to be quite promising. We did not have enough time in the project to take it to fruition and do it at a very large scale. So that's work we're gonna have to come back to. But that type of work also brings other challenges. It's computationally expensive and it does not eliminate the need for human intervention. So what briefly, a quick summary on this is that in addition to, you know that the analysis is gonna have to happen or other metadata normalization is gonna have to happen in order to do this kind of analysis. So duplicate detection, clustering, across heterogeneous metadata sources, it's challenging. There are a lot of trade-offs to look at with this. And I think the experience that we had with this suggests that you're gonna need a multitude of approaches, right? Maybe a cascading approach where you use identifiers where you can, then you use other methods like machine learning, if you can afford to do that, where you might need to do further kinds of matching with more ambiguous results. Now, as Stuart said, we did make a promise as part of this project to deliver a record set of aggregated metadata from the partners. We refer to this as the proto registry, which is really a fancy word for a data file, a flat data file that we're gonna publish. There was no functionality promise. We did play around with some of that to visualize it, but it was not something we could maintain. We scoped this part of the work to make sure that when we publish the metadata as an aggregation, that is the records of all of these digitized items from these four collections, we wanted that record set, we wanted that metadata to be fairly consistent, fairly complete. So we looked first to a model, again, that we employ at HathiTrust for publishing an inventory known as the Hathi file. We looked for common fields in the records and then aggregated based on the information, pulling them from those fields. And this table gives you a very quick overview of what minimal metadata was included in this, as well as a DOI that you can go to get the data set and play with it to your heart's content. And that is all I have to say about data analysis and aggregation at this point. Instead, what I'd like to do is turn this over to Stuart to wrap up at this point. And you're muted, there you go. Yeah, thank you very much. So, yeah, just in terms of the conclusions and future works of quite quickly, a point Mike always sort of really drums home to us. You know, registries are critical, but undervalued infrastructure. You know, we forget about them sometimes, we forget about the infrastructure we do need that will really bring more value to what we do. So, you know, this could be quite an important piece of infrastructure like that.  And as I think, you know, Cliff had mentioned in the introduction, maybe the current situation, the current pandemic actually gives it even more value than ever before. The fact that, you know, our students are researchers, they can't get to physical libraries, but if it's hard for them to find what has been digitized, then, you know, could this be part of that answer? And then really, you know, for us as we look forward, you know, what might a sustainable project look like?  You know, does it actually matter, for example, whether we can do data matching? Does it matter that if somebody searches for something, they find five copies of the duplicate, but the system doesn't know their duplicate, you know, this sort of thing, and the cost value of doing data matching, you know, it's complex, but how would it, you know, it would bring value, but at what cost? How do we scale this? You know, obviously, we were working in the sort of low tens of millions. How does this scale when you, or indeed what is the scale of the problem right now in terms of worldwide digitization and the amount of items out there? The big one, obviously, business models, funding, sustainability, buy-in, participation, and these are actually really, I suppose, what we're very interested in, almost from the Q&A, would actually be your views on this, you know, as the sort of partners who would be ideal participants in such an endeavor. You know, what are your thoughts around this in terms of should we be building it? How do we build it? How do we fund it? How do we get your participation? Obviously, the issues around updates, keeping it accurate, that sort of thing, there's the questions around other communities, you know, there's sort of work in other communities looking at similar problems, so things like the AAAF discovery, and that sort of thing, you know, it's part of the answer, not all of it. And then, you know, the big, big one, what the work we've done so far is far, far from being global, and the challenge is then of multi-languages and character sets and all this and how we bring that together and does it merge in the same way when we go beyond anglophone collections. So really, as well as, you know, it'd be great to have answers and questions and answers. Thank you very much for coming. It's been a pleasure to present to you. We're really interested, I suppose, in your feedback as well, just in terms of this as a project, this as a concept and what you think of us sort of going forward in that. So thank you very much. Wow, thank you. Thank you, Stuart. Thank you, Mike. Lots of grist for the mill in that talk. Really interesting and such an important issue indeed, especially right now. And we already have folks who have questions, so let me just jump right into that. And just again, type your questions into the Q&A and Stuart and Mike will answer those live. So our first question comes from Melissa Levine, who asks, this approach is focused on published materials. Any thoughts on how to extend this concept to other kinds of materials? For example, special collections type materials, museum archival collections? Do you want to give Mike? I can say, yeah, thanks, Melissa. We didn't really spend much time worrying about that. And it's not to say that it's not an important problem, but just keep our focus was entirely on published works. It's not to say that it could not be done, but the type of mice, at least my own limited experience with metadata on archival materials is that the aggregation of that might be even more challenging given the, there's not the kind of standardization on the data across the board that you find in bibliographic metadata for published works. So I think that's one issue. So I wouldn't say it can't be done. I would simply say that we did not have the opportunity to spend a whole lot of time thinking about it. I think it's clear that it would obviously be valuable and potentially even more so because of the difficulty in locating archival material. And there's not a world cat for that in the same way. So Stuart, do you have anything else to add? No, no, absolutely. That's, yeah, as you say. All right, thank you, Melissa, for that question. Before I move on to the next question, I just want to remind everyone, go ahead and type your questions and comments into the Q&A as Stuart invited our attendees earlier to share your thoughts, your ideas about potential applications, potential partners and that sort of thing. So this is definitely a forum for comments as well. So our next question comes from Kristen, who asks you, can you talk us through how this works on the user side? For example, archives usually require registration of some sort which allow for stats on the types of users, et cetera. Are you gathering that data for users or do you plan to? Shall I answer this one? So, yeah. So this was certainly something we ran into with the prototype that we developed because a lot of people sort of tried it out and they searched, they came up with some good results and particularly those in the Hathi Trust, they were going, but I can't access that, but I can't access that. Obviously because a proportion of what's in the Hathi Trust due to copyright, due to fair dealing is for Hathi Trust members. And so something that certainly this would need to do which we didn't actually do in the prototype but one of the big lessons we learned is really we need to know sort of, as we aggregate this data, we also need to know what the access options are for each item, is it open? What sort of license has it got with it? So that when we present this as a faceted search, you can sort of tick the box that says show me only open access, creative commons, reusable items so that you can facet down that way. So that if people really, they want to know or maybe there'll be a box that says I'm a Hathi Trust member and then it will open up sort of more content. So I think, yeah, having that but at a basic level so that we can at least facet on that and sort of lighten up or darken different parts of the collection depending on sort of who you are, where you are and what access you might have and how, yeah, there'd be sort of work required then how we make that sort of usable but also understandable I think to people so that they understand what they're searching and what they will have access to because we all know nobody likes getting search results that they can't then access. And so yeah, that'd be a very important part of that. And just I suppose in terms of the second part in terms of statistics, I mean, again, the phase one project really that we did the one year AHRC project was really looking around feasibility. It didn't look into sort of how, if we did this live, how would we do things like gathering statistics and things? We did get feedback around that saying people would actually value more statistics not every live is able to collect access to statistics to the level they would want particularly maybe where materials are getting used in other ways around digital scholarship and things like this and this might allow, it would just be another sort of indicator of usage but I don't think it would just be in sense user statistics of the site I think rather than it necessarily, yeah, gathering data about users as such. Great, thank you. And thanks, Kristen, for that question. And we have a question from Robert who asks, are you developing or leveraging standard criteria or metadata for faceting on open access, licensed, et cetera? That could be very, that could be very helpful for improving user experience, for example, via SimplyE. You want to jump on that one, Stuart? Yeah, I mean, I can do, I suppose. Again, this is where we've done a prototype to prove we can do this but we haven't looked into the details then to say, okay, we've learned we need rights in here, what would be the best way of doing that? And obviously, as Robert says, something like SimplyE would probably be an ideal standard to do that. So I mean, it's a great suggestion, thanks. And obviously, if we do move forward, then we can look in those different areas where we need to sort of make decisions and that would be a key one. Yeah, that's exactly what I was going to say. I think it's clear that we would need some kind of, some kind of standardization and in use of a normalized vocabulary for that, so. Right, right, yeah, makes sense. Thanks for that question, Robert. Just wanting to remind everyone to type your questions in the Q&A. Robert has a follow-up here. Let's see, he comments, mapping OPDS to your approach could be very effective, a very effective thumbs up to the answer. So I wanna go ahead also and invite anyone who might like to make a comment live or have a question, wanna interact directly with Stuart or Mike.  We have a couple more minutes here, we can do that. There should be an option to raise your hand and that will signal to us that you would like to make a comment or ask a question live and we can go ahead and unmute you for that. While we're waiting to see if there are any other questions to come in, I just wanna remind everybody that this is part of CNI's Spring 2020 virtual meeting. Thank you so much for being here. Thank you to our panelists for presenting today and I'm just sharing with you there in the chat box, direct link to the schedule for the rest of the meeting which will go on through the end of May. Plenty more offerings to come, including a couple more sessions this afternoon if you're in our time zone. One right after this implementing effective data practices and after that statistical consulting in the library. All right, seeing no more questions coming in through the chat box, I will simply thank our presenters and our attendees once again. It is our pleasure having you here and we really appreciate your being here with us.


Life as an immigrant. Where are you from originally, Hue? I'm from Vietnam, from New Hanoi. And when did you move here? I came here after I graduated from college. That was in 1998. And what do you do now? I work for a communications company. I see. So you're an immigrant to the United States. That's right. What are some of the difficulties of being an immigrant in the U.S.? Oh, that's not an easy question to answer. There are so many things, really. I guess one of the biggest difficulties is that I don't have any relatives here. I mean, I have a lot of friends, but that's not the same thing. In Vietnam, we visit relatives on holidays and weekends. It's not the same here. And what do you miss the most from home? Oh, that's easy. My mom's cooking. There are some great Vietnamese restaurants here, but it's not the same as my mother's cooking.


This part is not here, and the fact that this is trivialized means that this guy is trivialized, but this is the tangent space to Fw minus one of y. Right, so we have trivialization of the topic serial power of the tangent bundle, and this exactly gives us an orientation. Now, if we have any two w zero and w one, again, you consider m gamma, right? This is a set of xt, such that F of x, gamma t is y. Again, you show that this is compact oriented manifold, this boundary as before, and this is actually an oriented borders between mw one and mw two, and that's the end of the proof. Here is one particular corollary of that, so if assume d is zero, right then, right then, Fw inverse of y is actually a finite number of points, so say x one, x k, and this is oriented, right? So in this particular case, this means that each point comes equipped with a sign, say epsilon one, and so on, epsilon k, right where each epsilon j is just plus minus one, and so we can take the sum of all those signs, and the statement is this does not depend on w, and this is, you could call the degree of w, of Fw, right then, even more generally, so if you have d is bigger than zero, then assume we also have a cohomology class of degree d in x, say with integral coefficients, but this is not really that important. Now we could integrate this eta over Mw, so what I mean is it takes a pairing of the fundamental class of w with eta, so if you think of eta as a Duramko homology class, this is just the integral over Mw of eta, and this is also independent of w. And this sounds now pretty much similar to what I started with in the first lecture, this will be exactly the form in which our invariance coming from gauge theory will arise. Okay, are there any questions to that? If this is not the case, let me describe one more generalization, and this is an equivalent setup. So what I mean is this, assume we have, again, a manifold as we had before, but it will be convenient to assume that x is in fact a Hilbert manifold, this is not actually important, but we'll simplify at least one step, and we have a Hilbert leak group, G, and this acts on our manifold x, so I assume that the action is on the right, but again, this is of course not really important, but what is a little bit more important is that I will assume, so assume Gx freely on x. Now, again, this assumption is not really essential, we could do this without that, but the arguments would be a little bit more messy. But what we have is, we have an infinitesimal action of G on x, that is a linear map from the Lie algebra of G into Gxx, so this is an infinitesimal action. I will say that Hilbert sub-manifold S in x is a slice for the G action if, so what we have, we have a natural, well, first of all, if x is a point in S, and natural map, so let me denote G times S to be the set of points S times G, so I require this to be an open subset, so this is a subset in x, this is required to be open, and the natural map from G cross S into Gs is a diffeuomorphism. Yeah, Gs and this is a subset of x, so it doesn't need to be a diffeuomorphism onto the whole x, but on a smaller subset. So here, as an example, to make it perhaps a little bit more visual, so assume we have a two-sphere, so this is not quite infinite dimensional manifold, but still, and let us take here an action of u1, so of the circle, which rotates this sphere around the z-axis, right? So what I'm looking for is a subset or a sub-manifold here in the two-sphere, such that each orbit intersects this subset once. Well, this action is of course not free, right here are fixed points in the north and the south pole, so let me delete those, but if I do this, what I can take, I can take one of the great circles, so half of the great circle, so for instance, this guy, and it's easy to see that, so this is now s, that this has the required property, so this is a slice. The proposition is, so assume, so let G act freely on x, so I assume this sort of from the very beginning, but let me state this again, and assume there is a slice each point in x, then the quotient x mod G is again a manifold. And it's easy to understand why, right? So locally near each point, you can identify the set of orbits with a slice, but since I have required that s itself is a sub-manifold, so the quotient is a sub-manifold. So now let us assume the previous setup, that is what we have is, we have a family of maps, Kali f from x cross w into y, so let me assume that this is a family of G equivariant for the whole maps. So this means in particular that I have an action here on x, I have an action on y, and f respects this action, but I don't need to have an action on w. And whenever we have an equivariant map, or here we have a family, we have the so-called deformation complex. So what we have is first a map from the Lie algebra of G into the tangent space to x, so this is our map rx. Now we can take the differential of fw and we end in tyy and then in zero. So this is called deformation. And the name complex here is not a random one, so what you can check easily is that if fw is G equivariant, that actually implies that what we have here, so that b star is a complex. Now why is this really an interesting thing to study? So let us consider the cohomology groups of this complex. So what you have is h0, h1, and h2. Now since I have assumed that my action is free, so in particular it's locally free, this means that rx is injective, so in this particular setup, the first cohomology, I have noticed as zero's cohomology group is trivial, so let me say this is just r, this is zero. Now if y is a regular value for this map, this means that this map is surjective, and this means that they don't have any cohomology group on this place. All right, so this is again trivial, provided y is a regular value. All right, and so what is h1? h1 is the kernel of the differential mod the infinitesimal action, and this is precisely the tangent space, so this is the tangent space to fw inverse of y mod the g action. Okay, so this deformation complex describes us the tangent bundle to the modulate space, so to this mw. So let me denote here gx to be rxql gxfw, so this is now a map from gxx into the le algebra of g plus gyy. All right, so what I did is I just took the joint of this map, and this is precisely where I sort of needed that my spaces are here, but spaces to have the same origin here. Okay, so let us, yeah, so here is main theorem, so assume the following holds, so we have gx freely on x, y is a regular value for fw, set condition is there exists a local slice through each x in x, and the first condition is set dx as a linear for the whole map, say of index, then mw is a smooth manifold of dimension d. Again, this is all really very similar to what we had before, so I won't prove the theorem. The only thing what you need to realize here that if you have an action of a league group and you have a slice, you can restrict to the slice, and what we have done before goes through essentially unchanged. All right, so let me skip the proof. Now, a corollary of that is, sure. No, I mean, you're right, let us say, on the G-equivariant maps, and what I meant for the whole is that this complex is either elliptic or you say that this operator is for the whole. Well, sort of literally that's false. Now, a corollary of that is if in addition to the terminal bundle of dx is trivialized, then, well, and we also need to require that this trivialization is G-equivariant and G-invariant, say, then Mw is more oriented for this class Mw does not depend on W. Okay, that is more or less the main theorem that I wanted to present today. So, the strategy for our particular examples that we have in mind will be the following. So, we will have exactly, you know, we will have one map from x to y, which will be G-equivariant. It will turn out that y is not necessarily a regular value, so we will be looking for a family so that in family we have a regular value and we can apply the machineries that we have developed today. Okay, that's all I wanted to tell you today. Are there any questions left? That's the same as slice. So, what I meant is, so here, for example, you have a slice which works for any point, so then it's called a global slice, but if you have the slices through each point which are not necessarily global, sometimes you would say it's a local slice. So, it's just a slice, the same as slice. Okay, then, see you in the afternoon.


Sales are extremely important when it comes to music or not. What do you think? Before you can get into it, what do you think? Yes, the sales matter more than the music itself. That's a good question, man. No, I want to say no, my heart, my heart and the foresight into the comments wants me to say no. OK. All right. So here it is. Academics explains why album number sales are important data. Responding to Lil Yachty's comment saying that we shouldn't focus on the numbers. Let's play this clip. Stop complaining about them, right? The numbers are what they are. And yes, the numbers do like content, but the numbers are the numbers will prove if you're doing something that's really special. It's a reason why, for example, nobody likes nobody likes if the first week projection comes out and says you're not doing it, but no one likes it. But if you're projected to do fifty thousand after the first day and after the fourth day, you're projected to do sixty five thousand. They love to point out the growth. Why? It shows that there's the numbers are going to highlight the fact that there's a change in the culture based on the music. And that's what the numbers do. The numbers is signify. Is who's consuming it? Let me ask you this question, right? This is an airing question that goes outside the music. How are we going to stop it at that before you get into the abstract question? Tree falling, woods and stuff like that. I think there's one comment that's pretty clear. Dream Raheem says, artists love numbers and sales until they start falling. Yeah, it's like artists love numbers when the numbers are high for them or they're going up and they don't like it when they can't play the game. But that's why I say it's a weird line to walk. But I think if you are entry level mainstream and the game numbers matter, if you are not or not trying to play the game, then numbers don't matter. You know, so for me, I mean, I think there's a couple of things about what academics said that, of course, could be fishing. You could say, well, what are the numbers really mean? If somebody was using bots, what are the numbers really mean? If it's about catching the algorithm and you have all these additional like actors in the space. And I think that's where artists try to disconnect the judge of quality of music and numbers themselves, right, which is understandable. But something that academics mentioned later on in this clip. When we talk about the music business, money, numbers matter. It goes back to that same point. Hey, bro, keep it to yourself, keep it on your hard drive if you don't want to deal in the music business, right? Or just share it with your friends and all that stuff. Don't think about growing from a music business standpoint and navigating that and you don't want to think about the numbers. That's just one thing that comes with it. All right. It's why people think numbers because they matter.  But literally when we talk about charts and all these other things, they matter in ways 100 percent, all right, because you at least get to say that you had these numbers. Let me take a quick second to say if you're an artist trying to blow your music up, or if you're a manager, a music professional in general, trying to help an artist blow their music up. I have something that's a game changer for you and it's completely free. As you may know, we've helped multiple artists go from zero to hundreds of thousands of streams. We've helped multiple artists go from hundreds of thousands to millions of streams, chart on Billboard, GoViral, all of that stuff. And we've now made the way we've branded multiple artists and helped them go viral completely free step by step in Brandman Network. All you have to do is check out brandmannetwork.com. You apply. It's completely free. But the thing is, we're not going to let everybody in forever. So the faster you apply, the better your chance of getting accepted. Brandmannetwork.com. Check it out. Back to the video. I just saw a clip where 50 Cent in an interview was saying that who did he use as reference for Future, right? He said, yeah, I could perform my song today. And it doesn't really matter how the crowd reacts by these songs are number ones, right? I can get paid certain things because these songs are number ones. But somebody like Future, you might say, oh, yeah, the streets rock with me. Bored in a hole, right? And they're playing my music more than their whole music. It's great because it's true in that way today. But 20 years from now, without the number one attached to it, people aren't reacting the same. You don't get to say, well, at least this thing was a number one. You also can't flip it this thing, right? Because you can't say people like people hire based off of those type of numbers because they want to look. I want to I'm a company and I want to say, oh, I had some random artists that performed or whatever and look at how cool we are and say, hey, he's a number one artist, right? You get those type of accolades. It's not the future's never had any higher charting things. But 50 was referencing those specific songs. So numbers matter when we talk about real life period. Now, art itself and your judgment of it. No, you shouldn't want it to matter in that way when you're talking about your artist bag in the quality of work per se. You know, that's I think that's the thing that we go back and forth with. Yeah, I mean, there are lots of great music out there with, you know, less than 100 strings on it. You know, I've come across some every couple of weeks. But to me, the numbers say two things that typically tend to say two things to me. One, they say that people out there like the music, right? That your art, your art can can be enjoyed and consumed by others outside of yourself and your circle. And then two, it tells me that you know how to play the music industry music business game, right? Even if it is about it, even if it is inflated, even if these numbers only have because you barred 20 bands from your cousin, you were able to run a marketing campaign and that's boosted it. That still says those things, right? People like it enough for it to work and you understand how to do the things to move yourself to the next level. Is that two things that, like, while yes, they can't speak? Well, I guess the first one does kind of speak to the quality of the art, right? But they might not always speak to the quality of the art itself or still like very important if you are someone trying to play that game. So that's why I say, like, my biggest frustration with the numbers argument typically comes from artists who claim they want to be successful artists. It's like you can't want to be successful without looking at numbers. Even if album sales aren't the numbers that you're looking at, once you decide you want to be serious, you're looking at some type of number all the time, right? You're looking at maybe merch sale, streams, clicks on your ads. Like, it's always going to be numbers in this show and you have to learn to care about numbers to run a successful music business, right? It's a lot of math in this show, man, whether people people realize it or not. And so that's my grind, man. If you don't care to do that, like you someone listening, you just like making music for the fun of it and you just like putting it out and you think it's cool.   And you got to care about numbers, bro. You have to. Yeah, I mean, I think the more correct statement that people should think about if anything is the connecting with people is the thing that matters most. Numbers don't not matter. It's just that they shouldn't be the primary focus because they're a symptom, right? They're not the source. So you do what you're supposed to do. The right number should occur.  You still is even that is something that the numbers reflect, but it's not the root of. So I focus on making the best music, the best product, right?  Because, of course, we do know if we want to talk about the way that numbers do not matter clearly outside of just whether art is good or not. If not, you could get numbers, make something say something. And then not have that reflect real life. Oh, I got a billion streams, but what does that really mean? If five people don't show it to my show, right? In that way, they don't matter for sure. So I don't know that I I feel like this numbers conversation is is going to stay a thing just because it's always on people. Be people who are in flux today. I'm happy with my numbers because I'm up, but then all of a sudden I'm unhappy and now I got to figure out this way to validate and not feel bad about where I am. If then I'm up again and I'm not even having this conversation. Yeah.


Welcome folks we have the Dow industrials finished down 208, 202, NASDAQ up 86, S&Ps up three and a half gold, gold contract on five dollars traded at 18.16 an ounce, we had silver down 17 cents, $22.96 an ounce, light sweet crude up two bucks, $84.18 a barrel, notes and bonds, the 10-year note down 19.6, trading 1.2803, 30-year full point plus 12.6 at 155.05 in Kingdoll, Kingdoll is up 378 ticks, 95, 169, Euro is at 114.13, the yen is at 114.21 and the British pound is at 136 to 1 US dollar. We're going to have to take a look at the spy, the bottom line folks is that, you get a sideways move in the spy, we're up 22 cents, it did reject lower price, hasn't get out of the range yet, but I suspect the way the spy is, we're going to have a differential here, spy looks to me like I can go higher, still hasn't broken its uptrend, and the X100, whole different ballgame, and the X100 is on a downtrend, we are right now the cues, the cues are trading out at a price point of $380, you're up $235 out here today, he did reject lower price of $374, volume wise however you start big volume, yesterday we did volume and the cues of $77 million are at $77 today, now granted you're going into 93, so you can get a little bounce, I suspect what you're going to see, each and every time we get a bounce, you're going to have lighter volume on the bounce, all that sets up is lower lows and lower highs, that's how we're set up, and the 350 of course is sticking out like a sore thumb, that is the October 4th swing low, gold, gold contract out here, move sideways out here today, down 470, that being said it's a sideways move coming into a Friday, not at the end of the world, we will have even with the market closed on Monday, you'll have Monday more, let's see, well the futures will be open on Sunday night, no Monday morning but they'll only be open I believe like for an hour or something, so there's really not a lot of trading, what we will see is that we'll see the currencies, so it's going to get interesting to see what the dollar does on Monday, because of course the euro, the euro will be trading, the currencies will be trading, have a great weekend folks, have a safe weekend, come back and visit Tommy Monday morning, kick us off 9 to morning, great show, yeah, look at him folks.


My name is Sergeant Joseph Mwanzea. I'm from Kenya Navy. We are doing Cutlass Express. Today we are learning how to start a suspect. First, when you see a suspect you tell him to raise his hands up and then you can tell him to turn around from there. You can tell him to kneel down with one knee first. From there you can tell him to close his elbows. Then you can advance to him. You tell him not to resist when you are. You when you are searching him. And then you can search him. If you find anything you can take it from him. If you find nothing you can leave him under. Maybe cuff him if he is dangerous.


If I could pick anyone to interview, I'm going to go with Jesus and ask one question. Do you have a sense of humor? Proverbs 17-22 says that a joyful heart is good medicine, but a crushed spirit dries up the bones. You know, we were created in the image of God, so I think our laughter and comedy ought to be a reflection of the laughter and joy that God has intertwined in this world. If you could ask God one question, what would it be? Leave your answer in the comments down below. Follow for more Christ-centered content and help support my ministry on Patreon.


I'm Professor Ash Mosaibi, I'm a Professor of Plastic Surgery at University College London and a Consultant of Plastic Surgery at Royal Free Hospital of Hampstead in London. Plastic and reconstructive surgery is a mixture of reconstructive techniques and aesthetic techniques. I think Dutch surgery is a very exciting digital technology that helps you prepare for a surgical procedure and experience before actually performing the procedure and make yourself as well prepared as you can. The challenge we have in our specialty is that there is no standard way of doing things. However, I think with the help of digital technology, we can try to simulate those issues so that when a similar pattern develops in a patient, you can recognise it and you can treat it appropriately. The industry has been marred with so many people wanting to perform the procedures who are not fully qualified and that has made patient safety, compromised patient safety. I think the platform is a great platform, it's got a lot of potential. As the trainees go through their training from simple to complex procedures, they go through each step, they complete a simulation and they show that they have the expertise to go on to the next step. So it's good for teaching them, it's good for training them and it's good for assessing them as well before they can go further into more complex procedures.


Hi everybody it's Sam at Mixed Up Craft thank you for watching my tutorial today. Today's video this kick starts this year's Christmas workshop 2019 so from now until probably three four days before Christmas I will just be sharing Christmas tutorials. So I know I've been sharing a few beforehand that's because I'm on a lot more design teams now so I've got a lot more going on and we are asked to share certain things at certain times and I've had the product early so I need to be sharing it so yeah it's that side of things is different to the previous years because usually the Christmas workshop is the start of my Christmas projects so it has been a bit weird for me this year to actually start crafting a Christmas product this early i.e. you know back in August I just never done it and I couldn't get my head around it but time's changing and in the craft industry we start our Christmas crafting very early especially if we're doing craft fairs and things like that so to kick start this one I have done these padded cards it's something I've wanted to do for a while it's been on my list but it keeps getting kind of bumped down and I thought I've got to do it and the inspiration for it comes from these cards here and these are from my granddad that he gave to my Nan and these are very old they're probably 50 plus years old and they sit in my craft room so I see them daily and that's why I've always had the idea to do it and I've just keep forgetting this is a musical one it has a huge musical piece here that plays happy birthday it does still work but I'm not going to set that off now but you can see here it's got a bit of foam on the back there so that you can see this it's got that very squashed rose because it's been in like one of those old suitcases for many years but my Nan said that I could take some she has hundreds my granddad always gave my Nan a padded card so she has a lot and I framed one and put it above her bed for her as well so it's really sweet now these ones are obviously are on a lovely satin or you know some of them probably are on a real soft like silk if you've got a really posh one but they've all been printed as well I don't have the facility to really do that and I'm still looking for the right kind of fabric but I think I found a really good alternative you can see there the foiling but anybody has never seen these before years ago this is all you've got given I remember having these when I was a little girl I've got a couple myself in my kind of scrapbooks and stuff but it's just a very large piece of paper you can see that just folds over folds in half again and then this piece is stuck on the front so with that being said because they were so easy I've been trying to find the right kind of fabrics to work and I think I found something really cool so all I've used to make this so if I just bring it up just so you can see the dimension these are really padded and these will fit perfectly in my six by six box envelope and I'll link that up here because I know a lot of you go to that for any kind of 3d cards that you make I've got a five by seven and a six by six this you can make any card size you want so if you work with different smaller cards or larger cards it's easy to do once you see how then yeah you hopefully will be able to do it yourself so I had these Ponsettia flowers left over from another project so I'm going to use another one today but I found this here which is a tablecloth 79p from biology and it's huge like it it's absolutely massive I'm not even going to open it all up it's so big but the good thing about this one is it's almost like it's got like a a fabric on the back it's really hard to explain it doesn't give me any information at all on here literally nothing at all so you know I can't even really link this because biology aren't online but just go to any of like your pound shops your dollar stores Walmart any of the big supermarkets and just go and look at the cheap tablecloths and you want the ones that have that plastic kind of coating on the top but like I said it's almost like a fluffy kind of it's almost a bit fleecy it's hard to tell you can see I can pull it off there anyway that's the kind of one you want to go for I did get some others like this one here I need to fold it up this is just all plastic on both sides now this one kind of worked but when you wrap it around if I pull here look it just kind of can you see stretches and this white kind of color comes through and I just didn't find you can see there look how it works I just didn't find that these ones work so you don't really want to get those plastic plastic ones you do want to get these ones here that have this kind of like a fabric on the inside it's a bit like a napkin you can see there it's also more of a dull color on the inside and on the outside you got that real vibrant color so I'm just going to cut because I didn't open it right out I've been cutting from here I'm just going to cut enough to cover a six by six card because I'm going to do another six by six now like I said you can do any size you want let's just trim into this here there we go I didn't do that very well but that's fine so now I have this very odd shape here really I would say cut a piece that's seven and a half by seven and a half we'll pretend that this is okay and then what I've used for the wadding is this which is a cooker head filter again from biology it's 99p and basically it's just wadding it's not been treated it doesn't smell or nothing like that it's just wadding sheets but it's just cheap and I just thought you get quite a lot in it so I've already gone ahead and cut a piece to six by six okay and then I have a piece of greyboard here or chipboard which is from every crafts a pound and these ones are already cut to six by six but you want to cut a piece to six by six or whatever your card base size is so if you're working on an eight by eight then you'd have an eight by eight piece if it's five by seven cut it to five by seven there is then my normal card base this is just a pre-made six by six red card and this one is side folding now they do hold themselves as well they don't topple over because it is very light but if you are worried just reinforce the insides I tend to map mine anyway so I'd probably put another red mat and then another white mat inside and that would just kind of give it a bit of weight this one is a top folding so you can see there and that one stands up really well I just really like them and they're so nice to touch they really are soft it's just yeah I love them okay so very very straightforward all you want to do is sit the wadding over the top again don't know if it kind of goes over the edges a bit it's all going to kind of fold in on itself turn it upside down and then on this piece here I've just used normal double-sided tape if you're worried that yours isn't very sticky then you can use a red tape but I'm just going to run two lines of it along the top and the bottom okay and then I'm just going to peel this off do one at a time just so you don't get yourself in a mess and then this pattern here it doesn't matter which way up it is so as you know it's got no direction to it just full of those snowflakes and it worked really well so I do want to find some more that are like this now like I said yours needs to be seven and a half by seven and a half I'm going to make this work cut it a little bit shorter but it's fine you'll see what I'm doing and you just want to don't pull it too hard because it is delicate but you just want to pull it over and tack it into the middle I'm just going to bring up the sides there and that one there okay so that's all stuck nicely and then I'm just going to take the backing off of this one here and then this one here you want to pull a bit more torque you'll have more overhanging but just pull it around again being careful you don't want to rip it like so now I want to turn it over you'll see you start to get that arch and it already is nice and padded we love it okay and then I'm just going to trim these bits away because I don't need that much there now if you want to fold this like you were doing a mini album or something you can but it's so light and easy to work you really don't need to what I've done is I'm going to fold it in as if I'm wrapping a present so I'm going to run two more strips of tape there because we're going to stick all of this onto the card base so it's all going to be hidden you don't see none of it it's a really really neat tidy card once it's all done just take that one off there so all I'm doing again try and push some of that wadding underneath because you don't really want to pad the sides of it you just want all the padding to stay on the top and then I'm just going to fold that one in and that one in like so just like you're wrapping a present and kind of pull it all up at the same time like so you'll see there you get a really nice edge and then this one here just do exactly the same and again pull it around stick that all down any excess just cut away and now you'll have this piece and that is all ready for you to decorate now you do want to be careful if you're going to use hot glue I am going to use hot glue but I actually put it on the back of this and then I'm going to let it just sit for a minute so it doesn't go on when it's like piping hot so I'm just going to let that kind of just start to cool and then put it on if you wanted to do some mats and layers so say this was a mat you know and you cut it to say four by four so it came in a bit smaller here so you still got to appreciate this but I just want the person that receives this card I want them to see straight away that it's a real padded piece so I didn't want to cover it too much but you know you can do a lot with this but I would say if you're going to stick anything onto this I would use some foam tape or double-sided tape like this one that I've used here so you know as long as it grips to it that's that's all that matters so now I'm happy to put this one on so get it in the middle there just hold that in place and then with this one I think I'm going to use the Merry Christmas in the gold because I've used the silver on those two but let's go for yeah they're going to go for the gold now because there's a bit of a dip here what I'm going to do is just start to kind of build up this piece here so it's already got a foam um although the backing doesn't want to come off that at all that's not even sticky okay let's that's fine I've just got some foam tampads here and I'm just going to stick it on the back and again I'm going to add probably maybe four or five layers of foam this is just because I'm using this Ponsettia flower which actually I forgot to say where I've got this one which I'll show you in a moment now I can just pop a little bit of hot glue on the end I've got all that dimension on the side of it and then I can stick that in the center so it still allows this to kind of have its shape but also stick that in the middle so the Ponsettia I know a lot of you have this is the ultimate Ponsettia die and it's so good it's a huge die so you get four pieces one two three four and then you get your sprigs as well and you just layer it up I'm not going to show you how to make that one in this video but if you just link up here it'll take you to a tutorial where I show you how I put it together to get these lovely flowers so again just make sure that's all stuck down okay to just give the card some added strength I'm just adding some glue all around the back here so this is a top folding card again so make sure it's all got the right way and I'm going to stick it from the back and then you can make sure you get a nice frame okay and like I said if you want to reinforce the back there you can but it does stand up all of them stand up really nicely you can see there so there you have it it's a really quick tutorial because it is so easy to do but until you feel them and you actually see you know I just love them they've got such a nice feel and it just you know it just really gives the card that that's something extra I love this and I will definitely be doing more are we doing birthday cards in the new year and I will hopefully be sourcing some some better fabrics that are still really cheap because I think that's the whole fun part as well as being able to make these great cards without having to spend too much money so um yeah these are by Simply Creative these are older I got these on every cross a pound I think a while back they're really handy little toppers and like I said you've seen this I'll share the links to that the greyboard I'll also link that but the tablecloth I'll probably struggle with because it's not really something I can find like that but I would have thought places like the range your pound shops your dollar stores your supermarkets all that kind of thing I'm sure will have these but just yeah try and see if you can have a little look at what it's like in terms of the feel of it it's um yeah it's hard to describe but it's it's got a like a fleecy kind of feel to it but it's extremely soft so anyway I'm going to stop talking tutorials done I hope you feel inspired I hope you like the first project for this year's Christmas workshop and be prepared for lots of really fun tutorials to come so thank you for watching please hit the like button if you've enjoyed today consider subscribing so you get to see more tutorials and all of this year's Christmas workshop and I'll be back again very soon with another tutorial thanks for watching bye


You're watching Daily Debrief and in today's episode we are going to be talking about Haiti which is going through quite tumultuous times. The acting prime minister and acting president Oriol Henry resigned a couple of days ago amidst a mounting crisis. We have heard reports of gang violence, there's a lot of poverty, various kinds of social crisis that are gripping the country and a lot of that has to do with the lack of democracy, with the lack of any representative system, the kind of stranglehold that Oriol Henry who was for a long time backed by key powers including the US had on the country. Now Oriol Henry has finally resigned, there are talks of some kind of a transition system towards elections. To find out more, we go to Zoe. Zoe, thank you so much for joining us. So could you first maybe take us through what has been happening in Haiti over the past few days? Why was the acting president forced to resign and what has been the political context to the past in recent times for instance? As you said Prashant, yes, the situation in Haiti is critical. Late on Monday night, Oriol Henry who was the acting prime minister and president of the country resigned. He announced this, which was also announced following a meeting of CARICOM along with other international partners and so-called Haitian stakeholders. His resignation comes amid an upsurge of violence which saw an attempted airport takeover which has caused great disruption to what to normal airport traffic and actually planes being able to arrive and leave. A massive prison break, Oriol Henry had actually traveled outside the country in recent weeks to visit Kenya. We'll get back to that about why he was there in a minute and essentially he was unable to return back to Haiti and again for the past several years people have been calling for his resignation. These calls and demands for his resignation intensified and in light of the deepening crisis in the country, essentially it was decided that he would have to resign. And so this of course once again opens up a deep problem in Haiti which has been this political institutional crisis which again has roots in the 2004 coup. But more recently, Oriol Henry actually took over as acting prime minister and president in 2021 following the assassination of Jovenin Moise who was the president of Haiti who had been essentially overstaying his term by five months at the point of his assassination. He had faced widespread protests both against the inconstitutional way in which he overstayed his term. He defied the constitution. He repressed very, very heavily these protests, repressed the political opposition. And previously he had also been, and you know until his death was deeply embroiled in different corruption scandals. So already when Oriol Henry takes office there has been a long standing kind of conflict and demand from Haitian society from broad sectors of the opposition and different groups demanding that a process be started for there to be an actual democratization and for there to be a kind of re-stabilization of politics in the country and a return to democratic order. And so Oriol Henry takes essentially asserts himself as acting leader. He's of course backed by key members of the core group which is a group with representatives from the EU, United States, United Nations, Canada and France. Interestingly enough these are the kind of major powers that have been meddling in Haitian politics for decades, propping up corrupt leaders, turning a blind eye to or even supporting all of the human rights violations that have been taking place under these leaders. And so the situation at hand right now is seeing a lot of different voices across the world. On one hand we have kind of the warmongers of the United States, the imperialist countries saying that the situation is untenable and the only way to save the Haitian people is to call for a foreign military intervention. This of course has been widely rejected by Haitian groups and big parts of the progressive international community and so it's Haiti right now is at again another tipping point. We've seen many tipping points in Haitian politics over the past couple of years and always, always, always. It is the outside powers, the foreign powers who are unwilling to actually listen to what the Haitian people are demanding on the streets and within Haiti and rather they're sort of taking decisions outside of Haiti without Haitian voices and coming up with solutions that often just imply more suffering and less autonomy, less sovereignty and less ability for the Haitian people again to just sort of chart their own path and have the full economic and political sovereignty to really actually take those plans forward. Right. And a key aspect is of course been the question of foreign intervention itself, multiple proposals made. Haiti also has a very, you know, a record, very dangerous record of being intervened in on multiple occasions which have brought a lot of damage to society as well. Could you tell us a bit about that? So for the past several decades, again, foreign military intervention has been kind of a key aspect that dictates and impacts Haitian politics and life in Haiti. We know that following the coup and the earthquake in Haiti in the 2000s, the United Nations deployed what was called the Stabilization Mission which was known as MINUSTA. This was a multinational so-called peacekeeping force which was really a military occupation led by Brazil and had again participation of countries across the world but was a brutal, brutal military occupation. On our site, on People's Dispatch, we have several articles sort of shining a light on the deep abuses and human rights violations that MINUSTA was complicit in, carried out. We know that the cholera outbreak was directly linked to the presence of MINUSTA troops in Haiti. There were thousands of women and girls and children who were experiencing sexual violence at the hands of the MINUSTA troops. We know that there were horrific massacres that took place in the popular neighborhoods in Port-au-Prince by the UN peacekeeping troops, part of the Stabilization Mission. The list really goes on and Haitian organizations have been quite adamant in saying that foreign military intervention, historically of course, but even just contemporarily in the past several years, has brought great suffering on the Haitian people. So essentially in the past couple of years, as there's been these mass protests, as I said under Joven and Mois, even before he'd overstayed his term limit, there had been mass protests against him because of his involvement, him and other members of his government and his party in corruption scandals, embezzling the funds from Petrocaribe, which were meant and destined for social purposes, but they were involved in kind of just pocketing these funds, using them for their own profiteering. There were massive protests against this and also the fuel crisis, a multitude of social and economic crises that brought thousands of Haitians onto the streets to demand the resignation of Joven and Mois. And again, the possibility to actually, for example, have access to these funds is that the Haitian state has been robbed of so that people can have access to education, so that they can have dignified conditions so that they can actually have the possibility of having, again, a dignified life. And so these protests were taking place, massive, massive protests in 2018, again in 2019, 2020, we saw this continually. And Joven and Mois, of course, responded with widespread repression. And at this point, we see, again, kind of this call for support, for being able to quell these outbursts by these social outbursts. After his assassination in July 2021, it was again another moment where the international community, the so-called international community, these imperialist forces said see the situation with the gangs, which of course are armed by the United States and, you know, backed by these elite groups who have held on to power. They say this is getting out of hand. All of these things, protests continue against Arielle Henri, and at the same time, the gang violence in the country proliferates, again, because there are these vacuum, socioeconomic vacuums, the Haitian people, again, do not have control over their economy. They're living with miserable conditions. Weapons are flowing in from the United States, again, elite groups in the country supporting these criminal groups. And so again, we see this rise in violence. And in this context, Arielle Henri actually requests, makes a formal request, the United Nations for foreign military intervention. This was in October 2022. This was met with, again, widespread protests. But in October 2023, the UN Security Council actually authorised a military intervention. It was not technically, it would not technically be a UN mission. This is called the multinational security support. And this, at the time, several months back, it was Kenya who offered to lead this mission and pledged 1,000 police officers. This created tensions within Kenya itself, many groups, left groups, and even opposition groups said, we're not going to send our police officers to essentially another country to repress their citizens. So this was met with widespread rejection. The Congress and Kenya and the High Court said that this was unconstitutional. The President, Ruto, was trying to press forward with this. This is the context within which Arielle Henri actually visits Kenya just a couple of weeks ago to try to kind of seal the deal and get the Kenyan police officers. But what do you know? After he resigns, Kenya backs out and said, definitively, we are not sending any police. So the threat of a foreign military intervention actually still hangs over Haiti. This multinational security support, MSS, is a U.S.-backed. And kind of given the go-ahead by the United Nations, they still want this to go forward. We're going to see how this evolves in the coming days. So we'll definitely continue to be watching what's happening in Haiti. It's a very crucial battleground right now. We know that they're continuing to face the threat of this foreign military intervention. The Haitian people say no to foreign military intervention. The people of the world say no to foreign military intervention in Haiti. And this, we'll see how it plays out over the next couple of weeks. How much pressure will the United States put on other countries to send military personnel to be part of this mission? That remains to be seen. But keep following this topic on People's Dispatch. Thanks so much, Zoe, for talking to us. And that's all we have in today's daily debrief. We'll be back with a fresh episode tomorrow. Meanwhile, do visit our website, peoplesdispatch.org, follow us on all the social media platforms. And if you're watching this on YouTube, please hit the subscribe button.


It's Hopalong Cassidy With action and suspense out of the Old West comes the most famous hero of them all Hopalong Cassidy starring William Boyd The ring of the Silver Spurs heralds the most amazing man ever to ride the prairies of the early West Hopalong Cassidy This famous hero thrills his 60 million fans with action and dangerous adventure In the role of Hopalong Cassidy is the popular star of the motion picture series William Boyd and Appear in as that laughable old character, California is Andy Clyde Not to our story the letter from the grave The week's mail had lain on the table next to the cook stove all day a couple of harness catalogs a few bills a fancy Printed card announcing the arrival of a new horse doctor in Baker's Crossen and the letter an ordinary Looking letter and a plain envelope postmarked a week or so before in Gold Run Montana territory It was addressed to Hopi and there was something familiar in the handwriting Something that dug deep into his memory as he slit the envelope took out the letter and began to read I'm only writing you now because there's no one else I can turn to I Remember once down at Dodd you told me to get word to you at the bar 20 if I ever found myself in a tight place I'm in it now so deep. I don't think I'll get out of Gold Run alive.  I ain't Uh, what's the matter Hopi tell Johnny to round up her bed rolls and get a pack horse ready pack hearts Where we go Montana place called Gold Run friend of mine's in trouble up there. Yeah, who's that? Jack Panic. I knew him when I was a kid, California down in Dodd City one of the best friends. I ever had Funny here and from him now after all How long ago did he write postmark says a week ago date on the letters What's your matter letter was written October 10th 1873 15 years ago Now back to Hopalong Cassidy and the letter from the grave The letter written 15 years ago has at least settled one thing in Hopi's mind Jack Panic is dead But why did he die, California? What was he afraid of? Yes, can me and the letter we've had some pretty slow mail service around here about 15 years. Yeah Well, you might drop a line to the postmaster up there. Yeah That's the sensible thing to do. We silly to go up there now five-day ride awful rough trail and there's plenty of work to be done around here sure No time for us to be running off in the wild goose chase. That's right And we probably wouldn't find out anything when we did get there now you're being sensible Well, where are you going? Oh, I thought I'd walk out for the barn. Wait a minute. Yeah Saddle up that pack horse. Haha jets. Just what it was about to do Don't say any more heel But if you meant what you said that day in Dodge get up here on the gallop because partner I need you now You're pal Jack Banach Never heard of him look at the date October 10 1873 15 years ago. How long have you been postmaster here in Goldrod, Mr. Riley? About five years Come up from Cheyenne. Oh You got any idea why I took that letter 15 years to get to me. Yeah I reckon I'm partly responsible myself That betters my sack of mail. I uncovered a couple of weeks back uncovered. That's what I said No much about Montana. Mr. Sam They will her to the Creed gang. No cancer have Well, there was a bunch of outlaws who took over this country in late 72 and when I say outlaws I mean the real article Well, how are they so different and the creeds was organized He had spies in the mines spies in Virginia City that alder Man never knew but what the gross man and the kid who script out the saloon was a creed For the time there wasn't one minor to get out of the whole section with his folk alive. That is Some say the creeds killed a hundred some say two. What's this got to do with the letter? Yeah, I was coming to that You see we just knocked down the old Webster house where the creed used to hold the meetings When we tore it down we found the soccer may have jammed in a hollow wall So I just gathered her up and sent her on I see what happened to the Creed.  Well, who's he was from mr.. Hutchison hurchison Yeah, that is the hardware business in this section lives in the big house on the top of the hill then the main street Charlie's kind of a handyman around the place. You think he might know something about Jack Bannock. I don't know But there's a chance he might He ain't never admitted it you understand But there was a time when the odds was eight to five down at Mulrooney's pool parlor that Charlie was One of the Cree's he was there look out. It's called run. Hmm Dang it. Why didn't they think a Charlie before for what? In here yesterday asking questions about Jack Bannock She had a letter the same as you Bannock the ANN OCK John Michael. They called him Jack Bannock, huh? You say hello to I understand he had a claim not far from here I thought perhaps you might have a record of it. Mr. Gillis. Well, of course, this is a law office miss Lookin some of our businesses in the mining field. We naturally have records of that And I can't recollect the name Bannock. Have you checked the claim office? Yes, I've checked the claim office They had a fire ten years ago lost all their records. Oh, yeah, of course And this claim was filed before the fire in in 1873. I see Hey, you knew this Bannock. I'm his niece Now you're trying to locate mr. Bannock. No, you see it. I'm pretty sure he's dead It's about his claim this man. Kennedy wants his money right now. Jeff. Oh, oh, I'm sorry. I Jeff This is miss Sarah Newcombe my my partner Jeff Larson. How do you do mr. Larson? Howdy, ma'am? Miss Newcombe is the niece of a man who had a claim here 15 years ago Name a John Michael Bannock. Bannock. You mean she knows I Just explained to miss Newcombe. We had no records of any Bannock in our files. Oh What was I thinking of Braddock That's it miles miles Braddock had a claim over in all the girls here Well, what can we do for you miss Bannock? Newcombe? No, it's sorry. I'm having name trouble today I think perhaps we might be able to help miss Newcombe locate our uncle's claim. It's not a claim actually It's what he got out of it. Yeah, I'm afraid I don't understand. Were you here in 73 mr. Gillis? Yes, but then you remember the creeds Yeah Yeah, I remember the creeds my uncle must have known he couldn't get out of here with his gold so So what? So he put it away in a good safe place and of course you'd like to find it. That's right. Hey, Miss Newcombe Perhaps now if we saw this letter, I couldn't do that. Why not? It's rather personal the moment anyway I want to have a look around for myself. I don't have any luck. I'll come back to you Thanks anyway, it's been a pleasure miss newcombe if you run into anyone who might have heard of my uncle I'd appreciate it if you send him to you. Yeah, yeah, of course.  How was I?  I Probably get that file out of here here, man. Now, let's see Bannock yeah, Bannock John Michael Bannock morning star mine west slope of beaver ridge above junction of all the gulch and little creek Get it there. Here it is All right, let's see it Here we are operated six months and 72 seven months and 73 Estimated net take $80,000 Blind pocket streak panned out september 73 Yeah, last note here says Bannock preparing to leave october 5th creeds get bannock I don't know. What do you mean? You don't know you was a member wasn't you? Listen larson one of these days. You're gonna talk yourself right into a hole in the ground. I'm sorry Hey Little lady told us one thing though The creeds never got that dust Bannock buried it somewhere She'll be nosing around town asking questions and sooner or later Someone will steer into the little man Yeah, I think we'd better have a talk with it first Charlie. Yeah charlie borden Cassidy you say your name is? That's right charlie mr. Hutchison said I'd find you here in the tool shed Trying to put an edge on this here concern size Looks like someone was trying to cut bob wire with it. Look at that mix there. Yeah Yeah What's eating you Cassidy? I know you ain't coming to call just to be sociable I just wanted to test your memory charlie You have been living around here for some time, haven't you most 30 years. Why ever hear of a kid named jack bannock Yeah What happened to him? He worked the claim round here over on be rid somewhere Think Long about uh About 73 That's right Then what? Took off somewhere just like that Yeah You sure that ain't sure nothing in his life He was around one day in the next day you want you don't suppose the creeds might have had something to do with that, do you? What's your game mr. Jack bannock was one of the best friends I ever had I think he was killed. I'd like to know who did it Yeah She's got credit for a lot of killings Some of them they did and some of them was done by folks who figured the creed gang was right handed to take the blame Yeah, yeah, what's up mr. Hutchison you tangled up with the law again charlie law There's a lawyer over at the house waiting to see you matt gillis Now what in tarnation he be after you better go see Oh god never talk to a lawyer yet without costing me money Charlie's quite a character been with me a long time now Must be let's see 10 years How long have you been here mr. Hutchison quite a while when I first hit the gold run country This town was five shacks in a saloon.  That's right a little wonder Press the button and it's open Snap and it's closed That's what started me up in business. Well Yeah, there are two ways to strike it at rich under gold rush Cassidy You get yourself a pick go out and dig for it Or you let the other fella do it and sell something to him I thought the second way was the easiest the little wonder, right? Yeah All I had was a couple of knives and a lot of nerve I took orders for it collected money in advance until the spring of 74 They were ready to run me out of town when I finally made delivery 74 a And you might have heard of jack bannock Why'd he ask that friend of mine? He was my friend too Any idea what happened to him? Yeah He was murdered. Why? They had too much money Any idea who? I think we'd better leave it there mr. Cassidy 15 years ago on by They couldn't get evidence then we certainly can't get it now. What about the body? Creed you're pretty careful about things like that No one ever found it Well, maybe I'm crazy big in around here 15 years after it'll happen I'd like to have a trial of anyway. Well, I'll give you all the help I can Thanks You can begin by answering that question. I asked a minute ago Who do you think killed him? You know, this can get us into trouble if it gets around and we can't back it up It won't get around All right He was a member of the creeds I suspect they kept all their records for them there. Is he still here? Sure Running what he likes to call a legitimate business Matter of fact, he's over at the house right now. You mean that's right The lawyer Matt Gillis Now back to hop along Cassidy and the letter from the grave It's after 11 o'clock and hoppy in California have returned to their room at the gold run hotel This is the craziest thing I've ever done. Oh, I ain't so sure about that hoppy. You've done some awful crazy things I mean trying to run down a murder 15 years old We've got about as much chance as I feather in our hurricane. What about that lawyer fellow? That's a good guess, but that's all it is I don't know. Maybe we ought to Yes That's right and you must be the young lady who Will you come in miss newton? This is my partner california carlson. How do you do? I'll come right to the point mr. Cassidy. I'd like to know what you're after. What do you mean? You've been all over town today asking questions about jack bannock. Well, I understand you've been doing the same thing I have a right to so have I have you sure take a look at this letter. I have here. Let's see Oh, here it is Dear hoppy, I'm only writing you now because Oh You you just got this. That's right Now do you mind if I ask what you're up to? I'm jack bannock's niece. He wrote my mother a letter too Here Dear hella knife struck at rich over 50,000 in dust to date from our little morning star I suppose we ought to feel like celebrating but we don't Finding an ore pocket and go run these days is like signing your own death warrant I won't say more, but if I'm not back by spring, you'll know it happened Our dust is cached away Come here when the trouble's over You'll find the key in the green gallows love jack The green gallows. I've asked everyone nobody knows what it is Well, this was written to your mother. She passed away over five years ago. Oh, I see And she and jack were in this together. I know Why do you say that he says we here we don't feel like celebrating our dust is cached away Why I never thought of it. Did he have a partner? I don't know What you make of it hoppy? I think I was a little too pessimistic a while back, california We might run this down yet the money. Yes and the murderer. I think if we find one we've got the other All right, hold the land and hire charlie. We can't see what we're doing here. All right, come on lison dig dig That's useless mech. There's nothing here, but it's gotta be here charlie. Yeah What did you do it? Are you sure she said green gallows? Yeah green gallows. All right. It's got to be here then Push that shovel jeff. We've only got a couple of hours until dawn You say this is it mr. Riley. Yeah This is her the official gallows are gold run right here behind the jailhouse. Hmm. Was it ever painted green? No, none of our customers today. It has been particular about color. So we just left her natural Maybe we ought to see the sheriff about this. You're seeing him right now. Uh, you yep Host master sheriff also assistant coroner deputy united states marshal and half owner of the blue bell drug store That's quite a mouth Man's got to make a living these days Prices is awful. They can just went up to 10 cents a pound. Hmm How long have these gallows been here as long as they've been around more than five years Have there ever been any others? Nope Hmm Well, this is mill lumber.  They were strung up in 73 Not on no gallows. Well, well for the lover mike Tree a tree Green green gallows Wait a minute. What tree big oak Out on the virginia stage cultural. That's it. That's what he meant. Come on. Let's get a hold of miss nukem I want to take a look at that tree She must be in there said she'd be here at the hotel on afternoon Never can tell about a woman. She might be cleaned back to learn me by now Miss nukem What's unlocked Gosh My miss nukem. What's happened? She's been hit on the head get some water california. Yeah Miss nukem It's me hop along cassidy. What happened here here take this Thanks Tell me what happened. I don't know I opened the door someone was waiting for me Someone hit me. I see. Well, what were they after look at her purse on the floor there. That's it Where's the letter letter did you take it out of your purse miss nukem? No That's what they came for and that's what they got. I'll send the manager's wife up to look after you Come on california. Let's go. We haven't got much time Well, this is her cassidy They tell me they used to sling a rope over that big limb there and yeah looks like we're a little light hoppy Yeah However, it was sure did pull up the ground. That doesn't mean they found it. Why not Jack never would have buried his dust here with stage coaches passing by every day along with writers new teams And who knows what else Somebody spot that new turned earth in a minute. Well, you know what the letter said the key. It said not the gold itself What did he mean by the key the keys on the green gallows? That's what it said the key is on the wait a minute He said it was on the green gallows not under it I'm afraid my poor old brains won't cut out for puzzle games boys. I'll have to What are you looking up to there? Cassidy look up there next to the crotch. Huh? Look where I'm pointing Oh lord, I can see a rat's nest in a sleepy jayboard. What's it? Oh, yeah Something nailed to the limb up there. Give me a boost. I'm going up Can you get to a toppy? Yeah, just a second now Ah What is it? What is it an old rusty six gun nailed to the trunk here? What do you reckon that means throw your rope over that branch california. What fire pull it aside? I want to try something. All right. Here she comes That's it now pull on it Enough that's good. What's in center you want to I want to line up the site on this thing Wait a minute now What's pointing across the canyon there at the base of that big boulder? It's uh-oh. What is it stand back on dropping down What's the matter hoppy the site points to the other side of the ravine There's a rock face with a black streak through it. It's cool. Wait a minute We better circle around and come in from the other ridge. There's someone over there digging right now The key to jack bannock's gold cache a rusty six gun nailed high on a tree He called the green gallows has led hoppy california and sheriff riley to the crest of a ridge on the other side of the canyon They lie there Listen He stopped digging you must have got down to a rally. Yeah circle around the other side of the boulder We'll get down this way. All right. Stick with me california. You betcha Down the hole. Come on. All right. Pull them up. Cassidy. Well, mr. Hutchison look out Good thing we split up. Come on Now you got him. All right. Looks like hutchison has done for hoppy. Look what's in the hole? Yeah Who'd you reckon remains of my old friend jack bannock? I know now why he said we in that letter to his sister. He did have a partner hutchison. Yeah Pretty clear now what happened 15 years ago Jack came out here to bury his money He didn't know he was digging his own grave hutchison must have done it, huh? Sure. No one had to be blamed on the creed. Why did hutchison come now and dig the body? Well, I can make a pretty good guess. He stole the letter from miss nukem Found that it contained the key that had located this spot. He knew sooner or later. We'd figure it out So he tried to get here first move the body But how could we prove he was the one who killed look here? This is your answer I guess hutchison remembered that he'd been a little careless and left his trademark and jack's back See One of these little wonder push button knives And so an exciting adventure ends for hoppy in california They'll get back to the bar 20 just about round uptime and settle down to a peaceful ranch life But we've a hankering it won't last for very long Somewhere there'll be trouble and that's when hoppy will ride out into another dangerous escapade Hop along cassidy star and william boyd is transcribed and produced in the west by walter white jr The letter from the grave was written by harrell swanton All stories are based upon the characters created by clarence e mofer. This is a commodore production


In the packs, I got Steph Curry and Tre Young. Which one's your favourite out of the two? Tre Young. Ooh, he was about to say Steph and Curry, but Tre Young got the dove. What do you like him better? Uh, when I like him... OK, Steph and Curry. And why do you like Steph and Curry better? Because he's a good player, and he does fly shops, and he gets lots of shops in from far away. How many championships does Steph Curry have? I guess he's three. Ooh, one more. Yeah, who else has got four on his team? Play Tom's. He knows.