Thank you Evelyn and I'm going to add to the chorus of thanks to the Barnes Foundation and to Sylvie for the invitation to speak today and also to the team here at the Barnes who really have welcomed us so warmly especially Aliyah who has just managed everything. I can't say enough good things about her and all of us here I think feel an enormous debt of gratitude to George and Wanda at the Matisse archives and to Barbara Dutui and I would say that the dialogue with the three of them over the course of our work on Matisse has really been essential. We're delighted to be here Carl and I to discuss the research around our exhibition at the Museum of Modern Art on Rematisse the Cutouts. The spark for the exhibition and the work at its conceptual and philosophical core is the museum's monumental cutout the swimming pool. In 1952 Matisse created this cutout composed in a palette of blue cut shapes against a freeze of white paper and it was pinned to the burlap covered walls of his dining room spanning all four walls and I think most of you know kind of the origin story of this work but I'll just say it again. So Matisse had asked Lydia to take him to a local pool to see divers and he got there and it was so hot that he said oh I have to go home to get out of this heat and when he got home he said I'm going to make my own pool and that's exactly what he did. After Matisse's death the work was traced and removed from the walls and then mounted onto nine panels each of which consisted of the cut blue shapes the white paper and the burlap ground. The swimming pool was acquired by MoMA and then by 1993 following its installation in John Elderfield's Matisse retrospective it was determined that the condition of the burlap had so deteriorated that the swimming pool could no longer be shown. In 2008 Karl Buckberg our senior conservator at the museum set out to conserve this work and from the very beginning of his efforts Karl and I spoke about the possibility of organizing a small exhibition around the swimming pool and as we explored the idea as all of you know we've seen the show we concluded that a broader reassessment of Matisse's cutouts a closer look at at the whole body of work was due. The swimming pool though was really a lens for us through which Matisse's practice could be understood. So in embarking on our work together we asked three seemingly simple questions what is a cutout how is it made and what does that making mean. So today I will start out by discussing how we came to answer those questions then I'm going to turn the podium over to Karl to discuss the conservation of the swimming pool and then I'm going to return to the podium again to address the place of the swimming pool in Matisse's practice. So as a review which I think most of you don't need but I'll do it anyway um in the final decade of his life Matisse worked with painted paper as his primary medium and scissors as his chief implement inventing a new form of new form of art that came to be called a cutout. Matisse cut painted sheets into various shapes from the organic to the geometric which he then arranged into lively compositions striking for their play with color and contrast. He described this approach as drawing with scissors. Though this story generally begins in the mid 1940s Matisse had already been using cut paper in the 1930s as an expedient as we heard earlier to shortcut his laborious process of revision. So it was not yet a method and I'm showing you the Barnes mural where which we're lucky enough to experience first hand here and for which he used this this cut cut paper expedient. So and and that cut paper allowed him to sculpt and abstract the figures and flatten the space they dance the figures dancing. So it wasn't until his work on jazz one of the 20th century's great artist books that what had began as an expedient became a full-blown method what Matisse described as a cut out operation. In this operation cutting was more than a simple procedure it provided him a system of expanding the possibilities of shape and composition.  So cutting allowed Matisse to see all possibilities of form the positives and negatives as I'm showing you here reversals and inverses that you see throughout jazz and also the organic relations between shapes their generation from one to another. From the beginning of our research we were retuned to the um well let me back up in addition to the making um to the thinking through of the possibilities of cutting from the beginning of our research we were retuned to the life of the cutouts in Matisse's studio. While the studio while the studio had long been a subject for Matisse as we saw in so many presentations and in the last day or so in the invention and making of the cutouts the studio went from being a subject to the support using his studio walls as a blank canvas Matisse composed and recomposed his cut paper forms. Matisse lived in and among his cutouts orchestrating a luminous environment. Our attention to Matisse's studio stemmed in large part from our work on the swimming pool itself an environment it encouraged it encouraged us to take note of Matisse's environmental ambitions but there were two other parts of our research that pushed us in this direction first the Matisse's the work's material properties Matisse created this work with two simple materials white paper and gouache and an unorthodox implement a pair of scissors studio assistants painted sheets of paper with gouache selected by Matisse and after they dried Matisse would choose a sheet and as he put it cut directly into vivid color Matisse would use pins to compose his forms pinning them to a board that sat on his lap or directing assistants to pin forms onto the wall and it was this use of pins that we concluded was absolutely essential to Matisse and essential to our understanding of the work something pinned as you all know can be unpinned and therefore it can be changed so this seemingly small observation had enormous consequences leading us to understand the studio as a place of constant revision and flux as Matisse continually revised and altered these works and the works themselves also told the story in the hundreds of pinholes that you can still see a record of the process of their making lending support to this material understanding was access to photographs from the Matisse archive and other archives which corroborated our sense of the work's contingency and mutability forms were pinned in one grouping and then removed to join another and so you can see here this work from the menial originally on the wall was in a kind of side-by-side configuration and then was eventually it found its way to this final version and this vertical configuration and there are lots of examples of that whole compositions were moved from one wall to another or one studio to another moreover these photographs also helped us to understand the importance of Matisse's engagement with the walls of his studio and his ambitions to work on an architectural scale and I'm showing what you can see from the the caption these are various slides of the parakeet and mermaid in process by the time Matisse began work on the pool he had already made the move from his lap to the wall using those surfaces to compose and consider his work in cut paper installing editing shifting and altering assemblies of forms from smaller works clustered on architectural surfaces to form patchwork holes that you can see here each element subject to continual editing Matisse's ambitions grew provoking him to stretch larger compositions across his studio walls extending vertically and laterally into and across corners from floor to ceiling and exploiting the compositional structural and decorative possibilities of the wall as a surface without a frame moving beyond the bounds of easel painting the Vaughn's chapel of course gave Matisse the opportunity to think environmentally the reach of that project extended from the luminous effects of stained glass and the contrasting whiteness of the tile to how the colors of the garments worn by the priests as they moved to the chapel's interior would impact the visual and physical experience of worshipers the influence of this project is immeasurable fueling Matisse's desire to go bigger with cut paper our hope then for the exhibition was to get back to this fluctuating and ever-changing place that was the studio and to show that the cutouts had two lives first on the studio walls where they were contingent and mutable when shapes were merely pinned exhibited pliability and moved with a breeze and second after they left the studio when they were glued down and made permanent this interest we had in conveying the liveliness of the cutout to Matisse's studio was shared by some of Matisse's friends and colleagues who visited the studio and were astonished by what they saw arrayed across the walls andre rouvier argued for the cutouts material qualities quote these paper cutouts have a very pure existence when they escape from your hands your scissors their papery substance with subtle plays of light on their flexibility and the very physics of this flexibility all contribute to the making of a miraculous thing that retains its essence when stuck up on the wall with pins by Lydia and I'm showing you a little bit of an earlier work from the 1930s but just this is a work that still has that kind of flexibility and I'm showing it to you obviously in raking lights you can really see the way the work kind of had a pliability and was kind of leaned off the wall. Emmy Mog's take is even more intriguing in a 1948 letter he grapples with what he saw during a recent visit noting the work's rhythm he wonders if it might be quote a starting point for the realization of an interesting film where rhythm colors forms and sounds would come together and respond to each other along the lines of Walt Disney's Fantasia very intriguing yes so while the notion of a filmic version of the cutouts is fascinating I think that's a whole other thing we should look at it doesn't solve the issue of in-person presentation which was which was our focus for that Mog reports he has conducted his own experiment focusing on the essential role of the pins what he calls the manifestation of the fixing point in his plan the cutouts would live in a shadowpox cut paper pinned with phonograph with phonograph needles and says a quote that once rusted would solidly be embedded in a plywood support and he even understood that the degradation of materials just to follow up on our miss or just their recent presentation he writes a piece of wax paper placed between the paper and the wood will prevent the paper from touching the acid-soaked wood though there is no rejoinder from Matisse to this tantalizing suggestion if only our new presentation of the swimming pool allowed us to take up the possibilities that the pins offer and emphasizes and emphasize Matisse's engagement with the walls of the studio his embrace of contingency his deployment of the visual power of positive and negative his keen sense of balance and color and with that I'm going to turn it over to Carl for the next section the viewer is struck by the cut paper sections with conspicuously varied brush applications this is the result of the individual application of gouache to each sheet of paper varied because of the thickness of gouache use and also by the quote hand of the separate studio assistants so what you're seeing here this is lighter here you see this is lighter that's darker that is not a degradation that is actually the choice of Matisse of different pieces of blue paper so the papers would be painted they'd be dried they'd be stored Matisse would ask for a color or many colors he would be given a choice and then he would choose we continue to learn even more about the color from a set of small painted paper swatches which date from the cutout period and represent the colors used by Matisse compiled by George Matisse and donated to MoMA by the Matisse family we know from contemporary Linnell color charts that gouache was produced in a wide range of colors so here is the sample set and on the left is samples provided to the Brody family for the Brody commission in Los Angeles it's interesting that George's set which tries to pull together all the different colors is much larger than what was sent to the Brody's Anna Martin's conservation scientist at MoMA has analyzed these samples over the past years her finding to be published when the analysis is complete shows that there is in fact a wide range although some samples which appear to differ differ only because of the application of gouache not chemical composition and such as the case with Matisse's blues which are uniformly ultramarine so these are all the same chemical composition in a july 23rd 1976 letter from Lydia de la Torcide to MoMA conservation she states these three elements the outline the composition and the tone of the gouache are the components of the original work they belong to the art of the painter and are sacred for the person performing the lining however if there is not a drawing or trace of charcoal the support the white background usually counts on paper is nothing sacred in itself by indicating the desired dimensions these forms backgrounds were cut by a workshop the hand of the artist did not participate in an extreme situation to replace it would not be a crime so that was part of the decision making process about replacing the white background or not areas of the blue swimming pool were just touched back with a little bit of in painting with colored pencil to knockback previous in painting which had happened at a I must say undisclosed time other than that no other change to the blue was taken place the ultimate remounting of the paper cut shapes and white freeze to the burlap was by far the most complicated but also the most interesting phase of the decision-making process the chemical incompatibility incompatibility between the new burlap and the new burlap is essentially as as acidic as the old burlap and the paper elements made an overall adhesive mounting a most unattractive alternative the curatorial conservation discussion of the importance of pins led to a decision to pin the work on to a new solid burlap covered support I made with the help of an assistant a full-scale pinned mock-up of one of the large panels and as conservators often do I consulted with many other conservators especially conservators dealing with methities cutouts about the idea of pinning instead of overall mounting so essentially I made a tracing of the original panel painted canceling paper blue cut them out bought new canceling paper and mounted it you can see that Lefebvre won a did a nicer job than I did because theirs was flat and mine was not and and then pinned this to the original panel that it came off of however the burly you you might ask the question is this the burlap it's not the burlap was actually stretched over linen so this is the secondary support but I used it the original pin holes through which the blue cut shape still exists and it was through these holes that I used for the re-pinning so I hope you can see there's a little pin there originally the white paper freeze would have been pinned to the studio wall but as this paper now has no pins I decided for the re-installation not to reintroduce any new holes where there were not necessary so originally there would have been holes against the original way in the original white paper because that's what kept it to the wall pinning returns to the work some of the three dimensionality and liveliness that a cutout must have had originally that this decision is by far the most radical of the whole procedure as no Matisse cutout has ever been removed from a mount and then subsequently pinned the new solid burlap supports covered mounts replicate the height of the dining room in the hotel Regina allowing the white paper freeze to be pinned at the original height this was one of my original goals especially as correspondence held in the MoMA archive between Pierre Matisse and Bill Rubin expressed the dissatisfaction regarding the height at which had been hung after the 1975 purchase so here you see an example of the way it used to be at MoMA and you can see that the height there is no person standing there but it's it's sort of a belly belly height for the Matisse cutout exhibition the swimming pool was installed in a room of the exact same dimension as the dining room at the hotel Regina in previous installations when entered through a doorway so I can just go back here you entered through this doorway you walked through it and then out another door in this new installation one enters and exits the room through one single doorway exactly the same size as it was originally and is surrounded by the cutouts women with monkeys in now in the collection of the Ludwig Museum but originally composed over the entry doorway was returned to this location for the cutout exhibition completing the original ensemble so we are presenting different parts of our research here our thinking evolved in tandem revelations about materials or architecture impacted our sense of the swimming pools operation effects and ambitions and investigations into how the swimming pool function fed decisions about its conservation and new presentation so out of our dialogue emerged a series of questions if the swimming pool is the culmination of Matisse's work in cut paper up until that point which is what we believed how did he get there and in the pool itself what were the key strategies he deployed I want to offer a few answers to these questions next which first requires a return to 1952 and then a deep dive into the pool itself so the year began with the commission for a stained glass on the theme of Christmas from the time life company I'm showing you that here soon after Matisse embarked on a project that turned out to be essential to the creation of the swimming pool his blue nudes now it should not be surprising to anyone here that Matisse would use cut paper to take on the subject of a seated female nude reducing his palate to focus intensely on the human form he labored for weeks on what came to be called blue nude number four that's what I'm showing you here beginning at first finishing it last and then and along the way recording the process in this series of photographs so with this what I would say is that though the sequence of photographs makes his efforts look kind of natural or easy so difficult was this process that Matisse briefly abandoned the nascent work but you can see that he moves from you know from something that was kind of very very bulky and then in one just to take one part of it kind of her waist ends up being you know closer to a point he moves the head and the thighs get slimmed out but he was so frustrated over the process that he that he abandons it and turns to his sketchbook as a kind of relief learning the form with pencil and pen drawing the figure over and over and over again he was soon able to cut the other three blue nudes with with mastery at least according to Lydia and finally finished the first one which is now called number four it's a little bit confusing so as opposed to building up the form with bits as he did in the one he started first but finished last that I'm showing you here for the other three he used a kind of different method and what he would do is he would slice into a sheet of paper and then separate the two sides so that the white below does the work of defining and you can really see how in in blue new number two all of that can kind of come back together and you can imagine it imagine it returning to the single sheet it was cut from um though Matisse's scissors only make contact with the blue paper he harnesses the physical sculptural and illuminative power of white now in the pool Matisse also does it has a kind of similar method he enlarges the white troughs that we've seen in the blue nudes lengthening and widening them until they have their own physical presence and you can see that in this work in a part like this where the kind of physical property of that white form comes forward and then in the works largest and most grandly sculptural body that's there um what he's done is he's um he's simply cut this sheet of paper um in in you know through half of it and slides the halves apart to create a female silhouette from the space between now the white does not work alone of course its tension with the blue is one of many around which the pool is organized positive and negative figure in ground limitation and expansion inside and outside up and down air and water animal and human parts and holes forms and inverses one of the pool strengths is its play with these terms the oscillation of seeing a figure from one perspective and ground from another air from one perspective and water from another body from one perspective and liquid from another and so on as we enter the room where are we the freezes above us and Matisse likely composed it seated so are we at the bottom of the pool looking up above the pool looking down are we treading water alongside the swimmers watching as their bodies cross in and out of the water all answers I think are equally valid um and it was um in some ways the many forms um that cutting yielded um that I mentioned earlier that made Matisse Matisse so uniquely able to see the possibilities and potentials of such visual flip-flopping the swimming pool swirls or really swims around the viewer generating a feeling of centerless circulation and immersion it turns out that as in the blue nudes Matisse thought through this dynamic in drawing sketches made in an ordinary day planner kindly shared with us um by George and Wanda um offer a key to the pool's abstraction and dynamism it was really exciting when when um when we got to see these on a sheet in the agenda dated July 20th that's that that's that um the sheet on the left side Matisse depicts a diving figure head down arm stretched out and tight against the head legs pushing off the ground in four similar drawings um as you go down the sheet um Matisse homes in on the arc formed when the spine curves over to dive but he also addresses the body's limbs and breasts reducing the female form to these features such reduction simplification the body condensed to arch breast and behind is seen in other works made that summer including of course the great acrobats in back bends that match arm to leg bulging head to tush these contortionists echo the the pools vaguely corporeal figures which similarly are all arch spine breasts and mermaid tail limbs in a second set of drawings um the spread on the right um Matisse makes a visual rhyme between body and wave Matisse explores two different curves a reverse c and an s um I think you can see that in those there um in relation to the female body a language swimmer moves horizontally across the left hand page one arm reaching out of the water the other stroking forward the entire body is a kind of serpentine line in another sketch the curve of the body mutates into a wave moving in the opposite direction and on the opposite page a figure of laws lazily in the water and the s shape of her body talking about that there um legs out bottom down left arm stretched is drawn in multiple configurations and kind of morphs into a curve a wave on a wing in each the forward tilt of of the diver the arch back and arm of the swimmer and the undulating curve of the lounger are abstract in in a set of repeated strokes creating watery waves the serpentine shape of the arabesque now the arabesque we know from Roger Benjamin and many other scholars is a key pictorial strategy for Matisse which he deployed from almost the very beginning of his career to create to create quote an abstract plastic and pictorial energy a consistent visual rhythm in Matisse's work the arabesque is also responsible for the pool's energy its dynamism and its force almost all the bodies whether human or fish are arched threading one to another produces an up and down curve that echoes the agendas shapes and waves a perfect meeting of compositional force and subject this up and down curve this wave drives the figures around the dining room or the pool propels the swimmers through the water without stopping giving the work a sense of endless circulation and limitless expansion the arabesque is the perfect sign for water which itself moves in undulating sinuous curves pushed by breezes or bodies in the agenda Matisse makes another reduction a symbolic shorthand for the swimming pool a double sign curve that's right there linking the arabesque to infinite expansion Matisse had long believed that the arabesque required containment in order to function dynamically famously arguing quote the arabesque is effective only when contained by the four sides of the picture with his support it has strength working primarily in the realm of the easel picture Matisse was perhaps resigned to amplification that happened in the imagination however the cutouts and specifically the play on the studio walls allowed Matisse to imagine a curve infinitely expanding without any frame Matisse articulated the arabesque's role and its formation on the wall as he saw it in parakeet and mermaid an installation shot here on the wall as you can see it goes around the corner and Matisse says look at this large composition the foliage fruits scissors a garden the intermediary white is determined by the arabesque of the colored cut paper that gives this ambient white a rare and intangible quality i just want to remind you of what the work looks like um now um laid out so liberated by the wall Matisse's arabesque is a force propelling a continuous circular movement a continuous circular movement without center and without end finally fulfilling his aspiration to create space that extends as far as my imagination now given the swimming post pictorial and metaphoric chain of body arc arabesque wave i want to finish by looking closely at what seems to be the simplest of cutouts and really one of my favorites this is the one i would take home a work from the same blue and white moment in 1952 called the wave an echo of the sinuous swimmer wave sign curve in Matisse's agenda the wave is really the apotheosis of this moment in Matisse's production and an emblem of his cutout practice as a whole made by cutting a curve into a rectangular blue sheet dividing it in half and sliding the two resulting sides apart to reveal the white not so much below it but equivalent to it the work simple power derives from the tension Matisse creates between blue and white positive and negative flatness and depth though it is small and it is it is pretty small size compared to something like the parakeet and and mermaid it refers to limitlessness the infinite expansion to which Matisse had always aspired though this expansion seems to be lateral it should be noted that Matisse tried out the wave as a in a vertical orientation that's right here a kind of paper equivalent to brand cruises endless column as an abstraction of water and body and as a perfect reflection of the arabesque or serpentine line the wave demonstrates with absolute directness the cutout's economy of means while its subject coincides perfectly with its material condition the endlessly rolling fluid repetition of waves in its representation of infinity as a sign for expansion it also stands for potentiality from Matisse in 1952 possibility the the lexicon of cut paper proliferated unbounded across the studio walls thanks very much


Live from Washington, D.C., it's theCUBE. Covering.conf 2017, brought to you by Splunk. Well, welcome back to Washington, D.C. We're in the Walter Washington Convention Center as we wrap up our coverage here of .conf 2017. As Dave Vellante joins me, I'm John Walls here. And theCUBE, coming to you live from our nation's capital. Joined by Team AWS here with us. We'd rather raise you, rather, who's a senior product manager at AWS, and Roger Barga, who is the general manager of Amazon Kinesis Services. So gentlemen, thanks for being with us. We appreciate the time. Good to see you. Thank you for the invitation. Yeah, you're welcome. You bet. All right, so let's just jump in the streaming data thing, right? This is just, it's blowing up. What's inspiring that popularity of the cloud? I mean, what's kind of lit that fire and what's going to keep it burning? Yeah, I think over time, I think customers really do realize the value that it can get out of by collecting, analyzing and reacting to your data in real time. Because that really provides a very differentiated experience to their customers. For example, you're able to analyze your user behavior data in real time, provide them with a much more engaging experience, much more relevant content. You're able to diagnose your service, understand your log data issues in real time so that when you have an issue, you can fix that right away. So that really provides a very different customer experience. So I think our customers are realizing the value of real time processing, so which is why we think streaming data is gaining more and more popularity. And in terms of why cloud, it's all the good stuff the cloud can offer to our customers. It's highly scalable, so you don't need to worry about if it's going to scale later on when I scale my business. It's a matter of sort of like click of a button. We scale the infrastructure for you and we got all the resources ready for you to run your streaming data. We got super, it's very cost effective, right? So that, because we price that very low as we keep improving the efficiency of running the service, we reduce our cost structure, we return that back to our customers as a price cut. The third thing is which I think is super important is agility, right? Because you don't need to set up any infrastructure, install any software, make all the configurations. Starting up a Kinesa stream, it's like 15 seconds on the Everest console, and it really allows the developers, the customers to move fast and purely focus their resource and effort on the things that really differentiate their customer experience. So very AWS-like, we love AWS, we're a customer, it's our favorite cloud, I'm going to record a saying that. And we're loyal to you guys, our CrowdChat app runs on it, we basically run our whole company on Amazon where we can. In 2013, we got the preview of Kinesas, there was a lot of buzz. It was kind of before the whole streaming meme took over, but we were talking about real time at the time, but so it could take us through the evolution of Kinesas and where we are today. I'd be happy to. You know, when we first built Kinesas Stream, what the company was trying to do is we had all of the AWS billing and metering records coming from all of our services, our EC2 instances, this was a lot of data that had to be captured. And the way we were doing it was in batch, we were storing this data in S3 buckets, we were starting large EMR jobs up at the end of day to actually then aggregate them by the customer account. So say this was your bill for the end of the day, but we had customers that said, actually I'd like to know what I'm spending every hour, every few minutes. And frankly that batch processing wasn't scaling, so we had to innovate and create Kinesas Streams. As a real time system that was constantly aggregating all of the billing and metering records that were coming in from our customers' accounts, totaling them in near real time and we presented our customers with a new experience of billing and insights into their billing and even forecasts of what they were spending at any given time. But we had other teams that immediately looked at Kinesas and said, hey, we're dealing with real time streaming data and our customers want it delivered and aggregated and provided. So CloudWatch logs and CloudWatch metrics built on top of us. And this was the start of something which continues to this day. Other services are looking and even customers are looking at a Kinesas stream and saying that's a really useful abstraction that we can build a new service, a new experience for our customers. And today we have over a dozen AWS and Amazon retail services that build on top of Kinesas Streams as a fundamental abstraction to offer new experiences, new insights as three events. CloudWatch events, there's a host of services which underneath Kinesas is running but they're offering unique value building on top of it. Which is why Kinesas today is considered a foundational service and we can't build an AWS region without Kinesas being there for all these other services to build on top of. And so that's been exciting to see that kind of adoption, different uses for this fundamental abstraction called the Kinesas Stream. And it's also when we can talk later about how it's transforming analytics which is really exciting as well. Well that's a great topic. I mean why don't we talk about that? And one of the things we've noted about AWS and other Cloud providers is obviously simplicity and delivering as a service is critical. We all know about the complexity of for instance the Hadoop ecosystem and the challenges that a lot of customers have. Delivering that as a service has dramatically simplified their lives. That's why you see so many people going to the Cloud. We've always predicted that it's what happened but maybe talk about that a little bit and then we can get into the analytics discussion. Yeah, so again, customers are always looking at ways to actually get insights into their data to better support their customers, to better understand what's going on in their business and of course Hadoop and Managed EMR have been a great benefit because customers could move their developers into the analytics that they want to do and not worry about this undifferentiated heavy lifting of operating these services. And the same is true for Kinesis Streams but we're seeing customers and if you stop for a moment and think about this data never loses its value. It always has historical value for machine learning for understanding trends over time but the insights that data has are actually very, very perishable and they can actually turn to zero within an hour if you can extract those insights and that's the unique area where Kinesis Streams is adding value to our customers giving them the ability to get instant insights into what's going on in their business, their customers, their business processes so they can take action and improve a customer experience or capitalize on an opportunity. So what we're seeing in the role I believe that streaming data at large plays is about giving customers real time insights and then business opportunity to improve how they run their business. Go ahead please. So who's using it? I mean, or what's the, if there's a sweet spot or a sweet spot for an industry or vertical to use that in terms of whether it's in a minute, an hour or whatever, what would that be? Yeah, so today, I'm really pleased to see because we've watched this evolution since 2014 but today in virtually every market segment where data is being continuously generated, we have customers that are actually taking advantage of the real time insights that they can get out of that data, virtually every market segment. I'll pick a couple of examples which are kind of fun. One is Amazon Game Studios, clear and dear to our heart. Now, typically games are written, they're completely developed end to end, they're shipped in a box, made available to customers and then they hope that game and the engagement has the outcome that they want. Amazon Game Studios is actually writing that game in near real time ahead of their customers. So they release a new level of the game, they will actually watch the engagement, they'll look at how customers are dying, surviving, how long they're playing and is it traveling in the direction they want? They stream all of the multi, all the game data from their players in real time and they've built dashboards so they can see exactly how gameplay is going and if they don't like it or they think they can make an improvement, they'll get right online, change the game itself and redeploy the game so the customer experience is actually, within minutes it's being evolved. Another customer I like to talk about is Hearst Publishing, we all like to read when Hearst started making the transition of their magazines, Cosmopolitan, Car and Driver, from print and to digital form, they instrumented it so they could actually watch how long was a customer reading an article, how were their comments trending in Twitter and in Facebook so they could actually get a sense of engagement with an article, whether the article should be rebroadcast to other digital channels, other magazines, should they change the article, double down and write a new one. So again, their engagement and then the business metrics by which they measure engagement and readers, readership have all increased because they have that intimate understanding of what's happening in real time. So again, every market segment where there's data continuously generated, customers are using this to provide a better experience. That phrase, undifferentiated heavy lifting, we first heard it widely in the tech community in 2012 at Andy Jassy's keynote at Reinvent and it's become sort of a mantra, it probably was well before that inside of AWS. And oftentimes AWS doesn't, you talk about TCO, but it's not the main reason why people go to the cloud, you emphasize that a lot.  But this idea of essentially eliminating labor that is doing that non-differentiated heavy lifting is something that you guys have really lived and popularized. We see that labor cost shifting from provisioning loans into other areas, up the stack if you will, application, digital business, analytics, et cetera. What are you guys seeing in terms of how organizations, I mean, two types of organizations, right? The cloud native guys who obviously didn't have the resources, but then enterprises that are bringing their business to the cloud. Where are they shifting that undifferentiated heavy lifting labor towards? And they are in fact moving it upstream and if we think about it very abstractly, operating servers doesn't really bring any special IP that that company possesses to bear. It is about just managing servers, managing the software on it, figuring out how to scale. These are problems which we're able to take away. And we've often worked with customers to show them the value of moving to our managed servers and the excitement from the leadership is like, the customer is like, wonderful, that project we weren't able to fund. If we can just onboard here onto Kinesis, for example, or any one of our managed services, then we can immediately move and get that fund project that we really wanted to fund that would actually be unique value to us, move them over to that. So they're actually moving upstream as you said and they're actually leveraging their unique understanding of their industry, their customer, to go ahead and add value there. So it is a distribution and I think in a very productive way. I want to ask about the data pipeline. So one of the values that AWS brings is simplification. When I look, however, at the data pipeline, it's getting very rich. If I look at the number of data services at Kinesis Aurora, Dynamo, DB, EBS, S3, Glacier, each of these has a programming interface that is, I use the word primitive not in a pejorative way, but deep level, low level. And so the data pipeline gets increasingly complex. There's probably a benefit of that because I get access to the primitives, but it increases complexity. First of all, is that a fair assertion on my part and how are your customers dealing with that? Yeah, be happy to take that one, yeah? Sure, yeah. So I think from our perspective, all these different capabilities and technologies by customer choice, we build these services because our customers ask for them. And we order a wide variety so that people can choose for the developers who wants to have full control over the entire stack. They have access to these lower level services. You know, as you mentioned a few, Dynamo, DB, Kinesis, Streams, S3, but we also build an abstraction layer on top of these different services. We also have a different set of customers asking for simplicity, just doing a specific type of things. I want you guys to take care of all the complexities. I just wanted that functionality. The example would be service like, you know, Kinesis Firehose, Kinesis Analytics, which is an abstraction layer we put on top. So for customers who are looking for simplicity, we also have these kind of capability for them. So I think at the end of the day, it's customer choice and demand. That's why we have this rich functionality and capabilities at AWS. So you guys have already solved that problem, essentially the one that I was sort of putting forth. So I won't say, I like Ray's answer. And it's about listening to the customer. Because in many cases, if we would, if we said, hey, we're going to go build a monolithic service that simplifies this, we would potentially disappoint many other customers. They actually, I really do want to have that low level control. I'm used to having that. But when we hear customers asking for something which we can then translate to a service, we'll build a new service. And we will actually up level it and actually build a simpler abstraction for a targeted audience. So for us, it's all about listening to the customers, to build what they want. And if it means that we're going to actually bring two or three of our services together to work in concert for our customer, we'd do that in a heartbeat. Yeah, that low level control also allows you to be, presumably, maybe not more agile, but more responsive to the market demand. Because if you did build that monolithic service, you would essentially be locking yourselves in to a fossilized set of functions and services that you can't easily respond to market conditions. Is that a fair way to think about it? That is a fair statement because basically our customers can look at these APIs and together for these various services, realize how to use these APIs in concert to get an end-to-end done. And should we have precise feedback on a specific service, we could add a new API or tailor it over time. So it does give us a great deal of agility in working on these individual services. So Ray, you're a product guy and you're talking about listening to customers right and coming up with products. That's what you do. What are you hearing now? Where do people want to go now? Because I assume you've been in the marketplace for four years now with this. Evolution is, excuse me, perpetual, constant. So where do you want to take it? What's the next level? Or what's percolating in the back of your mind right now? Yeah, I think people are always looking for different type of tools that they are familiar with or they want to use to analyze these data in real time and provide a differentiated customer experience. A concrete example I want to give is actually why we are here at Splunk Conference is at Kinesis we have a service called Kinesis Filehost. Based on customer demand when we launch Kinesis Streams, customers want to make sure they have access to data sooner than they used to do, but they want to use the tools they're familiar with. And apparently there's a diverse set of tools different customers want to use. We started with S3 for data lake kind of storage. We use Redshift as a data warehouse. Then over time we heard from customers say, hey, we want to use Splunk to analyze the data, but we would like to use Kinesis Filehost as an ingestion solution. Can you guys do something about it? So actually the two teams got together, we thought it's a strong customer value proposition, great capability for our customers. So we start this partnership. We're here actually earlier this day today. We made the announcement that actually Kinesis Filehost is going to support Splunk as a data delivery destinations. And this integration is now in beta program. It's open for public sign up. Just go to the Kinesis Filehost website. You can sign up, get early access. So basically from today you can use Kinesis Filehost a real time streaming ingestion service to get data into your Splunk cluster. We are super excited about it. And I can access those Splunk services through the marketplace or what's the way in which I bring Splunk to? Good question. So for this integration actually we support different versions of Splunk. You can run in Splunk on AWS using EC2 instances. You can access through the marketplace. You can have your, you can use native Splunk cloud which manage all the servers for you. You can also use Splunk on-prem in that regard. Okay. What have you guys learned since the first re-invent? I mean I think, and again I don't mean this as a pejorative, but AWS is pretty dogmatic in its view of the world. As you were very strict about your philosophy. But at the same time, as you learn about the enterprise you've evolved, what have you learned about enterprise customers in that five, seven year journey of really getting intense with the enterprise? Yeah, that's a good question.  We will never deviate for that. It's part of our culture and the customers need to tell us where they want to go. And I'll tell you, when we first started with Kinesis to answer your question, it was about we want low latency. We want to get that answer really fast because our ad tech customers are some of our very early customers. So it really was about that extremely low latency response. As even our customers have started to look at Kinesis as a fundamental abstraction on which to put all of their business data in and now they're telling their customers, well you should, if they're IT customers within their company, if you want any business data attached to the stream and pull it out. So now we're seeing less emphasis on low latency end to end processing. But an increased request, I want to be able to attach a dozen consumers because this stream is actually supporting my entire enterprise. I want to have security. So we recently released encryption at rest. Our customers are asking for support for VPC flow logs which we hope to be talking with you about very soon. So now it's becoming actually very mainstream to actually for the enterprise and they want all the enterprise ready features, all the certifications, FedRAMP, HIPAA, et cetera. So now we're actually seeing that this Kinesis stream itself being you put into the enterprise as a fundamental building block for how they're going to run their business and how they're going to build their applications within the business. So that philosophy of, I mean you are customer driven first and there's a lot of, Andy, Jesse says there's a lot of ways to compete. You can be competitive oriented, but we're a customer oriented. And it's clear, you guys do that. At the same time, customers sometimes don't know what they want. So you have to be good at decoding. I mean, if you listen to all your customers, five years ago they said, well we're not going to put any data in the, sensitive data in the cloud. Now everybody has sort of gotten over that. So you said, all right, well we have to make it more secure. We have to get whatever certified, et cetera, et cetera. So there's an art to this listening to customers, isn't there? It gets back to one of our leadership principles of, we always work customer backwards. We need to understand what they want, what the experience they'd like to have. We have to anchor everything on that. But there is this element of invent and simplify. Because our customers may guess at what a solution is, but let's make sure we really understand what they want, what they need, the constraints under which that solution must offer. Then we go back to our engineering teams and other teams that we invent and simplify on their behalf, and we're not done there. We actually then bring these back to customers. And in fact, why we're here today, we've spent two days talking to customers. But even before this collaboration with Splunk began, we actually brought customers in and it turned out their customers were often our customers. And so we started talking, what is the problem? And we started with a very clear problem stain. And once both of our teams, and we've loved working with Splunk, they work very customer backwards like we do. And together, once we understood this is the problem we're trying to address. And we had no preconception about how we're going to do it, but we worked backwards on what it would take to actually get that experience for our customers. And we're actually here beta testing it. And we're going to have a very aggressive two or three month beta test with customers. Did we get it right? And we'll refine as well before we actually release it to the customer. So again, that working with the customer, we're customer backwards, but invent and simplify on their behalf, because many Splunk customers weren't aware of Firehose until we explained it to them as a potential solution. They're like, ah, that will do it, thank you. So very outcome driven. I mean, I know you guys write press releases before you sometimes launch products, and try to, as you say, that's what you mean by working backwards, right? It is, it really is. You're good listeners. So far it's worked. Right, it's always fun at the company when somebody says, I have a customer, the entire room gets quiet, I'll start listening. It's actually fun to see that because that's the magic word. I have a customer and we all want to listen. What do they want, what are they challenged with? Because that's where the innovation starts from, which is exciting to be part of that. It's been a great formula, no doubt about that. Thank you both for being here. Didn't realize it was a big day, so congratulations on your announcement as well. Absolutely. Ray Roger, good to see you. It's great talking with you. All right, you're watching theCUBE live here from washingtondc.com 2017.


Thanks for checking out this movie review video. So this is for the 2020 film the dark and the wicked and it is a shutter Exclusive that's coming to shutter on Thursday, February 25th So since it's not on shutter yet when I'm putting this review up. This is a no spoiler review. Also. It's just a new film So disclaimer on this one People who know me people who watch enough enough of my reviews know that there are certain sub genres of horror that I don't particularly like this film ends up falling into that subject one well one of those sub genres so you can Take from it what you will I still think I have some valid gripes with this film But I also think that there are a lot of people out there that will and who will enjoy it more than I did I didn't really care for this film at all and I'll break down things I thought we're actually really good about it and some things I thought were really not so good about it So mixed bag overall didn't really like it because it's not my subgenre But I do have some valid points to make so hopefully it helps you make decisions But I also always say that every film is worth watching once if for nothing other than to make up your own mind Did you love it? Did you hate it? Do you feel indifferent about it? So go ahead and check it out. Anyway, once again the dark and the wicked this film is written and directed by Brian Bertino you may know some of the stuff he's done before he did the original the strangers which actually I'm not a fan of I Didn't really like that the first time I watched it Maybe I should rewatch it But I did see the original film that it was based off of that's a remake of called them And that's a French horror film that is actually on shutter right now. So you should watch them for sure He also did mockingbird which I haven't seen the monster which I haven't seen but I am gonna see and I've heard Is good. That's an 824 film and also he wrote Strain the strangers pray at night which oddly enough I didn't like the strangers But I liked the strangers pray at night. So kind of a weird thing and that's part of the reason I say maybe I need to go back and rewatch the strangers Because it feels a little weird that I would like the sequel and not the first one But who knows anyway quick synopsis of this, you know, I'm not gonna give you a lot of the information on it So basically, it's a brother and sister who go back to their farmhouse Where their parents their elderly parents are still living and their elderly father is not doing well health-wise But things are going on on the property basically Things might not be what they seem. So that's as much as I'm gonna say if it sounds interesting to you Check it out. Make up your own mind, but I'm gonna tell you my thoughts on the film I do like how they begin the film It was just showing kind of these these shots of a relatively empty farm Which I had read that this was filmed at Brian Bertino's Families farm I believe and it looks nice. It really fits the ambiance and everything It's a good setting honestly for the film But I like how they're just like showing bits of the farm It's kind of you know low lighting for it and you're just hearing a lot of like ambient sounds There's no music and that's one of the things I really do like with this film is they don't overuse music In fact, they don't use a ton of music and when they use it It's very restrained and I love that from an audience perspective because Otherwise, you know when it's overbearing. It's beating you over the head It's telling you how to feel about things Whereas when it's a little bit lighter or there's no music you as an audience member can kind of be there and just like take everything in and Make up your own mind about how you want to feel about things and if you want to feel multiple things If things are complicated for you with that film, so I like how it begins it is pretty slow, but throughout the film for a Probably about the first half of the film I would probably I would say it does feel like it's giving you Breadcrumbs as you're going even though it is slow and that it is building up to something very big now I will say that for me personally it was a big let down in the end because I don't feel like how slow it was Built things up properly for the ending and I thought the ending was actually more of like a whimper than like a bang So but I'll talk a little bit more about that in a second. No spoilers, obviously, but yeah But it is slow so know that now some people will be totally cool with that because it does have pretty good atmosphere to the film and I do think that if You feel fully immersed if you're really really into this sub-genre and you feel fully engaged in the film It could help kind of keep that tension with how slow it is because they maintain good atmosphere, so It depends on who you are and what you're into But even though I noticed that you know the atmosphere is good I just still felt like the pacing was too slow definitely too slow It creates too many lulls and especially at the end of the film when I think they really started need They really needed to start like picking up the pace and building to something faster And then it could have even more impact. It seems like they actually slowed down even more in a way and Kind of killed any sort of mood at the end that could have enhanced the ending of the film Which I as I said, I don't even think is a good ending to the film I think it's very you know boring and overall I think the film is boring to be honest I thought it was a boring film. I really Even though I paid full attention to it. I couldn't really get into it It's one of those films where if I just threw it on and I wasn't gonna do a review for it I would probably end up on my phone just messing around and just partially paying attention So sorry to say I do like the look of this film. I will say that good directing good Cinematography for the most part. I like the the look as in the colors It's like they leached a lot of the color out of the film Which really does help with the atmosphere of it being very drab and very sullen It's it's not a happy film obviously which a lot of horror films aren't but some are but it's it does have this very kind of sad depressing Dread-filled feeling to it, which is good. They did they did weave that pretty well There are a bunch of scenes that are way too dark This is something I like to harp on all the time not all the time There are certain ones where it's it's too dark But it's fine because there's not really a whole lot going on But there are some scenes where it's too dark and you want to see what's going on But you can't really see what's going on plus. There's just kind of too many of those types of scenes, so It's something I harp on, you know, I know some people aren't necessarily bothered by it But it bothers me. I want to be able to see what I'm supposed to be watching. It is a film, you know As the film progresses you really become aware of the sound design That is another thing that I did like about this and this kind of falls into the Using a lot of moments of silence not using too much music or when they're using it It's very kind of like, you know under the radar to a degree Sound design is very good on this film and you really do end up paying attention to it because of a Lot of the lulls in the film So, you know, the things that are going on around the characters on the farm sound really interesting They sound true to life or what you would assume is true to life. So excellent sound design with this film They really did a good job there There's a scene early on I saw coming but how How far they were actually going to go with that scene I did not Predict and I like that that was a kind of horrific Messed up good moment to the film and if you've seen it when you're watching this You know what I'm talking about where most likely everyone will see it coming because it's something that's been used in horror films before But the degree to that they took it to I have to kind of bravo on that because it Took something that I was expecting and was kind of rolled my eyes about because I'm like I was has been done a lot of times and they put a they just went further like they did their own thing with it And that's more what I wanted like I wanted more of that type of stuff to the film in general I wanted them to take this story to take a lot of the things in the story and and Do something different make it their own just like that one scene and it just felt like it wasn't that it felt like a lot of stuff I've seen before and There's not a lot of like a new twist to it or a new feel except for the setting I will say the setting is is interesting Like I said before the atmosphere Sorry, the atmosphere is built pretty well and they do maintain it to a degree except for the fact that the film is slow Which I think kind of you know loses some attention There are some creepy visuals in this that people are Are going to like most likely more than me It's one of those things where like I see what visuals they're creating and I'm like I see how people would see this and think it's creepy I Don't necessarily it doesn't have the effect on me and maybe that's partially because of my bias of not really liking the subgenres, so I Know there are gonna be people who love this film. I know there will be so yeah There's a change in Situation under which bad things in this film happen that is supposed to really like amp up the perception of danger And I think that was interestingly done. I do like that you I would hope you know what I'm talking about if you've already seen it it kind of changes the Situation of when things are happening the bad things which signals kind of an escalation to a degree now When that happened, I thought okay here we go. It's gonna get crazier. It's gonna pick up pace But it didn't it actually in a way kind of stepped backwards for me And that that scene that I was really praising in the beginning that I said, you know It went further than I thought it was gonna go I felt like that was the pinnacle of the film for me personally and then everything else just kind of like backpedaled from there So I just won the fan The ending is really a I wrote down they could have built it up to a very big moment But instead they ambled to a whimpering finish in my opinion There's a lot of really good technical stuff I've already talked about the good things about this film the acting is another thing the acting in this is very good Very good acting the actors showed up they did more than their job They really put everything into these roles every one of them I can't think of anyone in the film who I was like No, they were all very good. So they did their job. I just think the script isn't there I really don't think the script is there sound design great looks really good You know, there were some cool camera shots and some nice shot composition You know, it's just the story's not there And that's one of the biggest things is that the script is the start of the film And if the script isn't there the film isn't gonna be able to get there I just did a review recently on although it's not to this degree at all but just something to kind of compare I recently did a review on a Five dollars for an August moon, which is 1970 Mario Baba film. That's giallo And it wasn't his script and he didn't have time to Go over the script like he wanted to so he shot the script and the script was bad But it looks visually really good But that's not enough you can't just see things and Just rely on that, you know, you can't have great visuals and just rely on that the story has to be there That's the whole basis of what should be the draw for people And I think that's one of the biggest things missing with this film in my opinion. It was just wasn't developed enough I think maybe another person getting involved in the writing would have been good Or maybe having someone else take a look at it and and then make some changes after that I don't know but I don't know what the process was either and like I also said Maybe some people out there love it as is and that's fine. That's that's great and you can let me know in the comments Yeah, the film is just too long I really think it should have been cut down quite a bit that would have helped with kind of like it being very slow And kind of the pacing issues. I understand one of the reasons for it because I think you're kind of supposed to feel The slowness and the anguish and the pain and how dark things are for the characters But it was just too much like it's just way too slow like you can still achieve that without having it go on so long and It's just not engaging. It's not interesting for that downtime Now it is just like a little bit over an hour and a half and it feels way longer than that So that's not good. They probably should have cut it down to about an hour and 15 Just saying The final thing I want to say is this really speaks to the stress and emotional hardship a family Experiences when a member is seriously sick and how hard it is seeing a family member You no longer recognize because of being sick because of you know things Degenerating and we're all go, you know, a lot of us have gone through something like that in our lives and with our family And or will go through something like that So it's very relatable and I think for that reason it will connect with a bunch of people So that's a good aspect of it But it's also been done in film a lot before and like I was saying I didn't feel like there was enough of anything new or any you know Personal flair put on this that really change makes the film all that great to me But I'm also gonna say I don't I didn't like the films like just to this is just to Exemplify how there are films out there that a lot of people love and I just don't like it because of its subgenre the conjuring I don't really like that insidious. I hated the first insidious. That was not a good film So and I know some people you are hearing that right now or just like are you out of your mind? I get it. I know and that's why I'm saying Watch this film yourself figure it out and then you can put some comments down here because I'd love to hear people's Differing opinions on this. What did you see in it that you loved? Were some of those things that I said were good in it enough to make it good for you? Or did you see something else or did it connect with you personally because I could see it doing that? So anyway out of five stars with half stars in play for me personally I'd probably put it down around like a two star or something like that, but Taking my bias into account I'm gonna put it at a two and a half star and just put its smack dab in the middle Because there are some good things about it and I know I have kind of a bias on this one. So It is what it is just saying But anyway, thanks for checking this out. Go ahead and put comments down here And you can go ahead and do spoilers in the comments. That's fine Go ahead and we'll talk more about this film Do me a quick favor though hit that subscribe button If you like this review or any review you've seen or any video you've seen on my channel Really that is your way to repay me because I don't make money doing this I'm just trying to build a nerdy horror community of people I can talk to When I post these videos and just be nerdy about horror That's the fun of it But hit that subscribe button and also hit the notification bell because then you'll know when I'm putting new videos up But yeah, regardless, I appreciate you taking your time to check this out and until next time keep it brutal


week of the Lucas Oil Superstakes, the 2018 Superstakes. And tonight we had the limited open Derby decided that was taken out by Lance Cooper. Congratulations to you, Lance. Thank you. Well, what a great result. 223, how you feeling? Feeling awesome, it was a great run. Just thankful everybody come out and watch and just a good feeling. Now you were the first out and you set the bar with that 223, did you think it was a winner? Did you think it was gonna stick? Did it feel good? It felt good, but you never know being first. You just, there's 12 forces behind us and anybody can do it in this class.  Okay, so describe your run to us. Put us there in the action. What did it feel like on each cow? Well, I showed the mayor twice already and I didn't make the semis in the open and so I made the limited. And she's been good all week. I just haven't showed as aggressive I feel like in the open and tonight Austin Shepherd just said come up and show like you normally do and that really helped me. And then I come up and showed really aggressive tonight and cows loved, cows were good and it just worked out. Which cows did you choose? Did your dad Michael Cooper help with that? Yes, my dad helps me choose my cows. Also Steve Olof and R.L. Chartier. Steve Olof is in my corner. He also settled in my cattle tonight.  I was trying to cut just like a gray brown top earlier and I auctioned off to that black horn cow and she was good. Now you rode Zen and Tonic just a few months ago in the limited non-pro faturity and won that title, shared it. That was the non-pro. Now you're in the open. Tell us about that. Yes, she was aired in the open. She's been good all year and so we decided in her to open and we really didn't know who was gonna show her and we didn't really know. So a lot of people asked me to show her and talk to dad about it. He says it's my choice. I can have an open rider show her or I can show her. And my dad's never showed her before and no one else has. And I was like, can I just show her since she's been good for me? And he said yes and so that's what happened. Okay, now correct me if I'm wrong. You have won about 190,000. Yes ma'am. Your horse has won about 100,000. Yes ma'am. Okay, a large chunk of that you've done together, correct? Yes ma'am, all of this year. How much of that this year? 100,000 this year on her. Wow, so tell us then, what makes this such a successful partnership? I don't know, she's just an unbelievable mare. She goes out there and does her best every time. She's so smart about a cow and she just loves to cut. I couldn't say anything better about her. Are we gonna be seeing more of you in the open? I don't know about that. I show tomorrow in the non-pro, so hopefully it's fun. But it was just a practice run really for the non-pro. A bit more pressure in the open? A lot more pressure in the open. A lot better people. A lot more, just a lot more, I don't know, just harder I guess. Okay, now we've mentioned dad. We've got to mention mom because you can't do this without your mom. And she's been working hard on the other side of this camera, organizing the webcast. What's your message to her? Well, my mom and Mark Michaels put a photo up on me tonight that I really didn't know what, I don't even know what they put a photo up and it was like a picture from two years ago in the youth finals and it was pretty, I was pretty, I don't know, I didn't know what to say about it. Well, you felt a bit uncomfortable? Yeah, a little bit. Okay, but I'm sure you got a message you love for your mom right now, don't you? Oh, yes. Okay, thank you very much. And it will be fun watching you continue to show this horse. One more question actually, how has this horse developed since the fertility in the time that you've had it? Oh, she's just gotten smarter every time I show her, really, she gets better after every run. She keeps on getting smarter, keeps on getting smarter and I can't say enough about that, Mary, she's been so good for me all year. All right, we're gonna continue to enjoy watching you together. Thanks very much, Lance. Thank you, thank you. Okay, Lance Cooper. Tomorrow we're gonna have the non-pro open derby go rounds so stay watching, that's it for tonight, folks, but tune in tomorrow morning on the live CHC webcast. Goodnight.