Hi, everyone. My name is Yan, I'm software engineer at Google and Unvoy Senior Maintainer. Today's talk is a little bit on the technical side, maybe a little bit boring side. But I wanted to give an update on the changes that are happening in one of the Unvoy key components, and specifically in the component that validates HTTP protocol. So before we dive deeper, I wanted to give the present state what's happening today within Unvoy. And this was mentioned in the previous talk. Unvoy uses codecs to take the bits and bytes that it gets from the network connections and turn them into the protocol elements. In case of HTTP, it's a header map, body, trailers, sort of typical things that the HTTP application expect. And we have three different HTTP versions, and we source codecs from three different vendors for those. And the validation today is part of the codec. So we have three different versions of HTTP validations, or even three different visions of how HTTP validation should be performed. So what are the problems with this situation? First of all, the validation is not consistent across different HTTP versions. This can be maybe annoying at times when a request that is accepted over HTTP one is rejected over HTTP two, or it can actually lead to fairly serious consequences, such as when, for instance, a codec allows a carriage return in a header value. This can be abused to smuggle requests when Unvoy's configured to proxy across protocol versions, which is a very common scenario. And we have a total of seven CVEs that are one way or another relate to the inconsistencies and the validation in HTTP validation. So it's a validation code is difficult to understand and comprehend. It's a high cognitive load on developers to go and spelunk in a vendor code to find out what's wrong or how things work. And validation cannot be easily modified. It's possible, but very impractical. And we consistently get requests such as, can we support UTF-8 in the path values? It's maybe not strictly compliant with the standard, but it's a common feature in a lot of implementations, so people want something like this in Unvoy and we can't easily deliver something like this. It's very, the observability of protocol errors is very poor today, partly because codec surface very generic errors, invalid content length. But why is it invalid? Is it negative? Is it zero? Is it too high, too low? Very often, you have to debug using something like TCP dumps, which is very difficult, very time consuming. And also, today is very, the current situation, it's very difficult to apply Unvoy's policy of protecting all of the user-visible or protocol validation changes with runtime flags. We often get those changes from vendors. Sometimes we might not even notice them, whether they, you know, they might not even be documented in the release notes and it caused disruption to the existing traffic in the past when we updated the codec. So our answer to this is universal header validator. And in simple terms, we are taking that validation out of the codecs and we're moving it into the one centralized component, which is, you know, it's part of the Unvoy codebase. Unvoy now owns protocol validation. So what's, what is specifically changing? The first thing that's gonna change is that we're gonna get consistent validation across all protocol versions. As I mentioned, it's now an Unvoy component. The changes there don't depend on codec vendors. We can, you know, make them runtime flag protected. All these good things. You know, we know we can audit. It's very easy, it's much easier to understand now. It's also an extension, so anyone can go and modify the default behavior with sort of, you know, one of the possible, for instance, one of the possible extension is to make Unvoy fully compatible in terms of protocol validation with Nginx or HA proxy to allow more seamless migration from one proxy to another. And also we get a much improved observability because the elements that caused protocol errors can be immediate into the access log. So you can actually see, you know, what's wrong with my request? Why am I getting protocol errors? There are some limitations. We weren't able to cleanly extract validation from existing codecs, or we call them legacy codecs already. So it only works with the newer codecs, which were sourced from the open source library, Kish, where we work with developers to allow us to cleanly disable validation in the codecs and allow it to move to the universal header validation. So deployment. For deployment, one of the key requirements was to prevent any disruptions to the existing traffic. So what we want to happen is when you update, when we update Envoy to the universal header validator, there will be no changes. It will first be running in a full compatibility mode with the existing or legacy behavior. So it will be turned on and ideally nothing will change. So in order for us to ensure that there are no changes or fully test this compatibility mode, we built differential fuzzer, which we found to be very efficient, comparing codecs side by side, what behavior they have. So we're fairly certain that there would be no unexpected behavioral changes. We don't want to stay in that compatibility mode forever. I mean, our goal is to move into a better, consistent, more compliant world. And so we'll start to turn off legacy features off gradually and the way we're gonna do it is to first evaluate the traffic, the effects on the traffic, at some of the major Envoy operators. Probably some of those changes will be freebies because nobody really relies on these legacy behaviors. Some of them may be more complicated, but this is a path ahead for us to bring it into the sort of a new, more consistent, more compliant world. So the full list of behavioral changes is right now in this kind of inconvenient GitHub issue. We will surface them in the documentation, in Envoy documentation, where it will be easy to see what are the things we're planning to change, which are the things that are turned on right now, which are the things turned off. So for configuration, we don't expect like any configurational changes needed, Envoy will take your existing protocol validation options and move them to UHV. But if you have to change something, there is a new configuration option in HTTP connection manager for downstream connections and cluster protocol options for upstream connections. So for availability, when I submitted this talk, I fully expected that it will be available, but then life happened. And so now the availability is at the end of 2023. And that's the end of my talk. Thanks, Jan. So we'll do questions for all three talks at the end if there's time, which there may not be. So I'm Josh Morance. I work as an Envoy maintainer. I'm also managed load balancing in the Envoy platform teams at Google. So a brief rundown of what the admin console is, if you already know it, I have a couple of new things to show you. If you don't, this is a good basic overview. So it's an interface that lets you query the state of the running Envoy server. You can also modify some aspects of the server. It has basic interfaces. You can access it by curl or Wget or there's also a web interface. So we'll show some basic admin features and how to configure it. So the basic configuration that most people would do is to configure an HP port by which you can access the admin console. This is actually a little bit risky because this does give right access into the server. So you probably don't wanna do this on a port that's exposed to the internet, for example. So be careful. Another more secure option is to use the C++ API. If you're modifying Envoy's binary, you can hook into the C++ API and I have pointers on how to do that. And that way you can go through your own secure mechanism that is logged in, ackled, and so on. You can also remove the admin interface entirely at compilation time when you build Envoy or you can disable the HTML interface if you just want the curl interface. So curl is pretty simple.  It shows you what the commands are. You can get, for example, some stats. You can filter them. Or you can modify the server which you would do with a post. Browser UI is kind of similar.  The endpoints that only observe server state are HP gets and they look like links. The endpoints that can modify server state are drawn as buttons and they issue posts. So I'll go into stats. It's probably the most interesting one. It's certainly the one that I've spent the most time on. You can toggle a checkbox to include only the stats that are written since the server was started. That's usually what you want to do because there's frequently a lot of stats that don't show up. There's a RegEx filter that you can use. You can also specify what format you want. HTML, JSON, text, and Prometheus are options here. We're gonna focus on HTML, which is mostly like text. Except that it lets you kind of incrementally modify the features. You can also filter by stat type. You can have all the types or filter for one of them. And then histograms have actually four different display modes that you can use. And I'm gonna show you the one that's not default, but it's called Detailed. So this is what you get when you hit the stats button that I showed earlier. You get all of the stats that have been modified recently that match the RegEx. And the HTML mode shows you a detailed view of the histogram just to dive into a little bit about what you're seeing. So this only happens in detailed mode. If you use any of the other modes, then you get a textual rendering of the histogram just showing you kind of numbers on a line. And so I find it a little bit hard to interpret. For all of Envoy's life, it's actually kept a ton of detail in the histograms, but not really exposed to users, but the detailed entry lets you see them. So this shows you that this particular bucket that's highlighted in yellow, it's an interval that starts at 66 milliseconds and ends at just before 67 milliseconds. It shows you that there's 10,000 of those have been counted since the server started. It shows you that 976 of them have been counted since the last kind of five second polling interval. And this happens to be the P50 mark, so this is the 50th percentile. Another feature that was added recently is Active HTML. So one of the things that might be interesting if you're running an Envoy server and something starts behaving strangely and you don't know what, you don't know where to focus your logs yet because you don't know what's acting strangely. So you can turn on Active HTML mode and it will give you a view of stats that are sorted by how many times they've changed since you started this mode. So if some subsystem is behaving interestingly, usually there'll be a stat that bumps up and you can start seeing it at the top and then you can start focusing your logging on that. Another view that's interesting is the config dump. Config dumps come out in JSON and you can see the raw JSON on the right. One thing I've noted is that if you wanna see a more hierarchical view of the configuration dump, Firefox actually shows you a hierarchical JSON viewer by default, so that's something you might not try if you don't think of it, but I find that pretty useful. So those are all features in Envoy where you can observe aspects of the server. You can also change the server behavior. This is the logging control. So here I've changed the default logging level to be traced and you can do this while the server is running when you get a lot more output. In a minute, Botang will show you a lot more detail about how you can zoom in more carefully than at the component level. I wanna circle back on security. The admin port must be protected at the OS network or firewall layer. If you configure an HP port, it's your responsibility to keep that port protected. And that's the secure alternative is to use the C++ server. So I wanted to leave you with some notes and the slides are uploaded so you can grab these there. The console documentation has all the information which I just shared. If you are interested in contributing to it, there's a lot of room for improvement in the console and there's links to the source code there and API access which I showed you earlier. And there's an example that Matt Kline did of adding a new admin endpoint as an extension. That's useful for the tap filter and more detail about the stats design as well. So I will now hand it over to Botang who will show you a lot more about detailed file level login. Thanks Josh for the comprehensive intro to the admin interface. So hello everyone. I'm Bocheng Yao, a software engineer from Google's Unvoy team. I'm also active contributor to the Unvoy. Today I'm going to talk about the login system in Unvoy. I will focus more on the fan green logger in Unvoy which is different from the component logger. So what is fan green logger? The short answer is it is a log management system that can control the log level by C++ source file rather than the subsystem which is the component. And I also talked about some basic usage of the fan green logger from the admin API and provide some performance insights for that. So right now Unvoy has two log management system. One is component and another one is fan green logger. So let's take a look at what component logger's like. And right now Unvoy has roughly 60 component loggers and this is managed by the logger logable ID. For example, we have the admin client connection and so on. And one thing is it's right now it's not extensible for extensions. With the fan green logger, we provide fan green granularity to the source file level and that means we will have each logger for every active files. The active means the log entry is executed at least once. So let's take a look at how we use that. It's pretty simple and it's a command line option just enable fan green logging. One thing I need to mention is it is either or relationship. We can only enable one log system. And then let's talk about the admin login usage. We want to update the log level in runtime. The first usage, we can list all active loggers and through the poster right now, it is post not get. So we can use a curl post to the API admin port slash logging and we will list all the active logs with the log level, the zero means trace. And like for critical, it is five. And the second use case like it can perform the file base name match to adjust the log level. The file base is like for this example, it's a TCP listener input or the UDP listener input and it's a change to trace. And the second use case is like globe star match and we can use the star to match any characters for the file name. For example, like slash network slash star, it will match that file tree and all these matched files will be debug level for this. And the first use case is like the question mark, the question only match the specific character for that. So we also support multiple settings and we can use multiple update for a single curl post request and then I need to mention that it is state of word update and for each curl request, it will only update the matched file to the specific level and all other unmatched files or the default level, for example, is info. So here's another actual example, like typically on-way defaults to info logging in production environment. So what happens if we have actual incidents for your HTTP filter and we only care about that file, specific files. With component logger in high possibility, we can only like post the logging HTTP to trace and then all the files under that log ID will be logated. So for example, we got a lot of unrated files and for trace, but we only care about, for example, the last two lines effect your client IP. So then with then green logger system and note it is either or we can only use one of them and we can use another request and only match the effect your client IP to trace. For example, after this request, we only display the specific files log entries. It's pretty useful, right? And then I will talk about some performance insights. So the TLDR for performance, like we got the fine green logger system, management system is slightly better than the component system from the CPU performance. So there are three setups. For example, the left two bars are the logs, log entries are not printed and the middle two bars are with 200 stress and the right two bars are the trace level logs. We will see the CPU process time and the real time for that. Sorry. So the vertical axis is the time is nanoseconds. The lower the bar, the better. So time is smaller and for lower security lines. All the three bars are same. So we can find more speed tests from the link. It's in the on-way repo. So more, so this is similar as the WeLog and LogSystem in Google and it is still open sourced. And right now, fine green logger is currently running in Google for global load balancer. So in both internal and external traffic and also thanks some discussion and contribution from Kevin and Princess17. And thank you. Any questions? Scan the QR and I will for Yan and Josh.


breakfast pie anybody let's make it I got me a pie dish and some sausage now it's spread thinly throughout the pan do this a lot of ricotta about half


talk negotiation. We've given you the fat pattern for this situation, and we're giving you some of the private facts that only each of the parties knows about themselves and don't know about each other. So we don't have a copy of Deborah's private facts. I'm going to read those to you. We've also given you a copy of the collaboration agreement, the Drama Skill Collaboration Agreement. So that's really what this session is about. It's about people working together and how they sort these things out and how their own personal issues are brought into a negotiation and how you might resolve these kind of issues. So fact pattern one and then fact pattern two will be tomorrow. Amy, what time is tomorrow's? 11 or 10? 10 am. We'll be doing the negotiation with the theater between the authors and the theater to license the show that they're writing. So this is collaboration and tomorrow will be the licensing agreement. So the fact pattern here is we have songwriter David and playwright Deborah. David is a high school music teacher in suburban Minnesota. A commuter train ride from Minneapolis for nearly 20 years. He's also the musical director and pianist for the local non-profit theater with which he's been associated for the last 10 years. He's made it known to the theater's artistic director that he has written many unpublished songs over the years and it's his dream to stage them at the theater as a concert. The theater's artistic director, Jane, has listened to the songs and she likes some of them very much. She's advised David to adapt them for a narrative song cycle or a musical instead. If he does so, the theater would be interested in presenting it. Since David is not a playwright and doesn't have strong narrative or writing skills, you will have to collaborate with a librettist to adapt his songs into a stage worthy musical. So Jane introduces David to playwright Deborah. Deborah graduated from an MFA playwriting program in New York a few years ago and has been a guild member ever since. Good for Deborah. She's been working temp jobs in the city of Minneapolis to pay for her bills, to pay her bills so she can keep writing. Some of her plays have won contests and have been selected for festivals, earning her some recognition in the region, and she's had a few stage readings of her work at New York City Nonprofits. Artistic director Jane recently produced one of Deborah's plays. It was her first full production of a full-length work which got excellent reviews and has sold out run. She's never written a musical but has read and studied librettos in the BMI workshop and is excited by the idea. Jane arranges a series of meetings for Deborah and David so they can discuss the project. David is impressed by Deborah's obvious writing talent and youthful enthusiasm and Deborah finds David's songs original and thrilling. They seem to be in sync creatively and so agree to work together to create the show. The working title is Viking Funeral. Jane gives them a deadline to present an outline for their Viking show plus one full scene and three songs. If it looks good Jane will ask the theater's board of directors to fund a developmental production which generally includes a small but not insignificant commission fee. Before they begin however Deborah has been advised by the Gill to negotiate a collaboration agreement with David. Neither is represented by an agent or attorney. So then we deal with each now there are facts that each of them Deborah and David know about themselves but don't know about each other which with which I will share with you now. You have a songwriter David's facts on the back of the scenario but Deborah's have not been given to you so I'm going to read those. You can read David's on your own. Deborah is living hand to mouth in a crappy apartment in Minneapolis and she may have to move back in with her parents and the suburbs if she can't start making better money. She's not even sure how she's going to keep paying for the commuter train from the city out to the theater. She hates temping but it's better than waiting tables or writing copy for her dad's ad agency. She misses New York and the off-off Broadway theater scene and wishes she could get stuff produced there instead in the sticks of Minnesota. She's a great playwright and she knows it and though she hasn't written a musical theater libretto her work in the BMI workshop gives her the confidence to do it and some experience with collaboration. What she knows about business and negotiations could fit in a shoebox and she doesn't care much about that stuff but she knows it's important for her to understand if she's going to be a professional. Artistic director Jane loves her work and looks at Deborah as her discovery but Deborah was less than impressed by Jane's direction of her play. She loves many of David's songs but some of the lyrics are dreadful and amateurish. She can help revising the lyrics where necessary. She's a Tyler's self promoter and networker her own website social media etc but her single-mindedness has left no room for any romantic relationships. Why I'm telling you that I have no idea. Once I start writing a story it takes on a life of its own. She's a loyal Guild member and believes in the rights of authorship and will abide by Guild standards where possible. Her dad told her they had no her dad didn't tell her they had Viking ancestors. What she says is Vikings. What are Vikings? And you can see David's fact pattern. He doesn't want to teach for much longer. He's burned out and is thinking about retirement and would love to be involved with musical theater at this point in his life. His lovely wife is a good friend of the artistic director Jane. She was the one who introduced him to her in the first place. He's financially well off with a good pension coming his way after he retires. He's insecure about his songwriting and so overcompensates by being defensive and protective of his work but he does have raw and developed talent. He's prickly by nature but has a good heart. He's lived in this town all his life and hasn't really traveled much beyond Minneapolis. He thinks he's a good businessman. He read Deborah's play and didn't really understand it very well though he tells her it was great because what does he know? He's never heard of the dramatist Guild in the suspicious of unions. His Nordic heritage makes him think of himself as a descendant of Vikings. He's proposed that the show has a Viking theme. Let's bring our songwriter and playwright in. Playwright Deborah and songwriter David. Welcome. So you guys have gotten together. Deborah has invited David to a discussion about working out a collaboration agreement. Deborah, the floor is yours. Remember of the Guild, the Dramatist Guild? They're great. I actually don't know why I would know that because I've never heard of the Dramatist Guild. No, so it's a great organization. They help playwrights and composers and lyricists and you know I'll tell you more about it after but they gave me this collaboration agreement. They really strongly suggested that we look at it since we'll be working together and I hate to do this because I mean I hate this stuff. What stuff? This is like legal junk. Yeah, you're springing this on me right now. Oh I thought I emailed it to you to look at before. Okay. Must have gone into the ether. I'm sorry. Well anyway you could take a look at it. It's basically an agreement that they suggest that we have so that we can form our relationship so that we know what we're doing 10 years from now to get some of this stuff out of the way so we can just do what we do. I think we're both adults. We can negotiate, you know, figure out what we're going to do with that. You know my concern about this is that's a union contract for a union member and I've never even heard of this organization before. No, no it's not. You can join. Anyone can join.  It's not at all union. It's really just a model to sort of think about some of the things. Let me tell you because I've sort of been through this before. You have to just, well I fit, you know, I had my play produced. I didn't know you collaborated. Okay we're going to freeze there. This is a standard moment at the beginning of this discussion where one of the members has brought in some objective criteria, some way of looking at this that the other one doesn't know anything about and this could be an easy place for this thing to break down. Let's suppose for the sake of this negotiation that Deborah's able to convince David that there are criteria that exist in the universe that he may want to at least listen to and we'll take it from there. Okay Deborah, I see your point and as long as we're not deciding, as you're not asking me to sign anything today so I can check it out myself, we can come to some agreement. Sure and I talked to the, and look I'm not trying to do anything wrong here. I'm just trying to get us on the right page. So I don't know if you want to go through this. I mean I could tell you some of the things that I'm concerned about going forward. Whatever you're comfortable with. Yeah well I just want to make sure I have control over the work and the proper billing and I get you know whatever percentage of money I'm due. Okay well that one's a little bit easier. So the people at the guild said that we theoretically could divide things. What did they say? Well here's the thing. So you don't have to divide this according to the way that they said it but they said to give one-third to the book writer, one-third to the composer and one-third to the lyricist. But in this case you know because I'm really shaping the work and I'm really going to be the one with the contacts and the one pushing it forward I just felt like you know maybe I'll just get like an extra percentage in that. And they said that's like torch bearing so that's okay. Well I was looking at it differently. I was thinking that I might get a little bit of an advantage because maybe you're shaping the book but you're shaping it based on my songs and my songs have already gotten good reviews from the from the AD. Jane. Right but I mean I'm an established playwright. I mean I've won festivals and I had a few competitions and I had that full performance just a while ago in this community. So I think a lot of people are going to come for that reason. And honestly David I know I've been through BMI. I've worked with people before so I I kind of feel like you just need to hear me out a little bit on how we go forward. I'm willing to hear you out a little bit. Well okay okay I didn't want to bring it up. I didn't want to bring it up. You said one-third and one-third for each and I was two-thirds of that which sounds okay but also you do have some experience but not with musicals and when people leave the theater they're not going to be whispering monologues to each other. They're going to be humming my songs. So I'm wondering how much I would differ with that but I mean I just have to I didn't want to bring this up because I don't want to seem difficult but you know some of your lyrics need to be worked on. I've worked on them a little bit over here. Let's freeze right there. Here's another place that a negotiation can go off the rails. When everybody's invested in their own stuff you know and you have to sort of be sensitive to the other person's what they're bringing to the table. David's not really being sensitive to what appears to be Deborah's economic point and she's responded to that by hitting him where his lyrics are which is easily going to drive this thing right into a ditch. So let's see if we can't take a step back from that and say you know if we can figure out the economic terms based on our what are our mutual interests here what is important to each of us and think about cooperative negotiating rather than competitive negotiating this actually could move forward. So let's take it from the split of the royalties and see if we can get past that. Well I can say you know we've done a little collaboration together and I've been really happy with it. I think we have good chemistry. We're going to disagree on a lot of this stuff. I think I have more business experience than you do but you may have you have more dialogue experience than I do that's for sure. So you know I have no problem. Look I want to move beyond the royalties if we can and put a pin in it as keeping it standard keeping it and I'll check it out. Can we if I end up writing some of the lyrics we can maybe look at that point again. We can but but then you're open to look if I end up changing some of the dialogue. So let's talk about the royalties and discuss I mean I would I would rather have us try to respect each other's work as much as possible with it sounds like you're not even considering touching the music so let's assume that for now. No I wouldn't and I won't touch the no you write great song. Okay you know what let's just we'll just keep it standard if we have the so what's the standard for this kind of thing with with commenting on lyrics and music and book well and I'll corroborate whatever you tell me now. They said basically every authorial unit should get the third and and look if we all exchange we'll collaborate whatever you'll you'll give me comments I'll give you comments then we'll hopefully we'll okay so I'm not losing control of my music or losing control of my lyrics because Jane does like those songs so I think we should lean towards keeping them or at least if you have suggestions I'm open to them but I don't want to become you know compelled to to have to incorporate your suggestions. No I think we work on our own parts and we try to make it work together yeah I mean I certainly if look if it doesn't work out I definitely would want to use some of this stuff in another piece so what stuff well I mean just some of the ideas I put I think could work in another context so I just want to yes I will own my stuff and you own your stuff and we'll we'll divide it in in those thirds okay okay but then the thing it so that's fine so I think we just write I'll have someone and I'll corroborate it and we'll we'll we'll tighten it up before we sign yeah but the one thing that you were talking about in terms of control I'm just thinking for the future of the work being that I have connections I'm a promoter I mean I have so many followers on Twitter um I heard you were a temp yeah that's my day job but have you seen I do that so that I can I can do what I love do you know what my day job is you work in a high school as a musician well okay anyway all I'm trying to say is that I I do feel that I'm pretty good at marketing I'm putting things forward I do have a name um in the industry in New York I have contacts um and and I don't I want to have look I see that I'm not getting the majority of the money here which puts me in a bad spot but at least I want to be able to make some decisions going forward and have a real say in that so maybe since you're getting the larger amount of money I could get sort of an extra vote what um let's freeze there um from the private facts that you you guys know about she's hard up for cash he's insecure about the work and wants to protect it so if they were being really honest with each other about what their real needs are here she'd have put on the table the fact that look for me to work on the show I need to be able to afford to get out to this place I need I need more of the money that might be standard um so they ended up in the opposite situation where she's exceeding to his monetary demands while going for the control issues um that's going to drive this off a cliff because this is going to require more openness and cooperation and honesty if there's going to be a meeting of the minds here um when you get into competitive negotiating that's about people taking positions and then locking into those positions and it becomes a conflict cooperative negotiation is where both of you are looking at the problem and trying to find ways to resolve it together you're working together against the common problem but there only can be that can only work if you're sharing information if you're willing to uh let your guard down a little bit and be willing to hear the other person and try and identify the need not just the position what is the need behind the position she's talking about she was talking about two thirds one third maybe I can get a little more why is she asking for that because she needs the money and if you want to work with her you have to hear that and say well is money that important to me is money important to david in this situation you saw his private backs not really he's well he's he's doing fine financially he has a an artistic interest here he has a control interest he has other interests so his financial interest isn't what's driving him and if he hears her pushing financial interest that's an opportunity for him to say okay let's do something financial for you that way I can guarantee my control of the work my I don't have to worry about I get other things I can trade that essentially so you have to listen when you're negotiating to what not just the position people are taking but what are the needs behind the positions um let's talk about uh the uh the billing what are are there going to be any issues in billing here what do you think well should we launch in or yeah well you know you said that that your temp is a day job and you do have a good rep you've won some things and maybe that's not just I don't need the money so much at this point but I don't want to be a high school teacher for any longer than I have to be and I hate children and uh you know maybe uh you know if uh I can help talk to Jane or even uh help get you out here financially so that you can work on the show here and not worry about that stuff um you know the idea for me is that I want to increase my reputation as an artist so that I can get other theatrical work commissions or no I mean that would be amazing because yeah I didn't want to tell you all that but uh well I knew you were a hard and it's going to take so much work for me even just to research this whole biking thing uh I mean that's going to take so much time out of out of even the temp work so it's it's going to hit it's going to hurt uh but I want to do this and I want to help you I want to take you with me the music is great let's let's take each other with each other okay uh so we'll we'll try to work out some of the money stuff but you know I and I want you to research that I know it's not difficult especially you know you're not of Nordic descent like me and I'm very proud of that that I'm a Norseman but uh so maybe I can help point you towards some some research materials and and make sure that's done but um I do want I don't know library I have a personal library of Nordic folklore I worship Odin but what I do want I but you know I'm willing to do that but like I said like you said you know we can sort of rise together and um you know my understanding when I've seen billing on on other uh posters is that the composer is often uh billed either first or up top below the title and I'd like to honor that that standard I'm pretty sure it's alphabetical which would still put you first I have to be first for my reason I'm kidding I mean that that would be fine look the only thing that I feel is again like if I do end up writing some of those lyrics that I I I get credit for some of it even if it's something additional lyrics or you know we'll come up we can come up with something else just to be true and honest to what we're doing because we both want to be represented in the world for what we do look I I admire your youth and enthusiasm on this uh but um I do want to tell you that I'm kind of you know I'm older I'm I'm a little bit more set in my ways I rub people the wrong way a lot of times so you know you're gonna have to deal with the fact that I'm very you know these lyrics I think I would be surprised if they could be improved upon frankly and uh I'm open to it but I I just don't I don't see how it would be better but you know whatever we can take that as it goes I as long as I'm getting the billing that I want and as long as I'm billed as the you know if you do have the lyrics I would I would be shocked okay well I mean well I guess we'll have to is there is there someone else in the relationship who you might both defer to about whether lyrics could be improved or not yeah my wife's best friend Jane who's the artistic director who's going to be producing this so do you do you feel comfortable leaving this with uh Jane to see if um you know you know I I have a couple of friends from to be a my workshop I thought maybe we could bring some of them in maybe at some point too I mean I have I met this guy at Steven Schwartz no but the guy I worked with knew him um so he clearly must be good if he knew Steven Schwartz and and I I think that uh I mean it's something to think about as well uh I think bringing in people that are really established because we want we want to get this play out I mean you look you want to be successful you don't be teaching high school want to get this play off Broadway yeah I feel like we're backsliding on on the approvals uh I want to have approval over my lyrics and if I end up incorporating more of your lyrics than I thought I would which again would be shocking to me then we can discuss it at that point but I wouldn't want to bring in all New York people who are just going to usurp my position I'm I wrote the songs I'm I'm the core of this work right now I'm all that exists of this work is mine what happens you know when one party is is trying to control the work and the other one wants to see it move forward and doesn't think that the other party knows enough about what they're doing to have that happen that that agreement that forget the agreement that relationship is not going to work again honesty early on either she is going to be willing to go along with his you know narcissism or she might be willing to exceed to the director's opinion on this as a tiebreaker or she's going to say this guy is just too much of an amateur for me to bother with this is you know I need to make money this is this guy is going to keep me from ever getting the show anywhere where I'm going to make any money from it so depending on which avenue she chooses that's going to decide whether this moves forward or not so let's assume for the sake of this conversation that she has although maybe not crazy about Jane and a little suspicious of what her relation Jane's relationship is to David whoever's going to direct this thing is going to have some say and that's the way a musical works so she'll make her points about the lyrics to the director and the director will make the points that she agrees with to David and if David wants to get this show on he's going to have to deal with those comments if they end up being a significant amount of lyrics they're going to work out some way of credit and money to acknowledge her contributions in those areas there's no reason he wouldn't if if he feels like he can trust Jane's judgment he may not trust Deborah's at this early phase but he may trust Jane so let's assume that they're both willing to go along with you know Jane's point and just move to how long are you gonna guys gonna commit to this collaboration is this is this forever are you just gonna keep working on this until one of you dies or what's the deal I was thinking um if the play didn't go well you know maybe two years well it's gonna be a musical right I'm sorry yeah you're right um two years Freudian slip right there what's that yeah I put two years in in that paragraph so that if it doesn't come together and work out if we don't hit say an off-broadway level um that we can split up maybe in two two years you know we'll we'll just end this and and then go our way because like I told you I just I have to make life work I can't I want this to work and I'm willing to put the effort and don't get me wrong I just don't I can't sit here forever I hear you I can't sit in Hastings Minnesota forever either but uh you know I was actually gonna go for one year because I think these songs are hot they have some of the um some of the musical idioms of the day that might go stale after two years so I want to guard against that uh would you be all right with one year we'll try I mean we'll just work for a year and then if it doesn't work I just don't know that within a year it's gonna be enough time I mean it's gonna take us at least six months to write this what do you think we could accomplish in a year not off-broadway I can I can see that I don't know I mean Jane said maybe we could have a performance here yeah I mean I think if it's performed here and does a full run then you know full run within a year and then if it doesn't you know we can always well if we have the performance here you can't pull the songs out after the year right so we need a performance here within the year so one performance with okay about a performance I don't know you know I think it has to go past previews you know I've seen theater from from my point of view of of being a musical director but you know I've never discussed this level of detail on on a production so so I you know I what would you do in a play you have a play for how long do you work with somebody have you ever collaborated on a play no no but I've had some experience with people so what do you suggest well I okay I think I think that we should give it two years and if we have a production within those two years at this theater here then we should be able to move forward okay so we do one year and then with an option to extend it another year if we're it's so complicated okay I don't I don't even know if you can do that I don't I don't want to I don't want to ruin this because we had a couple good collaborations for me I mean I can't I can't with the contract again you can't with the contract I feel like one shot at this and let's just get it over with okay let's freeze here the first of all the the lack of ease with actual process of entering into a contract is a real thing and a lot of artists have it the one who feels least comfortable with that can either undermine the negotiation by not by being paralyzed by the process or you can get educated about it and feel empowered enough to enter into a conversation with someone that you know doesn't make you feel like an adolescent so that's part of what the guild is about is you talk to us we we walk you through the contract and give you the options about well you can do this or you can do that and this is why you would do this or do that right now what they're talking about the length of the collaboration period this is about at what point does each of their contributions merge into one show that is now going to exist indefinitely thereafter how long are they going to work together to put their book and lyrics together and we put the music before they say you know what we never got anywhere with this I'm going to take my music you're going to take your book go our separate ways maybe you'll I'll use my music with another book writer maybe you'll use your book I'll make a play out of something but at some point we're going to want to move on life is too short so you're going to pick a moment at which time your play and and the play in the music will merge this is called merger how odd a title um so what what is the point of merger for one of them one of them wants merger quicker than the other whoever feels like their contribution is the more valuable they'll want um they'll want the the period of collaboration to be short because they'll want to be able to move on if things aren't working out they don't want merger right away they want a short period with a high level of production to end up with the merger the other the other writer you might be calling the subordinate writer um the one who came onto the project second or who feels like they're not as invested in the project or whatever it is emotionally they're the ones who who are gonna feel like well his music is really good I need to glom onto it as fast as possible because that's my book is not going to be worth anything without his music it's about Vikings I don't know shit about Vikings he's going to give me material about Vikings so I'm going to be dependent on him for the story I'm not really going to do anything with this I need his music if this is going to have any value to me at all so she's going to want a merger as soon as possible she's going to want it like the day they write it and he's going to want it when it opens on Broadway you know um so the negotiation is between those two points essentially where is the merger point and again that's a function of your personality that's a function of what you perceive the value of what you're bringing to the table is so it's it's very subjective there's no one right point of negotiation let's uh so let's assume that David uh has these hot you know he's very filled with his notion of this music and he's been encouraged in that by Jane and he's controlling sort of the underlying material this Viking material so he needs her to make a narrative and a book out of this but he feels like his music is the key and she feels like I'm not going to be able to do much with this except with his stuff here but if I'm able to make something good out of it I know people in New York and this play can have a longer life if I'm attached to it so where does uh where does termination where does length of agreement and where does the merger point happen in that situation what do you guys think well it sounded to me like we were starting to get towards like opening night uh of at this theater um which you know I suppose that's okay I would want um I guess if if our work merges does that mean if Nike comes along and wants to use one of my tunes as a jingle that I can't do that I can't I mean could I like split the money with you because that would be a huge boon for me or how do we handle that Deborah that money okay so if Nike comes and wants to use your song we'll do 50 50 that's a great idea I spoke too soon now if David calls joins the guild and calls us and calls Deborah the lawyer Deborah not playwright Deborah what would lawyer Deborah tell David if his collaborator his playwright collaborator wanted half of his you know musical uh small rights and publishing rights and all that stuff lawyer Deborah why would you do that you wrote that song is it standard if the book isn't being utilized in any manner then what right does that bookwriter have to that song that can be sung at a bar and that's a very good argument for the book writer and book writers have been singing that song for a very long time and have not gotten too far they are they are and you know depending on the power of the particular book writer some book writers have been able to get a share of the composer's small performance rights public music publishing rights sync rights and all those things but it's a very rare it's very unusual the music has a life and a copyright separate and apart from the show so the you know the grand rights in the songs that's the rights of the music in the show that's something that the two of them share when they do a a cd of the show a cast album they both get royalties from that but only this the composer and the lyricist also get mechanical royalties the small performing rights royalties from that which only existed each separate song separate apart from the show you're right the value may have been created by the show but it's also true that there are songs that are famous from shows that I've never heard of again so the copyright law recognizes value in each of the individual songs separate apart from the show and that's what David brought up was these separate music rights and lawyer Deborah would tell you that's not something the book writer normally shares it now if she's the lyricist too on that song then yes she's in for that and they can generally they'll generally depending on her share of the lyrics let's say she rewrote half the lyrics so she'll get half of the lyricist share and he'll get the full composer share and the other half of the lyricist share so he's getting three quarters basically and she'll get a quarter that's how that would work out but I didn't have to be a member of the of any guild or union to know that I just made a mistake because she accepted it so quickly that's also about negotiations is reading when you say something and the other person's like oh yeah okay but again it's the difference between cooperative negotiation and uh you know competitive sorry competitive negotiation I mean that did you want to talk well do you want us to go into negotiation of when of termination and merger yeah yeah so we've got a basic framework that will be merged at the opening performance of this what happens if we're not or what happens if things just fall apart beforehand like I said we've had some good experiences we've got some creative chemistry which I which I appreciate uh but this has been grueling and it could go either way in my mind now and you know I'd like you I want to always be friends with you but at the same time um you want a piece of my you know there's there's a lot in contention so what if what if I want out do you know can you tell me what the standard is for that and then if uh and then I can corroborate well I I mean if if things aren't working out we can we can part ways um there was a section in here about rejecting you a unit sorry a unit another Freudian so there's there's that um but you know I I I do know I do remember that you know I think you know if we give this five year if we can commit the material for for five years right and if we don't we don't get to the opening here within five years then I think that's giving it everything we can for for this purpose and then we can well I thought it was one year and we can I want to finish this topic first that if if uh if it's not working out can I use pieces of your book and then like you go away okay this is we're gonna so we're gonna uh tie it up now and we're gonna pick up more of this tomorrow in in the mock too but um what what they're talking about here is how long are we gonna collaborate for what's the date of termination of this agreement if we get to that date and we haven't reached the merger point that is a performance if they agree that performance at this theater will be the merger point we haven't gotten there within a year two years five years whatever the length of the agreement is then the contract terminates and everybody gets their piece and moves on there's also and if you do merge then the contract extends indefinitely and it controls your relationship thereafter um there's also an important provision in the contract about you know dividing the baby at you know sort of the post the prenuptial agreement aspects what do we do with the show um if one of us if it terminates one of us wants to go on and one of us doesn't what can I do with your piece you can easily get it back completely in which case you really haven't made any money out of it or you can allow me to move forward with it and then you'll benefit if I'm able to do anything with it so working out that sort of prenup aspect is part of the collaboration agreement and can really the guild lawyer whoever you're talking to can really help walk you through the process of what what does that look like and in fact the guild has a mediation service if you're if you and your collaborators are both members you can talk to us about working out the separation agreement and we'll sort of talk you through the process of the fairest way of dividing the baby if you will but we'll get much more into it and take questions tomorrow after mock two where uh where uh songwriter david will negotiate with artistic director jane about producing the viking funeral thank you


Hi everyone, Joe for Jaspy's casebrakes.com coming at you with a prestige football fact pack. This is random team break number eight. Three different dice rolls are gonna happen in this break. The first dice roll will be given away five spots within the pack itself. All right, so we only sold 27 spots out right. We're gonna randomize those names. Top five, we'll get extra spots. Then the second dice roll will be the actual pack break and the third dice roll will be given away those impeccable football random team spots. So let's do the first dice roll. Big thanks everybody here for grabbing your spots straight up. You got a chance to win some extra spots too. Let's roll it, randomize your names five and a three, eight times. Top five after eight. One, two, three. Eighth and final time after eight. Top five is gonna be Joel, Scott, Brian, Kevin and Nico. So some extra spots for you. So slightly better odds. We'll put a little rooftop next to your name so you know that you won those spots. But slightly better odds to try to get some of the top spots. All right, now let's do the break itself. Second dice roll, roll it, randomize it. Six and a four, 10 times. One, two, three. And 10th and final time. Six and a four, 10 times for the teams. One, Tampa Bay down to Houston. And no trade windows in these as you know by now. We just wanna get to the giveaway part as quickly as we can. I'll show you what you got. Here's the first half of the list right here. And second half right over there. Let's print, alphabetized by team first. Print and rip. All right, there's the final print out. Hot off the presses, Monday the 24th. Here's the Proceed Football Fat Pack. Joe Tryon, feeling, Chug, Evans, Gainwell, Des, Gary Braywell. All right, nothing too crazy here in the pack.  That's like a $370 value. So here's the third and final dice roll. Let's get everybody's names again. Third and final dice roll, new list. And let's roll it, randomize it. Five and a six, 11 times. Top three after 11, good luck. One, two, three, four, five, six, and then five more times. Seven, eight, nine, 10, and 11 the final time. Good luck. A lot of sad faces here. It's only the top three. So sad times for most of you, but I appreciate you giving it a shot. Very close, Nico. But thank you. There is another pack we gotta do. So if you wanna try to take that opportunity to try again, go for it, thank you. Top three, happy times for you. Nico's happy. Nico's happy again. Oh, Nico, you swept him. Top three. There you go.  Congrats to you. Thanks everyone else for giving it a shot. Another one already up in the store if you're watching live. Ask these casebreaks.com, bye-bye.


Alright so we've just launched the 24th ANU poll and this time we've asked about attitudes to housing affordability. We wanted to know whether Australians are as worried about being able to afford to buy a house as we read in the newspapers. And Ben, that's largely what they've found. Yeah, so we've certainly found that the vast majority of Australians are very concerned about housing in Australia. The vast majority of Australians also feel that housing is very much unaffordable. They're finding it unaffordable. They're also very concerned about the next generation getting into housing. So actually being able to purchase a house in the next generation. So this is a serious concern for Australians. They also feel that housing in terms of buying a house is a very important part of the Australian fabric. That was really interesting as well. And another generational difference that we're seeing there that that drops off as people get younger. Younger Australians aren't as sold on the idea of owning a house as being part of the Australian way of life. So what does this mean for policy? So certainly for Australia we've had effectively a bit of a policy dead end for many years, both at the state and federal level. Now I think there's now an acceptance from Australians. Not everybody. There's certainly some dispute around this that there probably needs to be some policy action. So there's certain policies that perhaps in the past we've been a little bit scared of touching at the state or federal level. Things like increasing housing supply did show up as being important. There's also an acceptance that perhaps house prices could fall a little bit and that would be okay. That's of course one way of making housing affordable is having house prices a little lower. And even things like negative gearing and capital gains that Australians have perhaps used and loved for many years. There's an interest or an appreciation that perhaps that needs to change or needs to be reduced. There's an interest in that policy change. There wasn't as much support for getting rid of negative gearing as I would have thought. But there's huge support for first home mainers grants. Yes. So it's interesting in that first home buyers grants from the policy perspective probably have been not the top of the pile of ideas for policy, but they're very popular with people. It's cold hard cash. It's $10,000 in your pocket perhaps, which goes a long way towards getting a deposit. So going into the budget, basically what we're seeing is not much support for getting rid of negative gearing, strong support for first home mainers grants, vast support for increase in the supply of housing, but still this great fear that future generations won't be able to buy houses. Yeah. And I think quite rightly the government this time around has shown a lot of interest in housing policy. And we'll have to wait till next Tuesday to see whether there's actually any action on that front. We've heard various noises. But I think there's certainly an acceptance amongst politicians of both sides, both Labor and Liberal and other areas as well, that there's a need for some change in housing policy and the housing affordability is one of the big issues. And perhaps we'll actually see some action in the coming months or years or perhaps decades. Yeah, I was surprised what a big issue this is coming out of this poll.


When I was invited to give this year's Effie Lee Morris lecture I had for a brief moment the notion that I should be lecturing you the audience for something bad you've done. I don't know I should put you over my knee and do a little birthday spank or not and looking around the room I think somebody might like that. I don't know. But I'm not here to endorse corporal punishment or scold you for coming out this early evening. I'm here to entertain and explain in no particular order the genres have employed for 40 plus years. I'm all over the small literary map, poetry for adults, for children, biography for middle grade youth, film, not video, plays, prefaces when asked, literary criticism with the drowsy effect of sleepy time tea, picture books, chapter novels, a self-proclaimed song that I imagined Beyonce working into a repertoire. She would belt out that song and then ask me lyricist flush with pride to come out and take a bow. That's my title too much of a good thing. And I begin randomly. In fall 1994 I received a call from a program manager of the Los Angeles Opera. The manager asked, is this Gary Soto? Yes, I answered provided you don't have anything against him. She said she didn't. She was calling to ask if I would write a libretto for their opera in the schools program. Sure, why not? A libretto? I was just thinking about that.  I thought a libretto was maybe something like a surgical procedure, not unlike a lobotomy. It sounded somewhat the same, I don't know. As an independent writer, I often say yes to work outside of my immediate knowledge. In this case, I was forced to learn on the job. This opera became Nirlandia, which played at two middle schools in the Los Angeles area, then disappeared as a one hit wonder. But I wasn't done with this literary effort of mine. The opera morphed into a one act play that included an old man rap. This was pre-Hamilton, by the way. This was pre-George Bush, Barack Obama, and our president, whatever. I was brave to think that I could hang some bling in the shape of dollar signs around my neck, wear a baseball cap sideways, and rap from one side of the stage to the other. And while these lyrics, and while these lyrics, writing these lyrics to the song, I told myself to sound contemporary, be with it. Don't utter such old phrases as, Holy Toledo. Within the play, the rap works splendidly. For my lips, not so. I would recite this ditty, but I don't wish to come off as a Pat Boone, the crooner from the 1950s, who in the 1990s sang heavy metal. Poetry, as we know, is the mother of all literary genres, and I speak of the oral tradition, as in conversations heightened by beauty, pain, nature, love, place, and our sense of mortality. It's a tradition as old as campfires. In my mind, I see a couple of Neanderthals around a campfire, each with a shiny bone, thinking, OK, we've eaten our Macedon for today. Should we recite poetry under the godless stars? And would the bones of our hunted down prey make sounds? Was this by chance the first open poetry mic, circa 7,000 BC? Without mics, of course. By three adult novels, what can I say about them? They featured a deadbeat poet by the name of Silver Mendes, a lowlife from Oakland, who can't write for beans or frijoles. But you'd like to drink with him, smoke with him, hang with him. He's not solid husband material, but he's good-natured and resilient. I wrote one novel, then another, and a third which received a two-sentence review and book list in which the word ghastly was used not once, but twice. Ghastly, ghastly, I thought? I read a couple of pages of my novel titled Amnesia in a Republican county, and I did see it upstairs. It's here in this library. Bless you. And I thought they were pretty good lines. What's the thing about ghastly? With the trilogy completed with no film options in the forecast, I closed up shop on this genre. Enough of writing adult novels, adult novels. Until last year, I had piles of these remainder books in my garage. I should have taken the snow shovel, scooped them out into the front lawn, and created a bonfire in a sort of banned-this-book moment. YA novels. I have four of them, one which was honored three years ago by the Children's Literature Association, a group of fine academics spread across the country. They honored me with the Phoenix Award for the most neglected book of the previous 20 years.  The shame of it, I decided that I would accept the honor and did a little research as I prepared for my two-minute acceptance speech. Where did I turn? Amazon, of course.  One which said, this is the worst book I've ever read. Another reviewer, like Boring. Another said, why did the school assign this book? This was my last honor, the most neglected book award. I assured my acceptance speech to 30 seconds. And since I'm on the subject of literary awards, I bring up my book, Partly Cloudy, Poems of Love and Longing. It received a framed certificate that said in so many words that the book might receive critical and commercial recognition in the future, but not now. Be patient, the award told me. Meanwhile, here's a certificate for you to hold for a while. This was 10 years ago, and I'm still holding my breath. The certificate is placed face down in a box in the garage where my remainder of Silver Mendes novels once were placed. I forget the movie, but I recall my laughter when in the dark of a Berkeley theater, I read the quickly moving opening credits. I read among the credits this line. Truth is like poetry, and you know everybody hates poetry. I thought I was brilliant. Yes, perhaps so. Everyone hates truth too. I find truth in my poetry, and I find an audience coupled with it by influences out there, especially with my poem, Oranges, the most anthologized poem in contemporary literature. I present a short video done by a young man who took time, lots of time, to reconstruct my poem using Legos. Call it genius, not the poem, but the design this young man came up with. Let's see. In December, frost cracked underneath my steps. My breath before me net, gone. As I walked toward her house, the London's porch light burned young, night, day and any weather. But though, walking away, until she came out, pulling her clothes, spaced bright with illusion, I smiled and touched her shoulder, letting out a scream. Across the used car, a line in the Atlantic juries, we were reading the word for a store. The tiny bell ringing sales, the bell and air around us. I took the canvas, teared like niches, asked what she wanted. I was thinking beneath her in the pocket, and when she looked at the child at the cost of time, I didn't say anything. I took the thing in front of my pocket, and in an orange, she said, I'd be quiet and I can't hear her. When I looked up, the man's eyes were in my mouth, known very well, but it was all around me. Outside, the king's heart, sesame gas, saw a hand, like a ghost, to my chest. I took my girl's hand, like two lives, and at least, the letter around the child, was written in the center of the piece. So I missed this, so I missed it. Lots of wonderful work from that young man who created that video or that art piece. Did I mention that I seldom make public presentations? Lynn Davidson, a soft voice of persuasion, could verify the worry in my eyes when she courted me earlier this year, and asked whether I would be willing to give this year's lecture. I swallowed a few times, and nervously pulled out a dog-eared business card for my equally dog-eared wallet.  And I'm glad that she did. I don't do straight poetry readings, for instance, and will do my best to be the Duke of Dark Corners, meaning that I don't make myself public, no Facebook, no Twitter, no blog, no cell phone, no LinkedIn, no Instagram, no email. I usually stiffen when my landline rings. Oh, it's some assistant professor from the Midwest calling, bothering me. I went in queries right in front of me, directed right at me, questions like, where do you get your ideas? To which I would answer the salted rim of a margarita glass. Still, I've perfumed the world with stories and poems. Allow me a few yarns. I recall visiting a library in Fresno, my hometown, my wife's hometown. This was 15 years ago, and after the presentation, asking this youngster seated on the floor of the head, any questions? One youth raised his hand and asked, Mr. Soto, I have a question. Did you use to go out with my mom? I squinted a suspicious eye at this squirrely child. Genetically, he did look familiar. At a stop in Stockton, California, I did a dog and pony show at a school, and a week later, received a batch of letters from the students. One letter said, thank you for coming to our school to sell your books. That was caught like a rat. On yet another occasion, by way of a letter, I got praised up and down in poor lunatic penmanship as the greatest writer ever. The author of this letter said that he owned several of my books, of which his favorite was Hatchet, the wrong Gary. And I was perhaps in the wrong place when I did a poetry reading in the mid-1980s when a huge Chicano sporting a big large begote, a beard, asked in a mean, spirited way, what has been your contribution to Chicano literature? I answered, I'm the first Chicano to write in complete sentences. And he said, okay. Okay, just asking. That's all right. I take you to Atlanta, Georgia and an educational conference where a large woman carting a box of books approached me as I sat behind a table waiting to autograph books. She beamed at me, her Barack Obama button on her left chest, pressing against my chest when she gave me a bear hug. She started to bring out books one after another and set them on the table. They were my books, all of them, each one of them. She said, you're my favorite children's writer ever. And in fact, she told me that I meant so much to her that she named her dog after me. So I asked, what's your dog's name? Soto. So I asked her, what kind of dog is it? He goes, a chihuahua, of course. Well, it sure beats that 20-year award I got. The other one about recognition is coming. Hold on. I've been asked illogical questions over the years and I brief you on a few of them. I've been asked, what's the difference between Hispanic and Latino? Answer, Latino's vote, Democrat, Hispanics, Republican. I've been asked, is it okay to beat up people? Why are your shoes red? Do you have a personal relationship with God? What did you last take drugs? Are you in college? It said, why is it that your left shoulder slumps a little? Why is that? Are you a role model? Do you write your own books? Are you a celebrity that I can find on television? I've been, I've answered every one of these questions. Carefully in mind you and have to wonder about the mental health of our nation. I got sidetracked. I returned to the theme of genres, musicals. A musical for young people, done that. This was in and out of shadows and with a serious subject matter regarding dreamers or undocumented youth. Certainly on the front burner of debate as only a month ago, Attorney General Sessions announced the end of DACA. Twenty drafts later, one year of fundraising and rehearsals the musical became a smash hit at The Marsh as in the Marsh Theater of San Francisco. Sell out crowds. This was easy to do because it was a very small theater. Still, I assume my role of Peacock when others asked, hey, what are you doing these days, Gary? I would answer writing smash hits for sell out crowds. Unlike Hamilton's prices the ticket cost for in and out of shadows was $10 and you got a Xerox program autographed by me at the end of the program. The musical played at The Marsh and several community colleges up and down California. Let's hear one of the songs I wrote. Better yet, let's see the youth, some of whom are dreamers. I'm going to touch something over here that's going to activate. We tried to take the musical to different venues. Up and down California and it's really, really, really difficult. Even though it was thematically in the air no one seemed willing to do it. And since we're on the sort of music is circulating in our eardrums let's play the B-side of a song I composed with a guitarist, Steve Valesquez who's saying vocals and played every instrument on this garage wonder. I did the lyrics and we're going to go 30 seconds into the song. So how do we do that from here? Yeah, I see it. I click. I just wanted you to hear the Bow Wow songs. That's it. That should get me something, I don't know. I worked hard on that Bow Wow part. To tell you the truth, we had 30 seconds to have a song and I have to confess and a lot of me and my age we all wanted to be rockers, you know. In the 60s we had wonderful sounds of the Motown and the Beatles and the British Invasion and Dylan and Donovan and I think that this generation has Justin Bieber, you know. I don't know. Picture books. The most successful happens to be too many tamales. It's a fine cautionary story that morphed into the longest running seasonable play in Los Angeles, 20 years in counting at the Bilingual Foundation of the Arts. But of the nine picture books that I've done, my favorite is Chato's Kitchen. It features a low writing essay, Watto, Gatito, Chato and his carnal, his sidekick, Novio Boy. It was published in 1995 and it was immediately banned by the Clovis School District. Clovis is right next to my hometown of Fresno. It was banned for fear that if the youngins read this book they might strip off their Abercrombie and Fitch attire in favor of gang banger duds. Big front news in the Fresno Bee. Oh dear me, not a controversy when my career was tugging along like a tugboat. Did I jump from this tugboat? No, I was at the helm all the way through, but I was silent as fog. I didn't say a word. I let others wrangle over this cat that was impounded for his dress, fur mind you, and its attitude, kitty cat, playfulness mind you.  The controversy became a yawner after a while, four months later the citizens of Clovis must have licked catnip because they came through their jolly senses. The book was back on the shelves.  It's a tenderness that adds to a child's sense of the world is safe. Poets and writers, two words that go together like biscuits and gravy or chorizo con huevos or huevos con winies. We recognize literature as one of the three major creative expressions, music and art being the other two.  I said I would never admit that in public. Thus my playful essay is called 13 stereotypes about poets which appeared in the Huffington Post about three years ago and subsequently in a book of mine. And I'm going to read you just a little tad from this essay. It's a disappointment that I'm not invited to parties more often because I possess an extensive social armor in the form of 12 suits including a rare Paul Smith three piece, rare in that there's only one other like it in the United States. To my mind it's close to being bespoke, meaning that a tailor working from my measurements made it just for me. I'm disappointed because I want to be present at a party where a mid-level techie, wineglass in his right hand, cracker in his left, asks what do you do? I'm a poet I would answer nibbling on my own cracker sipping from my own drink. Gee, this is a nice party. Look there's more food coming. And you live where? The techie might wonder in a semi-vegan heart. But a loud he says, interesting I read a poem, a short poem about blackbirds once. Didn't understand it at all.  Poets wear braids. We no longer are partial to braids though we've all seen them tilted smartly on heads, both male and female. Admittedly, they're attractive head coverings, but only for the generation before the 1960s. And only if you were European with an owl-shaped face. Okay, goes on, I skip. Poets are silent and reflective types. They are really loud. That's a lie. Poets like flowers. They hate flowers. And each one has a large description. Poets vote Democrat. I read this excerpt. Yes, most darken zeros in the voting booth in favor of Democrats, but a few vote Republicans. Generally, these poets iron their jeans and then re-iron them with sharp creases. Republican poets are always men. Poets don't work.  Unbalanced poets must hang on to things when they walk. This is really true after the third drink. Poetry slams are for everyone. I read you this. Poets in a slam rhyme like this.  You feel me, y'all? After some soft clapping from the audience, the poet swings his hair from his right shoulder to his left. Then he begins another. Skinny but mad, gratefully glad, mom and dad like frowned at bread, but my word is sugar baby ain't that bad. These slams start about 7 p.m. and end when we turn 25. Poets drink too much coffee. Another lie. Poets listen to NPR.  Poets need sensitivity training. They need potty training. Poets understand dreams. Hangover, yes. Hangovers, yes. Dreams, no. Poets live on the top floor of the ivory tower. Oh, forget that one. Poets smell. That's really true. That's a playful piece. Don't take it that seriously. Chapter novels. Done seven of those. My most successful chapter novel is in the American Girl series. The year was 2005. This book allowed me to be sort of a celebrity, I thought. And because I did invent this doll. I have two stories to share with you about this chapter novel. One funny, one not so funny. Tonight, this evening, I opt for the funny one. I read from the story of mine that appeared in a book of mine that was also remaindered in the garage. It's called What Poets Are Like. And the essay is called Public Displays of Affection. And you have to picture me. I've been playing basketball. I go to a drinking fountain. I see someone reading my book, Marisol. I pushed off the bench and made my way to the drinking fountain by the baseball diamond. On the muddy trail to the watering hole, I spied a ponytailed girl reading my chapter novel, Marisol. She was seated comfortably on the grass, absorbed in a narrative in which the main character moves from Chicago's Pilsen neighborhood to the suburbs of the plains. At age 10, the same apparent age as a reader on the grass. Published in 2005, the novel came with a doll. Some would reverse this and say that the doll came with a book. In a very short period of time, one splendid November, this became my best seller. $250,000 went home with the girls. Whether the novel was read or not, I didn't care. Hi, I said eager to admit that, yes, little girl, I wrote this book. What do you think of it? Do you have any questions to this author about this charming tale? The girl gazed upward at me using her finger as a bookmark. She was half through the novel, and if memory served right, Marisol the girl hero was searching for her cat, Rascal. You know I continued advancing the conversation. I wrote that book. I smiled to give her evidence that in spite of my sweaty appearance, I was an all right guy. When she returned in a different scowl as if beholden a piece of irrelevant gum embedded in sidewalk, I reeled in my smile. Nothing stirred in her, nothing moved her to utter, oh really? I hurried away to the water fountain and drank my filled and rapid gulps, afraid that the girl might skip off to her parents for a report. A dirty old man tried to talk to me. Then I headed home without raising my eyes to the rear view mirror. This relationship was like over.  But I've never seen anyone carry my book around, so on my one occasion, and I was almost arrested, it seemed like. Proverbs. If I sport, if I sported a beard and toga, I might come off as a wild-eyed prophet standing before a burning bush. I worked that genre as well. My new book this fall is Meatballs for the People, Proverbs to Chew On. I shared with you a dozen or so proverbs, which is traditionally the literature of peasants, not the literature of scholars. Let me see if I could find my little list of proverbs here. Go here there. So I'm going to read you about a dozen proverbs. I've tried that genre as well. And the first one.  The bike built with stolen parts never rides straight. A snowman in sunlight knows when to give up. Looks so poor even the flies stay away. Burger patties on the grill hissing at customers. A mouthful of flattery and lies to think that this is where we kiss. Poker face best if you win the lottery. The only tool is to hammer everything gets pounded. Roughly cut bread, rough hand behind the knife. Friends cash out when you're broke. Autumn begins when the first apple falls. A martyr's halo is sometimes a noose.  Weekly deductions from your paycheck government thievery. Pushing a stroller at 15 sends without parole. Lodom 20 next week it's 50. Did I mention the two films I wrote directed and produced? Produced means really that I handed out cold bottles of water and slapped together homemade sandwiches for the cast. The best that I could say about the two films that I made were that they were short and the voices synced up with the lift movements of the actors. They were done in 1991 and 1992 and I was done with that genre filmmaking. Luckily they are on VHS tape not DVDs. They are very hard to come by thank goodness. Still I did give filmmaking a crack. I become another sort of mouthpiece. I play the role of Shakespeare you kissed by the book is an example and my new Shakespearean theme romantic play the spark and fire of it which is meant for high school students to hold hands kiss not far from rose bushes and well I'll skip this last part. In some ways my books will do this they will provide adolescent love to burn not eternally but like a big lighter that is until the butane runs out. If you're an independent writer and I'm one of them then you try to create work that others might find of value and enjoyment. There's a little bit of a commercial nature inside me but now and then I get ambitious I pray I'm going to conquer the literary world east of Venice but just short of the Bay Bridge usually when these moments of ambition occur I just lie on the couch until that feeling disappears from my bloodstream and I'm back to normal. I don't accept writing jobs I've been asked to write about the day of the dead no senor I've been asked to write about the quinceaneras no puedo no quiero I've been asked to lend my name to the California Dairy Association this I can do I did accept the job to writing about winchimes which I believe is noise not melody I got a call about six years ago from a junior high classmate asking if I would write a story about our late husband he had been eaten by a shark I declined I'm a poet and essayist this is how I want to see myself this is how I want to remember I've made my characters flawed very flawed as the best literature is the literature of unhappiness or oddness we read Richard Russo Raymond Carver, Elena Ferrante Carson McCullers and Enright for their take on the human condition the human complications not for feel good moments this is me as well so I have a story about a girl with a story in which a girl realizes that her family has no manners a story in which a boy is asked to get rid of his dog by walking him three miles out in the rural countryside of Fresno and then running back alone to home a story in which two boys discover a rack of funeral suits they put them on and symbolically they are headed to their own funeral at a very early age I've tried translations and have written prefaces to large national figures including Cesar Chavez I did some history as in my retelling of a memoir of a Spanish Civil War this will book will be issued in 2018 film treatments two two sit in my files the words fading from inattention and to think that I imagine Jennifer Lopez brightly clutching my treatments I mean, get Gary get Gary on his landline so what am I a poet, essayist, children's author, novelist songster, playwright a little of each with a dash of a phrase maker inside me I'm fortunate to have enjoyed juggling words and having them come down mostly in the right order I thank the friends of the San Francisco Public Library honoring the late F.E. Lee Morris I did meet her extraordinary librarian and inspiration to all of us and along with the Women's National Book Association for sponsoring this lecture series which allows writers to come and have their say in an elegant setting good of all of you to come out this evening for you needing a spanking see me a little later finally I don't need a frame certificate to remember this evening it's an honor to be here among you now a book signing and later this evening a proper drink thank you thank you so much Gary we are so honored and so happy to have had you with us you're not done yet because we are now going to have a few questions from the audience they'll get to know about what you have just been telling us all of your exciting stories and about your creative process and anyone who would like to ask a question of Gary please raise your hand and I will bring you the microphone hi Gary thank you so much what was your first success? you write you submit you write submit can you talk to us about that? yes I can my first book was published in 1977 and it's called the elements of San Joaquin it's a poem, a collection of poetry set in the valley thematically about field work, family sort of the rural, urban violence that clouds over Fresno so that was published in 1977 and I was a young man trying to make it happen so I have an MFA from Irvine was among other poets we're all submitting work to literary magazines this book by the way the elements of San Joaquin has been out of print for a long time it will, chronicle books will publish it next year the new expanded edition revised edition it's a very beautiful looking book and it comes out in April and does anyone else have a question for Gary raise your hand I'll bring you the microphone yes I appreciate the aspect of curmudgeonliness what do you have against computers and email and all that sort of stuff not that I'm disagreeing with you just asking you know I have a lot more privacy and I just have never understood how technology works and you know I've sort of I don't have a cell phone I don't have Instagram or any of those I don't have a Facebook I somewhat try to create one I think but I don't know I feel like the privacy thing is really important you can be really sucked into the computer you're on Bart and so everybody's like this and I don't want to be like that it's also an age thing too yeah and it's definitely a privacy thing right much champions up here at the public library yeah anyone else with a question for Gary going once going twice thank you very much for coming out this evening thank you all so much for being here


What is going on guys, welcome back to the channel and I appreciate you being here. Today I bring you another Destiny 2 video and today I bring you a guide on how to complete the mysterious DataPad which rewards you a secret emblem as well as changes the appearance of Aida1. But before we go any further guys, if you do enjoy the video and would like to show you support you can by hitting that like button and if you are new around here and enjoy daily Destiny 2 videos, be sure to subscribe. Okay so the DataPad which you get alongside the Unidentified Frame, the Unidentified Frame leads to the Izanagi's Burden. For this step you need to actually have a rare bounty from the forge to carry on with the Izanagi's Burden. For the mysterious DataPad you also need the Izanagi's Burden Sniper Rifle. But if you have a friend that has it you don't. You can do this DataPad quest with a power if they do have that exotic sniper and I will explain that when we get to it. Okay so for this step for the mysterious DataPad you need to have certain gear including full forge armor, you also need to have the forge bow, the forge sniper and the forge heavy machine gun. Again like I said you also need to have the exotic Izanagi's Burden or have a friend willing to help you out who has this weapon. So once you have what's needed you need to head to the Neobi Labs on the EDZ. Inside the labs go and locate the secret lever underneath this platform. Pull this lever to start this mission. Now once this mission starts you have to shoot certain symbols in a particular order. With the certain forge weapons I said you needed the bow sniper and machine gun so make sure you have them equipped.  Then using the bow again shoot the sunrise upon the floor to your right.  Both can be seen from this position I use.  Now once you have done that guys the next step will start. Here you can change your weapons if you want to but you must be using or have a friend using the isanagis bird and sniper rifle as the sniper is used to take down the taken boss's shields using the isanagis bird and exotic intrinsic perk the horned edge shots. Once shields are done you can do damage with every weapon.  For this next step you have to complete all four forges using full forge armor and using full forge weapons. Not difficult at all but that is all four forges that be the volandor forge, the gulfanon forge, the isanami forge and the burguzia forge. So once you have done these forges using full weapons and full forge armor return to A to one. Now if you do not want to be spoiled people I suggest you leave the video now.  For this you get a pretty cool emblem and a triumph too so enjoy guys and on that note we have a comment at the end of the video if you guys enjoyed it leaving a like really helps out. If you are new around here and enjoy a daily desk in the two videos like guides, top fives, gameplay reviews, just about everything make sure to subscribe and if you never want to miss a video I upload turn notifications on by hitting that bell button but again guys thanks as always for stopping by and hopefully I will see you on that next one.


Here we have the iCOO smartwatch and it's only $14.9 So who are you? And you make smartwatch dual core 2g phone built-in? Yeah, yeah, yeah dual core 1.254 inch and 2g Is it the MTK system? Yeah, MTK, 2502 620 6260 can we touch around? What do you use? UI?  Yeah, yeah, yeah You include the package and accessories Nice So you do also kids tracker Kids GPS Which one? This is GPS inside? What is SoC? Waterproof So they can spit on it How long is battery life? 300 300 300 mAh How long is battery? Working for 4 hours 4 hours or 4 days? Working for hours 4 hours 4 days So working is like for talking Yeah, yeah Fatty smartwatch How much? 49 49? Why is it more expensive than this one? Because it's waterproof Product for kids And then this is the same? Yeah Maybe tracker 49 for MLQ 1,000 pieces 1,000 pieces also Do you plan to do an android wear? This is the model Can we see? Power on So this is, what is CPU? MTK 6572 6572 That go back In the menu There 6572 How much is the price? 49.9$ 49.9$ Do you sell many? This model Do you sell many? About 10,000 10,000 Do you plan to do an empty 2601? 2601 Do you plan to do android wear? Or not yet? Not yet Do you plan to do android wear? Or not yet? 6572 All right And you also have power bank? Power bank? Which one is most popular?  How is the tablet business? 10 inch You still make a lot of tablets How many tablets do you ship every month? About 30,000 30,000 But the tablet business is going down a little bit? Less and less tablets and more and more smartwatch The tablet is down and down But smartwatch is going up? Yes Right