Live from Las Vegas, it's theCUBE. Covering Edge 2016, brought to you by IBM. Now, here are your hosts, Dave Vellante and Stu Miniman. Welcome back to IBM Edge, everybody. This is theCUBE, the worldwide leader in live tech coverage. Hayden Lindsay is here as the vice president and distinguished engineer. DevOps for enterprise systems at IBM. Good to see you, thanks for coming on theCUBE. Thanks a lot, appreciate you having me. So, you're welcome. So, let me ask you a question. The world loves habit, right? Humans, we just creatures of habit. We still got green screens, right? We still do covan line interface. Your mission is to change that, isn't it? It is. How you doing? We're making progress. I would like to make far faster progress, but this DevOps for enterprise systems, that's code name for making sure that DevOps that people are doing in the distributed realm gets applied to the mainframe realm with the same first class support. And, of course, that's not how the DevOps movement started. It was working in other platforms. So, we've applied it to mainframe to allow you to have a holistic approach. Everything from mobile, mid-tier, mainframe can all be using the same type of processes to get the agility, speed, and yet lower risk, improve quality for every piece of the system, mainframe included. Now, the challenge, as you mentioned, is that people doing mobile stuff, they weren't doing that 30 or 40 years ago. The folks doing cobalt development very well might have been. And so, changing the status quo, defeating inertia is our mission. Okay, so, I mean, makes sense, right? If you're going to, people process technology. If I got a Z platform, I'm going to modernize the technology with Linux and Docker and, you know, all these, you know, we heard Hadoop. Okay, if I'm going to do that, then I got to worry about the process and the people. So, you're talking about applying modern process approaches to solve problems. For some things that you might not think is being quite as modern as Hadoop or Docker, something like cobalt or PL-1 or mainframe assembler, being the programming languages that are running a lot of the world's businesses. Cobal, for example, represents about, people estimate around 70% of the world's business transactions. And that's running on the mainframe, it's not running on, you know, x86 box. And so, it represents critical business capabilities, the apps that are running the business. But if you're dealing with it, using the process and techniques and tools that you were using 30 or 40 years ago, in all likelihood, there's a lot of waste as the DevOps community likes to call it. It's not as efficient as it could be and so we need to change that. So, Hayden, there's a lot of kind of fossilization of kind of processes there. You talk to traditional IT people and they're like, you know, no, we have our business process, it's going to take us 18 to 24 months to make change. Of course, the DevOps world is much more, you know, let's think of continuous integration. Exactly. Continuous delivery, it's something that, you know, it's tough to get over that hurdle. And especially when a lot of people on the Ops side view a critical element of their role to be to maintain stability. And they equate stability with infrequent changes. And of course we know in the DevOps community that's in fact a fallacy. Let's break it. Yeah, exactly. We'll break it or automate so that you're doing it so much faster and so much more often, you're actually increasing quality, reducing risk, but that requires a mind shift, culture change, and then process change. And that's hard because you're talking about human nature. And so it's not just about throwing a tool on someone's desk or on a server, it's about changing how people behave. Yeah, there's one of the lines we love to use some is hardware will eventually fail, software will eventually work, you know, people need to get used to some of these changes. Yes, for sure. And you know, so that's why we've been investing in this area, we've acquired some companies, we've and extended what they have, we've built some of them ourselves. And we have really good end-to-end coverage, as I said, from mobile to mainframe. And now it's a matter of getting people to make the leap and have the courage to try to do some things in new ways. And we've had decent penetration in some areas, not as good in others, and that's what we need to do. Because the way you think about it, businesses know they need to change. If you don't pivot periodically based on changes in market, changing what competition are doing, you're out of business. And I think line of business understands this, we need to have that same realization within IT. And especially the more entrenched parts of IT. So how do you push on some of those pain points? I know traditionally we go to, you know, infrastructure people, if you can find those things that they hate doing and they're doing it every month, you know, for quarter, after quarter, after quarter, if you can give them a way to get out of that, you know, they're usually open to at least looking at it. You know, how do you move some of this change forward? In general, you have to do exactly this, find the pain. And so the pain a lot of times is because line of business is saying, I need you to do this more quickly. I can do it on the mobile side or the website. I'm having maybe some difficulty getting you to update the back end that by the way has to be made in concert. These things have to be synchronized. And so we can say, we can help you by automating more. Because if you think about DevOps, if you think about agile and lean from the, there's a lot of process and culture change, but there's also an organizational model sometimes. But there's also tool changes. And the tools help mainly by automating. And so there's automation that can be done to reduce manual processes that are slow and error prone. But you have to find that pain. And sometimes it's because the IT group is getting pressure from line of business. I need you to do things differently. And then you do have people that are change agents.  Well, the tooling can help catalyze change as well. But so we talked about technology, touched on process a little bit, quite a bit actually. And then there's the people piece that we're talking about now. And the skill sets around. I mean, it was interesting to hear you say that 70% of the world's transactions run on COBOL. People might be surprised about that. But COBOL code, first of all, it works. A lot of it's custom code. And to convert that would be kind of suicide for a lot of these companies. Extraordinarily high risk and take forever and cost way too much. What you need to do in our view, our view is like, it's a hybrid cloud model. Certain things you want to be cloud hosted or running on smart devices or what have you. But leverage the back end systems or back end transactions, data access layers that work but maybe are not exposed appropriately. And so that's where our whole focus around API economy, API management and we have introduced new capabilities to make it easier to expose as RESTful services a kicks COBOL transaction. Or a PL-1, IMS transaction or what have you.  You just see a RESTful interface. And you've automated that back end. Well what we're doing is. Oh I saw you've automated that workflow. We can automate the delivery pipeline. So you have this continuous integration, continuous deployment. And because there are these linkages. Now you would hope that the interface to the back end service doesn't change often. But at times it will need to change in which case you need to coordinate your mobile app change with a back end or COBOL change for example. Let the tool synchronize that for you. Well it has to change. I mean a lot of that COBOL is running in financial services. It's a highly regulated industry. There's compliance. Oh exactly. I mean that COBOL code is changing. Oh it's changing. I think there's figures, there's one and a half billion lines added every year to the 220, 250 billion that are in existence. That stuff's not going away. But you mentioned something about people. The folks that have been doing this for 30 or 40 years are not going to be doing this 30 or 40 years from now. So we've got to be able to bring in a new generation of folks. We need to have tools that help them grok that 200 and some odd billion lines of code. And so in fact we just did an acquisition a couple of months ago, a company called EasySource that is all about program understanding, discovery and understanding. And yes it's good for doing impact analysis. If I change this what all is impacted so I can build my test plans and determine how long it's going to take. But it's also good for onboarding people. Because if you can see graphical representations of the structure of systems, that's way easier than looking at millions of lines of source code. So that's just one example of we've got to think about how we bring the new generation in and make it appealing to them. They do not want to use ISPF, green screen editor that their grandfather was using. Yeah, it's fascinating. How is the pipeline for people to come in? I have to imagine so many people are retiring, aging out. Right, so we just, young people are learning scripting languages. They're learning Eclipse based IDEs in university or Eclipse itself, because it's free, that's something we put out a number of years ago. And some universities are teaching COBOL, but that's not the norm. And so I have a few responses to this. Number one, COBOL is a programming language. Just like JavaScript, just like Ruby, just like Python, just on and on and on. People put those on their resume because they learned it in a few days or a day. You can learn COBOL too, okay? And it's a matter of if that's the job that needs to be done, you can learn it because you're a developer. You know that you need to learn multiple languages in order to support modern environment. So I think they can learn it. The question is, now do they also want to be using some 30 or 40 year old tool to interact with it, green on black, something like ISPF? I don't know any young person who would really want to do that. I wouldn't want to do it and I'm not that young anymore. But I didn't want to do that when I came out of university. So we need to provide them with the modern tools and the language is just a language. But make sure they have a true DevOps pipeline, modern IDE's, modern automated testing, modern service virtualization, on and on and on, modern source code management, configuration management, all these things that the distributed folks or what they've done in a prior job, working in the distributed or mobile or web space, they understand all this. Don't try to teach them some brand new stuff that's actually 30 or 40 years old. That's a waste of time. So give them modern surroundings and the fact that the language happens to have been around 30, 40 years, okay, it's proven and it's actually important. So modernize the platform you're doing, IBM has been doing for quite some time, modernize the processes, DevOps, Agile, Lean, and provide modern tooling for the people. To make it easier to onboard new people. And that moves the platform forward. Yeah, for sure. I mean, the face of the mainframe, I mean, you think about it for a lot of people, okay, there's a system administrator interface in which we've modernized and have fresh GUIs and it's not just command line and green screen and all that, but it's for the developers. And you need to present them with modern alternatives exactly like you would have working for something that's going to run on any other platform. And that's what we have been doing. We have it. And now it's a matter of, okay, now let's move enough with the inertia. Let's move to this new capability so you can support the business. Well, better. Clients are getting this, right? I mean, some of them, but they're moving. Oh, no, everyone gets, they nod their heads. And then it's a matter of now, okay, let's get started. Let's build a roadmap because you can't make 20 changes at once. You need to think about the whole lean MVP model from a process maturity. Just like you're putting out a MVP of a product to test the market, determine if you need to pivot. Do the same for your process modernization and determine, okay, is it the modern IDE that I start with or is a modern source management system? Is it test automation? Where is the low-hanging, or deployment automation? Where is the low-hanging fruit? And that's going to differ for, or be a unique decision for each company. And so that's where we go in and help with doing what we call DevOps assessments. Work with you. Try to understand your business better and then say, all right, it looks like this would be the best path forward. So if this is, Hayden, if this is a baseball game, what inning are you in, in terms of that transformation? Realistically, we're second or third. And we've got maybe somebody on first. Yeah.  We have some clients that have just made phenomenal progress, phenomenal. Well, as they started seven or eight years ago, just like about the same time as some of the born-on-the-web companies or the unicorns that we think about, and yet they're doing it in the context of mobile to mainframe. Phenomenal, phenomenal examples, like Nationwide and Fidelity and so forth. And so they're showing the way. And what's the business impact for them? You know, Gene Kim does this DevOps Enterprise Summit that's going to be in San Francisco in another month or so. And the stories you hear are amazing. So it's not just the born-on-the-web companies that are doing it. It's just now they've shown that it's possible we need to get more follow-up. Well, that's driving bottom line results for those companies. I mean, they're showing the way. And the metrics that they measure and track are business metrics. It's not about I can deploy 1200 times a day. It's about how is it impacting customer-sat, profitability, those types of things. So I think that's, and it's why we should be doing DevOps. It's not just because we can deliver 1200 times a day to production. It's because we're supporting the business in a more agile fashion. Well, so those later innings should go faster than the first couple. One would hope. Well, you'd think so, right? It's like the penguins in the iceberg. We just need to get the momentum going and see what people look around, see what their peers are doing. And it's just like the business.  Cool. All right, Hayden. Thanks very much for coming by. Thank you. Appreciate the story. Appreciate it, guys. All right. Keep it right there, everybody. Stu and I will be back with our next guest right after. This is theCUBE. We're live from Las Vegas. This is Edge.


This kind of campaign essentially put the government in the role of suppressing legitimate public policy debate, public health debate, about what the right strategy ought to be. They put their finger on the scale. The idea was to create this illusion of consensus around the lockdowns that didn't actually exist. I mean, I think quite dangerous and led to tremendous bad outcomes for people all around the world. I think it's very dangerous for public health to think that it has a monopoly on the truth.


Hi, my name is Sebastian Lago, I'm the lead developer of Open Sesame. Open Sesame is a program, an open source program, mostly for psychologists and neuroscientists that allows you to create and run experiments. And today I'll show you how to run an experiment that you've created with Open Sesame on a tablet. And the tablet that we're going to use is this one. It's the Nexus 7 by Google. The new tablet, fairly cheap one as well, is about €50 at the moment. And on this tablet you can run Open Sesame experiment. So let's take a look. Okay, so let's see the tablet in action. Firstly, activate Open Sesame. And if you're familiar with the software, you will notice that it's just exactly the same program. It looks exactly the same as it would on your Windows or Mac OS or Linux computer. So there's no difference there. So this is the method of selecting an experiment. We prepare two examples. And just pressing play to go. And this first is just a silly example of a questionnaire. It starts with consent forms, accept. And bunny, are you a bunny? What kind of colors do you like? And that's it, the experiment is finished. So you can just create very simple questionnaire type of experiment. But you can also create more complex, for example, response-based or accuracy-based experiments. And we also have an example of that. Again, just a question of selecting the experiment. And pressing run. And the goal of this experiment is to... You will see a picture in the center of the tablet and you have to say whether it's a kitchen utensil or a tool. And if it's a kitchen utensil, you press the left side of the screen and if it's a tool you press the right side of the screen. So it's just a very typical response-type experiment. And it works like this. And as you can see, where it's very smoothly, it's very responsive. Any psychology student will recognize this experiment as the type of thing that they've been doing for hours to gain credit or whatever on the university. And then if you want to abort the experiment, it's simple, there's a simple escape sequence which is tapping first the left top of the screen and then the right top of the screen and then the experiment will abort. So that's just so for testing purposes you can abort the experiment, but participants are not very likely to do this accidentally. Well, you might have noticed that the operating system on this tablet is not the default standard Android operating system or even iOS, the iPad operating system. But it's something else. Basically what I installed on this tablet is Ubuntu Linux and that's also the reason for choosing specifically this tablet, the Nexus 7 because it's very easy to install Ubuntu on this tablet and it's also very easy to recover the original Android operating system once you're done and you want to use it as a regular tablet. So that's a little bit of technical background. And then the obvious question is, of course, why would you want to run experiments on a tablet? And I can think of a number of scenarios that could be useful. For example, imagine that you have a small questionnaire and you need a lot of participants and what you could do is just create your questionnaire at home on your computer, you put it on the tablet, then you go out into the city or into the university campus and you can just give the tablet to two participants, you can just recruit participants. Obviously you have to be cautious that you get the tablet back after they completed the questionnaire. But potentially that would be a way in which you can collect a lot of data in a very short period of time. So another more critical application might be where you have a test battery that you want to submit to people for whom it's difficult to sit behind a regular computer and what you could do is put the test battery on the tablet and people could perform the tests while they sit in the chair or while they lie on the bed and that could potentially be very convenient. So all in all I think it's a very useful possibility to have, a possibility to run your experiments on this tablet. In my hands it works quite well, very smooth, but I must stress that it is experimental to put a wounded Linux onto this tablet and it's also experimental to use open sesame on a tablet. So that being said I think it's a very promising possibility. Thank you very much for watching.


I worship you, Almighty God is none, that is what I love to do There is none, O Prince of, that is what I love to do I give, there is none, O Prince of, that is what I love to do


Well, if we look at where the money for landscape restoration comes from now, according to a study done by the New Climate Economy Group, we need 250 billion a year to restore degraded landscapes for developing countries. We are getting 25 billion in about a tenth, but 60 percent of what we get are from the domestic resources of countries themselves. So my firm believe is that ultimately, whilst we might want to have donors funding this restoration, ultimately the money will have to come from the resources of the countries with degraded landscapes themselves. So the question we need to ask ourselves as an international community is how do we support these countries to raise more of their own domestic resources, such as they can, use those resources wisely to leverage private sector resources that can then scale up the interventions for restoration. I think that's the direction in which we need to go. I think they are available, maybe not on the scale we would like, but some resources are available. There are some impact investors willing to go for the long term and willing to go for reasonable returns. I think we should start there first and then we will see after what more we can do. We should at least start with those investors. In the sense that there are more studies that show that landscapes could add 15 to 35 percent of what is needed to get us to a two degree centigrade pathway for climate change, to maintain where we are and not get the situation worse. To the extent that that is the case, then landscapes are becoming and landscape restoration is getting more prominent attention than it used to. But is the conversation where we need it to be yet, the answer is no. I think we are still quite some ways to get in the kind of realization among policy makers. So we need to push. We need to push that conversation. What I'd like to see change is more discussion among communities because it all starts with them. If that conversation is not being had with them, they suffer the consequences of any degradation. They are part of the degradation. They suffer the consequences more when other actions beyond them also degrade the landscape. So it needs to start with them at the local level and it needs to filter more conversation with policy makers.


Welcome to another video. I thought I'd do something a bit more loose and free flow compared to my last video since that one took forever and I wanted to cover a topic that I'd prefer to explore more casually rather than doing another long form analysis of it. The topic in question? Australian movies. Truth be told I haven't watched many Australian movies. I think part of that is because for me there's this uncanniness to the Australian accent when it's in a movie or on a TV show. I'll give an example before I ramble on about it. Think about how I sound now. It's kind of casual, you know, hello. My name is Jordan. I'm from the prison colony of Australia compared to something like underbelly where they talk like you don't know what you're doing. For those who may not have been able to tell the difference between the two, I guess the only thing I could say is that it feels performative. It's definitely not an objective measure by any sense of the word. But it just doesn't feel realistic to me. Like, of course, a bad performance is a bad performance. No language or accent barrier can hide that. But it does feel harder to suspend my disbelief when it's an Australian compared to, say, a Korean or American. All I can think is that's not how he sounds. We don't talk like that. Use those words. Maybe because I'm around Australians all the time, funnily enough. And I have more of a reference to how they sound. And I bring this up because I wonder if anybody else feels this way. Australian or otherwise, does it feel harder to engage with the performance when they're performing as someone from your country?  I'd like to welcome everyone to a series of videos where I'll be looking at notable Australian films and their place within Australian cinema. From the select few that I have seen, honestly, most of them feel pretty derivative of American and British movies. But there are also some that rank amongst my favourite movies ever. So I wanted to give them all a fair shake and see if there is any gold amongst them hills. Let's have a gander. The first one I'll be looking at is The Story of the Kelly Gang. The Story of the Kelly Gang is a mostly lost silent film from 1906. Only around 15 minutes of the movie remain, which has been restored along with stills from the film reel to piece together the narrative. Speaking of narrative, this movie is actually the first ever feature-length narrative film.  The story of the Kelly Gang was around an hour long and had a budget of £400 to £1,000. Australia used pounds like the British until the Australian dollar was introduced in 1966. Adjusted for inflation, £400 British in 1906 would be worth £51,079.41 today. That's $94,128 AUD and about $900 AUD. Filming took about six months and the film was actually shot here in my home state of Victoria, not too far from where I live in Melbourne. The suburbs of Ivanhoe, St Kilda, Rosanna, Eltham, Mitchum and Greensboro were used as filming locations. Ah yes, the birthplace of cinema. I'll add that everything I'm about to say in this review may not be 100% accurate. Some of the verification of the goings on in this film's production are prefaced with thought-to-be and possibly. Even the identity of the film's director is disputed, though it's commonly accepted today that Charles Tate directed the film. Only two actors are officially credited and of the two actors who are credited, neither play Ned Kelly. A pretty fascinating movie, honestly. I'm glad I chose to start off the series with this one, that's for sure. And seeing as there were no other feature-length narrative films at the time, I'm very comfortable in saying the story of the Kelly Gang was once the citizen cane of cinema. I'll watch the film on YouTube, in a couple of videos I'll link in the description. The first is a 20-minute video with no sound. I've leafed through articles that state the National Film and Sound Archive piece together of the film based on the best evidence they had. This includes the original program booklet when the film was shown back in the early 1900s, as well as the film's intertitles. It's kind of self-explanatory, but for anyone who doesn't know, intertitles are the words that appear on the screen in a movie that aren't part of the scene. They just tell the audience what's going on, where the scene takes place, or what a character is saying in quotations. These were common in silent films, since the only sounds were usually from the non-diagetic film score that accompanied the picture. Sometimes the music was played live on a piano or with a band or on a gramophone. What's actually really cool about that is when this film premiered back in 1906, they gave it live sound effects, so they would do something like clicking together coconuts to simulate the horse hooves. Obviously, recording equipment and software at the time wasn't as suited for outdoor filmmaking as it is today, to put it lightly. Talking pictures became more commonplace in and after the 1920s. Though there were talkies being played in France at the time, such as films of operatic concert performances. The other video also seemed to be sourced from the national film and sound archive, but didn't include some of the key scenes in the film and is uploaded on a random personal account. Though it does include some still images from the film as well as eye-tellicised intertitles that give us the information from the lost footage. This gives the second video a sort of documentary feel. I'll be bouncing back and forth between these two uploads in this review. Also, also, it seems fitting that one of Australia's most famous stories would be the basis for its first movie. Ned Kelly, infamous book-stranger, impoverished outlaw since he was a teen danger, a fancy-filled tale about a guy who stood up to the establishment and killed a bunch of shifty cops all while stealing from the rich to give to the poor. Sometimes. If we get a Red Dead game set in Australia, more than likely it's going to be based on this guy.  The armour used in this film is actually the original authentic caliama. Then, of course, he was tried and hanged, sometime between being informed of his execution later in the day and the moment before he was hanged. He said the phrase, Life is such. Life is strange. Is life such? Such is life. Some say it was his last words, others say he said it on the walk to the gallows or when he found out he was going to be hanged. All can agree, though, it inspired one of the tackiest tattoos to ever exist. After seeing this film, I definitely recommend doing your own research on Kelly. He was a fascinating character and there's a lot of information that fills in the blanks of this story. Suffice to say, all this info made me very excited to see this film in action, so I'm going to stop rambling and get into it. We can't really comment on the quality of the writing or any film making elements accurately during the intertitles of lost scenes since, well, we don't have the footage, which does suck. I imagine it would have been quite the experience back in 1906 to see this film premiere at the Atheneaium Theatre in Melbourne. I actually went there the other day and got this photo. Since there's no sound in this film, I was listening to some royalty-free Scott Joplin ragtime, which is what you're hearing now, to get me into that silent film mood. So, let's do it. We get the film's title plus a roll call of the Kelly gang, Ned Kelly, Dan Kelly, Joe Byrne and Steve Ha. Then we get a shot of them in the Banya Valley that we'll see later. The second video included intertitles of the lost footage. We were meant to start on the Kelly farm with Ned's mum. Ned's sister Kate hears from a bunch of cops that they plan to arrest Ned's brother Dan for horse theft. She rides home to warn him and is followed by police constable Fitzpatrick. So the movie is opening up on the 1878 incident in which Fitzpatrick approached the Kelly home and was assaulted by the Kelly brothers after allegedly trying to accost Ned's sister. It was rough with his mother after trying to find out where Dan was. This is the angle the film takes. Different accounts say the Fitzpatrick was drunk, attacked first. It's all pretty up in the air. What was officially reported, though, was that Kelly and his brother tried to kill Fitzpatrick. It makes sense the film would start here since after this point, Ned and the others would be on the run for two years until being captured in Glen Rowan. This is essentially the start of the Kelly gang. I love how I've talked quite a bit about this film already and I've barely seen any footage. After the first couple of intertitles, we get to constable Fitzpatrick with Ned Kelly's sister and mother. A wide shot gives us all of these characters plus establishes the farm. We see the house, the fence in the back and the barn behind it. Fitzpatrick looks like a visual representation of the word Haramph. The Kelly ladies are dressed pretty dapper as well. Not the kind of attire I'd expect from Australian peasants at the time, though every picture I found of Kate Kelly shows us she had an extensive wardrobe of crude black formal wear. Fitzpatrick asked Kate for a dance before he takes her brother to jail. After all that kerfuffle, Ned Kelly runs out of the house to assist his defense. Kelly shoots to the ground, which scares Fitzpatrick into dropping his gun. All of a sudden, the Dream Team roll up. They mount up and hit the trail with the Kelly ladies holding Fitzpatrick at gunpoint, presumably forever since we never see Fitzpatrick again. You're under arrest. And you're under arrest. And you're under arrest. You're under arrest, too. We get some nice shots of rural Victoria as the cops begin searching along the river for the Kelly gang. The gang are camping out near Stringy Bar Creek. They encounter two police officers shooting birds in the trees. You've cocked your last heel. The gang shoots the cops offscreen in the missing footage. Then hold the other one hostage whilst they eat all his food and drink all his drink. The one with the gun, I think that's Ned. I've I've forgotten which one is Ned. The one with the gun holds up the surviving police officer. One of the other Kelly boys comes running out of the bush to tell them some other cops are rolling up and then it hits the fan. Holy, those bullet trails, they don't look like props. I try to find some history on the use of prop firearms, but all I found was some regulations that were introduced relevant to the use of firearms in film, but nothing about when they were first used. I don't know if these guns are real or props. Feel free to comment prop firearm expert who I know is watching this. Either way, it looks kind of dangerous. Good to know filming standards have improved. The guy who I am now more certain is Ned Kelly. I think it was the beard shoots at the ground to scare the police off because shooting at the ground injured constable Fitzpatrick's hand last time, and he must be trying out that strategy again. It doesn't work.  One of the police officers manages to escape and gets word back to the police about the colleagues. The gang are camping again, chatting about life when Ed goes off for a bit to a Kreegan shanty. I think this is meant to be Kate, I'm not sure. He winches to her about how hard it is to steal things from people, then kill them afterwards. It looks like there's some form of argument, then the next shot warps into him going for a swim. I suppose this is to lose the scent from trackers or dogs. Ned and his sister ride off back to the camp, evading the police. The Kelly gang have a large bounty put on their heads. I've got to say, these wide shots might seem a bit entry level as far as cinematography goes, but all the footage so far has given us a clear look at every scene, and the camera is even following important viewpoints in each sequence. I imagine film reel was pretty scarce back in 1906 Greensboro. I imagine they would have used the enter titles to also help with some of the cuts. We have seen some dips in coordination in each scene, but the staging is pretty impressive for these very lengthy scenes, especially the ones with horses. Just wanted to give that to the film. Obviously, things have improved and new techniques have been introduced, but still not bad for a first try. So now we've gotten to my favorite sequence in the entire film of the three sequences that are available. And that is the stick up at Young Husband Station. The real life accounts of this event suggest that the Kellys were robbing a funeral. Ned introduces himself, maybe as some sort of traveller or something and is allowed inside. He asked the men to come out and the gang robbed them at gunpoint. However, they don't rob the women and children. Who says that chivalry is dead? Some of the funeral attendees just hang around, chilling. I imagine the director wasn't too sure on how to direct the extras, and so they just watch kind of nonchalantly as their assumed partners, relatives and friends get robbed. They look kind of bored. All of a sudden, Sandy Gloucester rocks up. Whoop, yep, yep, yep, yep, forward, yep, yeah, well, forward, now forward again, yep, back up a tiny bit, yep, and there, there. Sandy Gloucester is a hawker. I've resumed to have been coming to the funeral to hawk. Maybe passing by, he doesn't exactly look dressed for the funeral. I have a stunning suspicion that this man is actually a time travelling Mark Bowen from Idols. As his father has held at gunpoint and robbed of his cart, the Gloucester's son goes inside the station to warn someone his dad's about to die. He doesn't hurry himself because he hates his father and wants to take over the business. Sorry, let me rephrase that. The Gloucester kid goes inside the station to find some lollies. People come out to watch Sandy Gloucester beg to the Kelly gang to spare his means of providing for himself and his son. Our heroes ignore him and laugh at this selfish request. Then another group of four rock up to the station and are tricked by more of Kelly's dastardly schemes. Ned Kelly nearly gets run over. The gang of four are sent inside with the others. This is a pretty wild funeral. Everyone cheers the gang. I hope I'm getting hijacked by a funeral to steal from everyone who comes around the corner. Speaking of coming around the corner, the station manager rocks up. All right, now, you ready? Watch this. How that horse just drops him off screen is hilarious.  Lastly, he offers them some pointers for the next big robbery. That was awesome. I loved how each robbery was like clockwork. So many people just coming around that corner to get captured by the Kelly gang. It was like, me next, me next. The camera was just swirling from left to right throughout that whole sequence, giving it a lot more motion than the other scenes, such as the Kelly farm and stringy bar crink. I imagine because the director didn't have tracks to put the camera on obviously, but there was still an effort made to follow the gang throughout the entire sequence. As a result, it feels like a comedy sketch and is very entertaining. After robbing the funeral, Len garbed in some fancy new clothes thanks to Sandy Gloucester, the Kelly's decide to rob a bank. All we have are still images for this one. Similar situation to the last robbery. Ned Fane's friendliness. They deal with a resistant robbery victim. Kids look kind of bored. They load the prisoners up onto Sandy Gloucester's van then take them back to the station. There's a lot here that can be filled in by the meta knowledge that the Kelly gang had many sympathizers. Hence why those at the funeral were toasting with Ned and the gang. Without that knowledge, it can seem a bit confusing why everyone is so okay with the Kelly gang robbing them. Yes, welcome to our great grandfather's funeral. Please make sure to pill for his corpse. Try the Pavlova. Anyway, after that, there's a chase scene with Kate in the police, apparently. That scene is also missing unfortunately, though we do get an epic photo of her on a horse with a revolver. I'm not sure if these are camera photos or stills from the film. I think this one in the shot by the tree with the Kelly gang looking at their bandy poster. I think those are photos because the camera angle isn't as consistent as the other shots where they're trying to get more of the action. These stills that I believe to be just camera photos seem a bit taller for lack of a better term, plus the quality is a bit higher on these images than the film. I'd wager photos, but my P-brained knowledge on photography could be dead wrong. We get more stills this time of Aboriginal trackers. As far as I can tell, it was because of these gents that the police were able to catch up with the Kelly's at Glen Rowan. They were part of a Queensland native police unit, which was a branch of police where a group of indigenous police officers were typically overseen by at least one white officer. Indigenous Australians were often used as trackers back in the day of settlement. They were employed off of the communities they were in as a result of dispossession following Australia's settlement. The next still in the second video mentions a Mrs. Skillen, Kate's sister. That seemed like a strange way of describing a Kelly sibling. I did a little digging and it seems that Margaret Skillian was Ned, Dan and Kate's sister. Red and Ellen Kelly are both their parents, so it's still dead as a weird qualifier to me that this woman was Kate's sister and not just another Kelly sibling. Anyway, Kate's sister leads the police away by pretending to have supplies for the gang. Then Mrs. Byrne, Joe's mother hears that Aaron Sherritt has betrayed the gang to the police. Sherritt was a childhood friend of Joe and at one time wished to join the Kelly gang, which he was talked out of by Ned and Joe. Maybe this was revenge for not being allowed in the Kelly Club. Others say he was working as a double agent trying to learn what the police knew so we could help the Kelly's do crime better. Kate and Kate's sister hear about Sherritt's informantness and decide to warn Ned. They are chased through the river by a trooper. We get some cool clips of them epically evading them and horseback. Joe learns of Aaron's betrayal and feels betrayed. He and Dan kidnap Aaron's neighbor and use him as bait to lure Aaron out of his house where he was currently holed up with police, his wife and his mother. Joe shoots the Sherritt but does not shoot the deputies. This scene looks really cool in my head. There's actually this really cool still though where we see the interior of the house. Joe is shooting Aaron as his mother and wife look on in horror. The inside of the house with its horizontal panels going up the walls and vanishing out of frame, look as though they could go on forever. The size of the panels and depth perception of the room make the conflict inside feel so small and petty. Whether or not it was intentional, this is my favorite shot of the film. And all it is is this still of Aaron Sherritt getting blown to bits by his childhood friend. It feels like there's a lot of emotion here and I really wish I could have seen this scene. After that, the police officers in Aaron's house tried to pursue Dan and Joe but they briefly take one of the Sherritt ladies hostage then bugger off. In actuality, Dan and Joe tried to set the house on fire after taking her hostage but said screw it and ran off since it wasn't working. Next scene, the gangs stick up a police station in jewelry because why not? They put on some uniforms and had themselves acquainted with the town by the other police officers. Dan takes out a telegraph pole so the communications will be stopped from going in and out of the town. Then the Kelly start messing with the train tracks with the help of plate layers. The plate layer works on train tracks for anyone who, like me, didn't know what the word meant. The Kelly gang hoped to derail the train carrying police reinforcements. They take the plate layers back to Glen Rowan Hotel where the other patrons, the Kelly team, took hostage talk about the incoming train derailment. Kono, a school master, tells the gang that the station master has a gun. A fight ensues and Kono is able to escape and warn the police. The Kelly start having a few beers with the prisoners when the police rock up it. It started blasting. Despite the presence of innocent civilians, one of them being the son of Ann Jones, the hotel owner. Wait a second. This is the same material as Sherrod's house. Charles, take you absolute hack. Then all of a sudden Steppenwolf shows up in his sky being to kill the Amazonians. Man, this footage is warped. This could have probably been some of the footage found in random rubbish tips that was salvaged to put this film back together. Then the intertidal spoils Joe's death. We can see a little bit of it. Civilians in their line of fire, the police don't care. I am actually genuinely concerned for the safety of these actors. A random priest named Father Gibney comes out and says, hey, don't. The cops ignore him. Gibney goes into their line of fire, but with Jesus on his side, he avoids every bullet. The cops decide to set fire to the building, which in the second video turns the screen red. So this is what fires look like back in 1906.  Wait, where's Ned? Father Gibney defies the Max Payne blood filter to save a plate layer from a certain agitation from looking at too much red. Ned escapes but comes back looking for his buddies thinking they're still alive, lol. Of course, he wears the epic metal-plated armor we all think of when we hear the name Ned Kelly. He kind of looks uncomfortable in it and probably shouldn't be dual-wielding when he can barely aim with one gun, but this looks cooler so I don't care. Ned is then attacked by a death grip's music video.  He falls to a tree stump and is surrounded by police officers who disarm him and take off the armor. They then take him into custody. So falls Ned Kelly. After this, he gets treated for his wounds, then is charged for his crimes. He says some words about life or something and then gets hanged in the old Melbourne jail. Good fun. You know, I really enjoyed looking at this. There's a lot to take from this in terms of staging, camera and narrative methods that still get used today. The inciting incident involving the main character, intervening in something that doesn't directly concern them and having to face the consequences of that. The three act structure, which I think goes from Fitzpatrick to Stringybark, young husbands to the Sherrod incident, then Glenn Rowan as the final act. Using authority as the villain, the romanticism of the outlaw against the corrupt government forces that would become a staple of westerns and anti-heroes stories in Hollywood from the 1920s onward. The story of the Kelly Yang is absolutely flawed, but mostly in terms of its presentation. It feels unfair to criticise the story since there is so much missing it's difficult to judge what's well written. All in all, I think it's more about the experience in the history rather than the film itself. I'd recommend giving it a watch, putting some Scott Joplin or the Red Dead soundtrack, watch it with a friend and have a few drinks. It's an impressive piece for something that was made in the rigidage of Greensboro in a matter of six months. Regardless, these 20 minutes, including the warped footage, still frames, dipping frame rate, all of it is better than the entire hour and 40 minutes of Toy Story 4. Thank you all so much for watching. This is part one of a series on a selection of Australian films that I'll be analysing casually for the purpose of exposing myself and others to more Australian films. If you're interested, I have a long form review of Toy Story 4 that's also on my channel. Leave a comment if you want any and all feedback, positive or negative is appreciated. I also have some music and memes on my channel that I like, I think they're pretty cool. Remember to water that houseplant you forgot about on your land room table. I may be projecting a bit for that one. Subscribe to Eagle Alanic and have a happy holidays or else.


I welcome members to the 21st meeting in 2015 of the Standards, Procedures and Public Appointments Committee and remind everyone to switch off mobile phones as they may affect the broadcasting system. We do have apologies from Dave Thompson today. Agenda item 1 is for the committee to agree to take items 4 and 5 in private. Item 4 is for members to consider the evidence heard on the Scottish elections dates bill, and item 5 is to consider a note by the clerk on hybrid bills. Do members agree to take these items in private? We are agreed. Agenda item 2 on today's agenda is for the committee to agree to consider in private at future meetings. A draft stage 1 report on the Scottish elections dates bill and draft reports and standing order rule changes on legislation and hybrid bills. Do members agree to take these items in private at future meetings? We are agreed to so do. That brings us to agenda item 3, which is for the committee to take evidence on the Scottish elections dates bill. Joining us today we have Joe FitzPatrick, the Minister for Parliamentary Business, Colin Brown, who is the senior principal legal officer, the director for legal service, and James Newman, policy adviser, directorate for strategy and constitution. Minister, if you wish to take the opportunity to make an initial statement, I would be happy to hear it. Okay, thank you, convener, and thanks for the opportunity to say a few introductory words about the bill before you this morning. As things currently stand, there will be a general action to both the Scottish and UK parliaments on 7 May 2020. This clash is undesirable for a number of reasons. Indeed, the Presiding Officer wrote to the Secretary of State for Scotland earlier this year, setting out her views supported by all the main party leaders, that it is imperative that an alternative date for the Scottish election should be set. The Scottish Government believes that it is important that voters know the length of the parliamentary term that they are voting on before they go to the polls in May 2016. That is why the Deputy First Minister and the Secretary of State for Scotland agreed a section 30 order that transferred the powers to the Scottish Parliament that enabled us to come forward with this bill. Given that the Smith commission has said about the powers in relation to elections in Scotland, it is absolutely right that it should be this Parliament that legislates for changing the dates. Turning to the bill's contents, it is a very short and straightforward bill. It proposes moving the Scottish Parliament elections currently scheduled for 7 May 2020 to 6 May 2021. By way of comparison, you will no doubt be aware that both the Welsh and Northern Irish Assembly general elections have already been moved to May 2021 to avoid the 2020 clash. Moving the Scottish Parliament elections to May 2021 would mean that it would clash with the local government elections scheduled for the same date. That is obviously also undesirable, so the bill proposes moving the local government elections scheduled for 6 May 2021 to 5 May 2022. I hope that colleagues will agree that the bill presents a straightforward and pragmatic solution to the clash of election dates, and I look forward to answering your questions. Perhaps the obvious first question is in proposing a move for the next but one Scottish Parliament election from 2020 to 2021. Why was the alternative of bringing it forward to 2019 not the one that we see before us? The proposal for a five-year term mirrors the current session, so we currently have five years. It also mirrors the extensions in Northern Ireland and the assembly of Wales and, of course, the UK Parliament. I think that a three-year term would be particularly short in parliamentary terms. We have seen that you have consulted with a number of bodies of one sort or another, which is a fairly obvious one. Did any of the organisations consulted with raise any issues with the proposals in respect of the change of dates for either of the elections? I think that the responses to the consultation were all positive in terms of a pragmatic solution to the clash, but I do not think that there was anything negative. There were no other comments, as the minister said. All the organisations that we consulted recognised that that was a straightforward and pragmatic solution to the issue. The policy memorandum talks about the Government undertaking a consultation on a permanent change to a five-year cycle. Perhaps the obvious question is why we are not doing that in this bill and at this time. The obvious answer is that we do not have the powers. The section 30 order specifically gives us the power for this election. Clearly a permanent solution is something that will need to be considered by a future Parliament, and it would be appropriate for them to look at that, both in terms of the Scottish Parliament elections and local government. That is appropriate at the time that the next Parliament will go. If the Parliament has those powers, of course, they have not come yet. Is it anticipated, therefore, that those powers would be provided by a further section 30 order, or are you anticipating a change via the Scotland Bill that is currently before the Westminster Parliament? As it stands, the Scotland Bill would give those powers to this Parliament, so if the Scotland Bill is passed and enacted, those powers would come to this Parliament. It would have been too risky for us to wait until the Scotland Bill is passed to make sure that we have those changes in place in good time for this election. That was agreed by both the Deputy First Minister and the Secretary of State for Scotland. I am given to understand that the royal assent for the Scotland Bill, assuming that it runs to its present timetable, is likely to be in something like June. In other words, after the next session of the Scottish Parliament has commenced, is that the Government's understanding as well? I think that the risks around when that is going to be enacted would have been very difficult for the changes that require this very technical change to be made after that Bill, which is why the agreement was made to give us the specific powers of the section 30 order, which was agreed by the Parliament unanimously, as the right way forward. Have you come to a conclusion as to when the consultation on permanently changing the rate might take place and what the format might look like? That would clearly be a matter for the next Parliament to decide in terms of the way that should happen. Obviously, the consultation will need to happen before that. We need to include local government, of course, because I think that it would be very likely that the next Parliament would want to look at both the Scottish Parliament elections and the local government elections in parallel, the same as we are doing with this Bill, in order to find a permanent solution. I suspect that, from what has been said, we already know the answer, but I will ask it anyway. Does the Government have a view on what the cycle should be for the two elections in question? There is a strong argument for five years, however, that would be a matter for the next Government. We have a piece of correspondence from one of our members in Parliament, Dr Richard Simpson, who used the word interesting suggestion that one of the things that could be considered is having European, local government and Scottish Parliament elections all on the same day, and he suggests that there might be mutual benefit to that. Is that something that is either being considered or will be considered? I think that that is something that should be resisted at all costs. We have had the experience in previous elections of having more than one election and the conclusion that the Parliament came to universally was to agree with the Gould report that that was not desirable. One election would always supersede the other, so I think that that should be resisted at all costs. It may be worth saying, and I am not seeking and saying this to formally speak on behalf of colleagues, but informal discussions suggest that perhaps there might be some appetite for revisiting that decision made after the 2007 election. I just put that in the record for the minister's information, rather than an attempt to open up a discussion at this time on the subject. Interestingly, the clause in the Scotland Bill would prohibit such clashes, right? Oh, that is so interesting. Yes, and that is the recommendation from the Smith commission. Oh, well, that might not stop people—perhaps even myself, who is not a huge enthusiast for separation of these elections from bringing that up at a future date. However, that is for another day. Anything else that any member wishes to ask, and any concluding remarks that she wishes to make? I think that that is just a pragmatic solution, and hopefully the committee will support it. Minister, without anticipating the contents of our report, I do not think that we have heard anything today that is alarming the horses, so let us put it that way. Thank you very much, minister. We will suspend the meeting briefly. In fact, is that correct? We are moving into private session. I beg your pardon.


Welcome everyone to the Learning Loop Podcast where we provide powerful insights and trends into education. I'm Chris, your host. Today's special guest is Jennifer, a first grade teacher in California and a newly published author. Today we'll be talking about how CESA enables deeper learning and facilitates strong teacher practices in the classroom. You're going to want to listen in because this is a Can't Miss episode. Jennifer, welcome to the show. Thank you so much for having me, Chris. Of course, we are so excited. We just know that your expertise in this field is so powerful and I'm so excited to hear all of your amazing answers. We'll start off with kind of a generic one, one that just kind of sets the stage around technology in classrooms. What role does technology play in your instructional approach and how do you really think about effectively integrating it in your classroom? Great question. So, as a primary grade teacher, we're all about technology, balancing how much we're on technology. However, it's really essential to include technology. A lot of times I'll think about how I use it and I want to use it in a way that is really focusing on the pedagogy and meeting the needs of my students while also giving them a voice. I don't want them just doing busy work on technology that's the same thing as a worksheet to me. So when I think of technology, I really am trying to think of, okay, how is this going to make learning better? How is it going to give my students more voice and showing what they learn and how is it going to be making things more accessible for them? It's amazing. That's really, you're speaking to like passing the baton to students, letting them really just own a lot of that learning. I'm sure even your first grade students are recognizing that and starting to feel that empowerment in your classroom. It's amazing, especially using CESA obviously because it's so easy to just embed more student choice in the activities, which automatically increases their engagement and learning. Yeah, so good, so good. You led right into my next question here. Speaking more about CESA, how has CESA specifically made an impact in your classroom or in your teaching practices? This could be an episode all on its own, I feel like that question. Just even thinking about, I've been using CESA since almost the beginning, about eight years I've been on CESA, pretty much it was my second year teaching that I started using it. It has changed so much. First of all, just with honestly even just connecting families and really bringing them into the classroom, that alone, just having that ability to be able to do everything in one place, letting students share. In fact, today we were doing an activity that talked about like, how are we communicators because that's one of our learner profiles being in an IB school and a lot of the kids said, oh, we use CESA to communicate to our families to show them what we're learning and it was just amazing because it's true before using that, it was a lot harder to show families really truly what we were learning without having them physically in school. Right there, that family connection and really showing that we're a team and working together. The other just amazing things are, I love CESA's microphone tool, Ben, Coxwell and I were always talking when we present together that the most magical button on CESA is the microphone because anytime we can get our students to add their voice to what they're doing, it's just magical, especially when we're thinking about just like English language learners, too, and meeting those speaking and listening standards and just making learning so much more accessible for them. But it has changed everything. Like how I do things, first grade, I know a lot of teachers do calendar time and pretty much have eliminated calendar time because I do a whole morning message thing on CESA or I get students doing different things on that. I don't do homework anymore just because they can do so much with CESA in class. And so it has completely changed everything, honestly. I could do a whole episode on this. We could talk all about the changes in all the different areas. So amazing, so amazing. If if you had to potentially ask your students this question, like what would be their favorite thing that they would say about CESA? I think one of the favorite things that they would say is how much choice they get and how they show their learning. So it's really interesting to me, like even just with simple, like if we're going to draw something, they can choose if they want to use the tools on CESA to draw or if they want to draw on paper and take a picture of it. No matter what activity we're doing, whether it's something super simple or something that's more intense and more of a project, they have choice throughout the whole thing. And I think they love that. That's probably their number one thing. For sure, for sure. And it speaks to the way that you're really emphasizing your classroom within CESA and how you really are empowering them to choose the tools they want and allow them to just use all of the CESA multi-modal tools to express what they're starting to understand and learn through that. So I think it's you're speaking to that powerful play between you understand what the platform can provide and balancing that with what your students are craving and really what's best for students learning in that. So that's that's an awesome balance and awesome testimonial to hear how you're really striking that. They also just another thing they love. They love the recording and moving things at the same time. So if we're doing anything in math, especially where they have to manipulate, like use manipulatives, they love getting to record and do that, even doing phonics things, recording and sounding at words. They love seeing how something like that then becomes a movie that they created. So that's also something that they just love doing. They ask me to do that all the time. So fun, so fun. I remember hearing some testimonials of that where students then would say at the end, like, don't forget to like and subscribe, like they're YouTube stars or something like that. But 100 percent, the students and they just really love that. They they they feel that publishing and sharing that out, that authentic audience they have with it. Such a powerful space inside of CESA. And CESA has the like button and everything ready to go. They sure did in the comments. Same thing. I want to keep diving into CESA a little bit, but spin it a little bit more into like instructional practices. So if you had a student who might be disengaging from learning or who might just need a little bit of a boost, what kind of things have you found to be helpful that you do inside of CESA to really re-engage that student? You know, I'm thinking right away right now on one of the things that's often not engaging for students is phonics instruction. A lot of us, a lot of times we do like the different phony mapping journals and a lot of my students will get completely disengaged during that time. And so I kind of thought to myself, how can I make this more engaging and honestly also focusing more on critical thinking rather than me just telling the students the sound? How can I really involve some critical thinking? Because if we spark their curiosity and we don't just tell them things, they're going to be more engaged. And so what I started doing actually is like, say we're going to learn about the long eye with the silent E pattern. I won't tell them that. I will just show them like a slide in CESA, for example, I'll just have a page in CESA where I have different emojis or different pictures of things that all have the long eye sound. And I just ask the kids like, hey, when you see this picture, what do you think? What sound do you think we're going to be learning about? And so they start to like look at the pictures and think about it and see what they have in common. And the first several times we do this, it's not as easy, right? Because they've never done it before. But all of them are engaged because they all want to solve the puzzle, right? Rather than me just saying, hey, we're learning about long eye this week, where five kids might not be listening to me. If I actually am asking them to tell me the pattern, they're automatically more engaged. And then after we find the pattern, then on the next page we have like an emoji that's hidden. And we start to use the eraser in CESA because it's hidden just by using the pen tool. We just cover the emoji with the pen tool. And I start to erase it. This is like all during instruction. So the kids are sitting on the carpet with me. And or they have their phoneme journals because I am required to use those. But now I'm doing it in a more engaging way. And I start to erase the emoji and I have these kids again, start guessing. What do you think it is? What pattern does it have to have? What sound are we looking for? And so they'll start guessing and then I will erase it and we'll see who was right. And then we sound out the word and write it and do this whole animation with it. So I'm still teaching, but I'm using a lot of the CESA tools to engage the kids and get them finding the answers and them telling me, rather than me just saying, oh, the word is a bike. Let's all sound that out. Instead, they have to be looking for clues and think about what it could be. And anytime we can get students to do actually more of the thinking, they're going to be more engaged. Absolutely. And not only more engaged, I would also say they're going to remember it more and enjoy that experience as they go just because they were the ones who came up with the idea more or less. You know, they kind of figured out how to get there. So that's amazing. I'd love that testimonial and doing scratch and reveals like you were talking about are probably my favorite ways to engage students as well. Super, super fun. I think you just do little parts and you really make them think, hmm, what could this be? And tying it into the phonics, it just makes it more engaging. And I've seen huge changes in just, even my students who don't like writing the letters as much, especially, you know, students with different disabilities that that's a kind of a hard thing for them, knowing like that they're getting to do this on CESA after. Because after we do it in our journals, they put their journals away and now they get to go and again, animate it. They get to move the emoji and sound out the word and all that. Then they're more likely to do it because they know they get to do something really fun with it after they learn. So, so fun. I want to ask you another question just on differentiating instruction there because we're on the track of how do we support all of our learners? What are some of your go-to ways? You can share like two or three strategies that you use CESA to differentiate your instruction for those students. Probably the number one thing that I do is I do a lot of what CESA allows you to have like so many voice recordings on one page and then you get lots of pages, right? So a lot of times, let's say I'm doing something that I know some students might be struggling with, especially like parts of speech. If we're doing like nouns, verbs and adjectives and then they have to use them in a sentence, I just add a little voice box that says if you need help, click here basically and it clicks, they can click and listen and it will resay, remember a noun is a person, place or thing. An adjective is a word that describes and so that right there just having that be there for students who do need it, that's probably my number one. The second thing is I don't always assign the same activity to all my students. So especially like you said, I'm a newly published author, one of the things we talk about is math reps a lot and I don't always assign the same math reps because some of my students are mastering all those standards earlier than others. So then I might give some of my students a completely different one than another one but they're still working on first grade standards but they're working on different standards they need help with. So assigning different activities for my different students and I haven't figured out the best way to group them like so I can quickly assign but one thing I do that does help me is I just add like a little emoji or color to the end of their name like a purple or a green square or something. So I just know, okay, all those kids are gonna get this activity, all those kids will get this activity so I can kind of do it a little quicker. Those are probably my two favorite ways to differentiate is adding voice for helpful hints I like to call them or assigning different activities to meet the different needs of my students especially if I'm doing fluency reads, things like that I'll assign the fluency passage at that group's level rather than just the whole class getting the same thing. Absolutely, amazing, amazing. And I would also say that, as you talked about all those hints and all those tips that come with it all those are just the intuitive parts of CSAS that go. So I think that you've naturally picked up on the design and the purposefulness of CSAS and how that really has been built to try to marry what teachers are looking for to support all their students as they go into their classrooms. We have two more questions left and I'm gonna ask you now a question which is our loopy question. This is just a silly question we ask all of our guests here. So if you could switch places with any animal for a day any animal even if it's an extinct animal which animal would it be? It would be a shark because you can go and explore like the deepest parts of the ocean that no one can see and you'd be safe.  My students would know the name of it like a mega something. And I would do that because I would just think it would be so cool to explore something no one's ever explored before but knowing that you're safe to do so. Amazing, amazing. That's such a good answer. And I probably would agree with you because I love to be in the ocean and exploring that. So super, super great insight there. And like I said, top of the food chain so nothing's gonna be taking you out. I would be safe, yeah. Cause I don't like to do that cause I'm scared of sharks. So if I was one, then I wouldn't have to be afraid. Me too. Awesome. But we're gonna ask just one more question here as we start to close up our episode. If there's someone listening, they heard all these amazing tips. How does this person who's like maybe brand new to Seesaw, how do they get to this point when they're like you? They're like a Jennifer Dean who's just killing it. They wanna be a published author someday maybe or they're working on it. What kind of things would you tell them to start with in Seesaw so they can get to that deep implementation like that you have? I would say start small and don't put too much pressure on yourself. Start with the activities that you are already finding in the library that Seesaw provides, whether it's the community library or if you're a Seesaw for schools member and you have access to Seesaw's library. Just start with some of their stuff and explore. Don't be afraid to play. That's another thing, right? I tell my students all the time like, hey, I have not tried this before. It might not work. If it does though, I mean to learn and I'm gonna figure that out. But I would always say like that. Start small, start with what's already there. And then as you feel like you're getting comfortable or as you see your students getting comfortable, then start trying something new. One thing I always tell people is honestly, just start by taking pictures of what you're already doing or having your students take pictures and just recording. Just getting them to add some voice to it because that's not that much change for you. And then as you are like, okay, I got that down. The kids got that down. Now think about what tool you wanna embed next. Maybe you wanna try drawing and recording. So start small, use the library. It's amazing. There's lots of great stuff in there. And then don't be afraid to make mistakes and learn from those mistakes just like we tell our students, right? Absolutely, so good. My favorite thing you said there was when you see your students getting comfortable with the platform. I think that's such a great insight and one that is allowing students to travel on that journey with Seesaw with you and just giving them exactly what they need in your classroom as you start to coach them through technology and through the rest of their years. Love it. Chances are the students will pick up on it even quicker than you can and they will start to be ready for the next thing which will then make you ready for the next thing. So just go with it. Go with the flow and just keep trying things out. Absolutely, absolutely. Well, we're gonna close things down. Jennifer, I just wanna say thank you so much for being here. I know that you're incredibly busy, not only teaching but also getting ready to launch this book. We are beyond excited for you and beyond excited that you joined us here today to share your expertise. Thank you, thank you so much. Thank you again for having me.


and welcome to 3 p.m. Update with David White. We'll have Larry Pesavento in three o'clock hour coming up in just a minute. We're kind of bouncing around right now after the Fed came out with their decision. We got to a high of 41 14 on the S&P cash. We're right about that 41 10 right now. Again a lot of moving pieces earnings out after the bell tonight. We're probably we got about generally about another 15 minutes left of the Fed taking questions and answers which he could put a foot wrong and stand on a landmine but so far so good. Again you want to keep an eye out what how the market closes. Now to tomorrow morning we have the ECB coming out. Of course after the bell tonight we've got a lot of big heavy hitters with Amazon, Apple, Google, Ford, Qualcomm, Starbucks, Gilead Sciences, United States Steel, Clorox, Skechers. So there'll be a lot more going on. Don't get too fixated but more than likely we're going to have some fun buying. The question is is going to go into NASDAQ stocks. Is it going to go into S&P or the Dow's? And you know any more talk about lower interest rates generally going to help the Dow at one point we were down about 400 points right after the announcement about flat right now NASDAQ's up about one and a half percent compared to about eight tenths of a percent on the S&P cash. So just know there is a ton going on and there's going to be a ton continuing and that generally the problem with trying to catch what I think is going to be a blow off top probably in the next couple of days here is having the patients to wait if you're thinking about going short. If you are a very short-term trader we've seen exactly what you want which is a lot of people lining up to get short and generally they're going to be three hours, three days, three weeks or three months early and getting short. Don't be three. Just hold your breath for a while. Anyway wait for Larry Pesavento coming up and sitting in for the one and only Tom will cry at the day.


So, in the last video, we covered three mining engineering universities on the west coast of Canada, and they were the University of British Columbia, BCIT, and University of Alberta. And in this video, we'll cover the five schools on the east coast, which are University of Toronto, McGill, Queens, Laurentian, and Dowelhouse. So starting off with University of Toronto, they are a very strong school academically, and they consistently rank within the top 30 schools worldwide. A four-year bachelor's degree for international students who cost $241,000 Canadian dollars, and you need an overall IELTS band of 6.5 with no band below 6.0, or an internet-based TOEFL score of 100 with at least 22 on writing. As one of the top three schools in Canada, graduates have placed well in jobs all around Canada. Since Toronto is the finance capital of Canada, U of T is a good school to go to if you have an interest to work on the financial side of the mining industry. For the M&H Core Space Masters, or the MASC Thesis Space Masters, they are offered in conjunction with the civil engineering department, and you can choose to specialize in mining engineering. To gain admissions in these programs, you need a minimum GPA of 3.0 out of 4, or 75%, and a 93 in TOEFL with 22 in writing and speaking, or 7.0 in IELTS with at least 6.5 in each component. The full-time tuition fee for a masters program will be $61,000 Canadian dollars. This is McGill, which is also one of the top three schools in Canada, and they typically rank in the top 40 schools worldwide. The 4-year bachelor degree program will cost $197,000 Canadian dollars, and you'll need a TOEFL score of 90 with at least 21 in each of the testing area. For IELTS, you'll need an overall score of 6.5 with individual component scores of 6.0 or better. For a masters degree in mining engineering, which can be thesis or project-based, you'll be paying a fee of around 28,000 Canadian dollars. To be accepted, you need a minimum CGPA of 3.0 out of 4, or a GPA of 3.2 out of 4 in the last two years of full-time studies, and as well two letters of recommendations in addition to meeting the English requirements, which requires an overall score of 86% for the internet-based tests, and no less than 20 in each of the test areas. One thing to note is that McGill is in Montreal, which is a bilingual city, so while courses are taught in English, sometimes you may hear classmates or people around the city speak in French. Up next is Queens, which is located in a city called Kingston, which is 3 hours away by car from Toronto. The four-year bachelor's degree will cost $203,000 for international students, and like the other schools, you'll need an overall score of 6.5 in your IELTS with 6.0 in each area, but for TOEFL, you'll need an 88 overall with 24 in writing, 22 in speaking, 22 in reading, and 20 in listening. If you're interested in a graduate degree, you'll need to pay around 20,000 Canadian dollars, and typically you'll need a bachelor's background in a related engineering field with at least a B minus average. The TOEFL requirements are the same, but for IELTS, you'll need an overall score of 7.0. While Kingston is a small city with a population of just around 125,000 people, it is a tight knit environment since students mostly live just by the university, which leads to a strong and vibrant student community. Moving on to Laurentian, you're looking at $135,000 for a bachelor's degree and $29,000 for a master's degree. The TOEFL requirements are 88 overall, and IELTS is 6.5 overall with no band lower than 6.0. Laurentian University is located in Sudbury, Ontario, which is a hotspot for underground mining companies such as Valais, Glencore, and more. Sudbury is also home to many firms that are dedicated to the research and development of new mining technologies such as Mining Innovation Rehabilitation and Applied Research Corporation, or MIRACO for short, the Northern Centre for Advanced Technology, or NORCAT, and the Centre of Excellence in Mining Innovation, or SEMI for short. Last but not least is Dow Hellsley University, which is located in Halifax. The bachelor's degree program will cost $126,000, while the master's will cost around $23,000 Canadian dollars. For the TOEFL IPT, you'll need a 90 and 6.5 overall for IELTS. Even though Halifax is one of the most eastern cities in Canada, graduates are still able to get jobs all around Canada, including as far west in Alberta such as in the oil sands companies. So that's it for this short video series, hopefully you learned more about the Canadian Mining Engineering University landscape. As always, if you have questions, leave them in the comments below, and we'll see you next time.