We're live. Hello, friends. We'll get started in just a moment. Thank you for being here tonight. We'll get going in just a moment as we wait for the room to fill a bit. Hello. Welcome. I'm Anissa. I am your librarian host tonight. And if you've ever been in a program with me, you know, I share a document of the links for tonight's event which lead back to library events and to our presenters. And I know tonight the resources are going to be flying. I always try to keep up. And this is a live document. So any books, any music, any records, particularly if we can link them back to San Francisco Public, I will add those to our document so you can just pick up that one link and find all of the great things about the library and about tonight's discussion. And I will continue to throw that in as we talk. All right. So thank you all for being here. I have, I'm very grateful to both Justin and Daphne for being here. Justin knows that I wanted to have Daphne in the virtual library or in person, which that still stands. Whenever you come back to the Bay Area, Daphne, there is a spot in person for you at the San Francisco Public Library. I hear that. Yes. So I'm really, really excited that we can make this happen. And this is part of June is Black Music Appreciation Month. If you didn't know that. So this is part of that celebration. And part of our gigantic summer stride, which is not just for kids. It's for all ages.  Our library does want to acknowledge that we occupy the unceded ancestral homeland of the wrong mutitial lonely people, who are the original inhabitants of the San Francisco Peninsula. We recognize that we benefit from living and working on their traditional homeland. And as uninvited guests, we pay our, we wish to pair our respects to the ancestors, elders, and relatives of the wrong mutitian community. Right now, I'm going to throw in the chat box some great links to where you can do this interactive map to find out what territory you're, you're occupying at the moment where you're staying. And a great all women led organization out of the East Bay called Segorte Land Trust and they're working in the land back movement and they are fierce. So check them out. And just some upcoming events happening are on the same page, which is a five month leave read at San Francisco Public, where we encourage you all of San Francisco to read the same book at the same time. This is our May, June selection, long with the tribe of the fatherless girls, a memoir, also fierce. Check it out. It's at all the libraries right now. You could walk in and find it on the shelf. Mini copies available. And T-Care Madden will be in Combo on June 21st with Matthew Clark-Davidson. We have bestselling author, award-winning Sarah Novick in conversation on Tuesday, June 13th in the virtual library. And Sarah's going to be discussing her book, True Biz, with a Q&A to follow. And this book is really about Sarah on writing and connecting with the deaf community. SFPL has a deaf center. So if that's a service you know that you need or someone you know needs, we have that at our library. We are partnering with the Writers Grotto, the San Francisco Writers Grotto all summer long. So June, July and August we have virtual events lined up. Come check that out. On July, June 27th we have Louise Nair and Salah Karest searching for home. And then one last thing I want to tell you all about because it's going to be so fun and I really want you all to come out. July 15th out at the new farm and that's out 10 Cargo Way down by Heron's Head Park in Bayview. And it is a gorgeous place. There's goats, there's chickens, free range running around. It's like the perfect place for family. You can just let your kids go and like be fine with it. But it's also a great place for all ages. It is a really community gathering. There's going to be music, the bookmobile, free books for all ages. We're going to have a few artists out there doing hands-on arts and crafts and getting creative. Two bands including Filipina Young Ladies rocking out and we'll have Ashiba doing some Caribbean music as well. So it's going to be a fun day, 12 to 5 July 15th. Don't miss it. All right. And with that I'm so excited again, like I said, to have the amazing SF royalty in the house. Dr. Daphne Brooks and Daphne is going to be in conversation today with Justin DeMong who is the chairman of the Before Columbus Foundation and the administrator of the American Book Awards which will be coming soon. All right. I'm going to stop sharing and turn it over to the both of you. There's going to be time for Q&A. You can start now if you'd like to put it in the chat or in the Q&A function and we will do those later. Welcome Daphne Brooks and Justin DeMong. Oh thank you. Thank you so much Anissa and again thanks to the San Francisco Public Library for their continuing support programs from the Before Columbus Foundation. It's a great pleasure and honor to welcome Professor Daphne Brooks of Yale University this evening. Daphne the author of liner notes for the revolution the intellectual life of black feminist sound. Daphne as a reader of your extraordinary work I came to it initially from a background not just of a literary scholar but primarily as a DJ spending many decades on the radio in San Francisco and Davis Oakland Berkeley Sacramento and reading the result of prodigious research and bringing with it such illuminating and abundant insight as you do. I must say it was like coming across an oasis in the midst of a desert and getting a long drink from the fountain of youth I'll tell you and part of the reason why it was such an enlivening and continues to be such an effervescent experience to share the work that you've brought our world is the fact that you excavate and revive and resuscitate so deeply within the tradition of the music and the culture that you describe that you direct our attention to and I I'll just say before opening up the conversation that I think most of us would acknowledge that no music has so thoroughly transformed the social political economic and spiritual spheres of our existence on planet earth as the great black music that we know today as blues and jazz and the many names of its children and its godchildren and so I want to begin our conversation by turning our attentions to that excavation which you have embarked on with so much as I said illumination, prodigious study but also tremendously charismatic and persuasive prose very elegant musical writing style and this excavation that I'm talking about brings us into the archive of memory and sound but when we talk about memory and sound and black music we're also talking about something that within the context of the united states of america and indeed the new world involves a bit of trepidation since so much of this memory has been deemed off limits not to be discussed not to be encroached on and this is particularly true when it comes to the lives of black women so welcoming Daphne Brooks this evening and beginning there Daphne could you share with us some of the challenges and difficulties in plumbing this archive and resuscitating these images which are so crucial to our inner and outer life well thank you first of all Justin I want to thank Anissa I want to thank the San Francisco public library for hosting this event for welcoming me for you know championing this book I would be remiss if I didn't point out the fact that this book is a love letter to the San Francisco Bay Area to the libraries that fed and nourished me to my late parents Nathaniel Hawthorne Brooks who left this earth 20 years ago this June 16th and Juanita Catherine Watson Brooks who left this earth this past February on the 18th of the month which is Tony Morrison's birthday it's a love letter to my older siblings who created a path of their own in the Bay Area my sister who is a beloved icon in Bay Area popular culture and media culture I say all of this to point out the fact that you know music is the social fabric of our lives as you've suggested here right and the social fabric of my life was an amalgamation of the music that was bequeathed to me in my family home and through the kind of journey that I took falling in love with books and music at the same time and so that that the richness of that world was something that buoyed me up and also served as the kind of historical memory that I couldn't always get in the classroom and I was I was quite lucky to have had great teachers starting in the San Francisco Bay Area Peninsula and Menlo Park, California, being a proud UC Berkeley alum the late great Barbara Christian the first black woman that would be tenured at UC Berkeley pioneered black feminist studies there were a lot of things in my world that allowed me to have access to the kind of the the historical prodigiousness of black life that I wasn't always getting from the institutions around me so I want to really emphasize that and say how grateful I am to all of that and I guess you know there were so many challenges in writing this book but I think the one that stays with me and that I like to talk to my students about at this point is the style of writing that I decided to pursue in this book and the importance of trying to get my arms around many different readers who I wanted to be in the room with it wasn't going to be an adequate endeavor if I was just writing an academic book for my colleagues at Yale at Berkeley etc etc and it wasn't going to be adequate if I was only writing to the the public-facing audiences that I engage with through a variety of different press outlets pitchfork the new york times etc etc I needed to be able to cultivate a kind of voice that could hold all of those audiences together and to be able to translate a multiplicity of ideas about black women's musical genius so that the rolling stone reader understand something about black feminism and my black feminist readers could understand something about rock and roll history and the importance of black women to rock and roll history so that was just a piece of it but that was a challenge for me and it was a challenge that I really embraced and relished the archival piece of what I went through with this book was a 12-year journey and you know I think we know enough now in scholarly studies my wonderful colleague at Columbia used to teach at UC Berkeley the great city of Hartman has shown us so much about what it means to to go into archives and to find all sorts of gaps and silences you know because we didn't get to build the libraries for ourselves you know we didn't we we were collecting especially someone like Zora Neil Hurston was collecting right but to be able to preserve you know our cultural forms our music our our our traditions of storytelling we had to do that through our vernacular practices and so when I was entering into archives to try to research more information about black women musicians in particular you know I was faced with having to think counter-intuitively often because you don't always get their voices right you get the voices of everyone who is handling them whether it's through the recording industry or especially through the music critics who had all sorts of ideas about black women musicians and who were more often than not obviously historically not black women themselves so trying to to piece together the authenticity and the truth of their experiences and the excellence and quality of their innovations was something that I wanted to think creatively about being able to bear witness to since their voices were sometimes not always but sometimes missing from the historical record what one of the great harvests that a reader finds with this book and I think it's conveyed by also the prose style which you mentioned a few moments ago which has a buoyancy and a swing if you like that lets us in on something that is so critically important to the larger project and we'll explore this idea further as we go along and it has to do with the the source of will and intention but commingled and interpolated with the imaginary to set a horizon on freedom that includes not just the sensuous experience of the singer or the songwriter or the composer but the entire world in which she is occupied and this has to do with again I'll get back to those points the intention and the will but as a kind of alchemic design with the imagination to set that horizon on freedom and move so much of this is about I think when we were talking just the other night if we were having this in person we would want to have a dance element that's a culmination of the whole thing yes so so I so I want to return to that about this alchemy of will intention and imagination the possibility of the practical form of freedom that's being expressed by the many women that you focus on and and the end the this oscillation between the inner and outer life where these artists not only see themselves as individuals but as a necessary and urgent part of a collective experience that they they designate and share in their artworks could you talk to us a little bit about that definitely oh sure yeah I mean I think I also so appreciate you know the observations that you're making here just and I want to hold on to this idea of you know how freedom manifests itself and in performance more broadly but especially in black radical tradition performance and that is always rooted in you know the the adventure of improvisation right the ways in which one is able to play through the changes and to navigate you know what is the unpredictability of life and that is you know the the black experience and to be able to to lean deeply into a kind of well of of invention that can transform you know and transfigure according to one's relationship with a broader community you know so the concept of the ensemble and jazz music culture and more broadly in black music culture I would argue in popular music culture is one in which you were always thinking of yourself as my friend Fred modan has put it as a soloist as opposed to a self right a soloist is is not is not a single self is what we always teach our students right if you're a soloist you are constituted by your relationship with the other players right in the ensemble and so to go to the the question that you were asking at the end there I mean this is this is the ways in which the musicians that I'm you know really embrace in this book the ways in which they were building repertoires that were rooted in relationships with other musicians was something that I really wanted to pay attention to and again to bear witness to and you know I had grown quite irritated with the ways in which popular music culture had and popular music criticism in particular had become invested in this idea of the exceptional and the singular right and we know there's all sorts of gendered and problematic ways that women especially and women of color performers have been talked about as divas and um the the kind of um perversion of that term um within the context of capitalist culture as being deeply individual and self-absorbed and narcissistic etc etc as opposed to the roots of the term as it relates to you know opera virtuoso right so that's a whole another conversation but I wanted to also to to be able to think of these musicians whether it's um Aretha or Beyonce or or Zora Neil Hurston or Mary the Williams or Abby Lincoln as being connected to a long history of listening to and being invested in a tradition of black women's musicality that they were carrying forward and bodying forth you know they're operating themselves as archives of historical memory I mean I've argued this many times now in my work that Beyonce is extraordinary for so many reasons um but one of the things that she's done because she had the privilege of being able to do it and I think she would be the first to say that is to operate as a kind of a conduit of historical memory for all of the black women performers who came before her there are many famous performances that she gave in which you know she called attention to that including moment of silence for Tina Turner her performance of the Grammys with Tina Turner which actually upset Aretha because she referred to Tina as Queen but that gets us into a conversation about divas again in more problematic ways but um you know I think she is such a powerful example of what the the 21st century um popular music industry with um you know all of its all of its problematic socioeconomic and um gendered and patriarchal dimensions it has still um created the conditions for someone like a Beyonce to be able to actually take hold of it and to manipulate it in a way that um you know history is so central to her repertoire and the history of black women's musicality is is something that she again bears witness to in her repertoire um so that's just one example of these connect the connective tissue that we can imagine these black women musicians as um holding onto and their relationship to other musicians and and this strategy of looking towards uh pre-columbian pre-european antiquity yes to the religious sources of inspiration and revival and resuscitation that have always characterized the great gift of black music in the new world and I and I would emphasize that that spirituality which is still so vibrant in the music today and has been for so long was never meant to survive in the first place I mean the the idea that african spirituality would be something of a deep wellspring and substance and imagination is a contradiction to the theological proposition of slavery in the first place and so when you delve into these areas which you you do so elegantly you help us to understand that and and one of the gifts of this book uh in in examining those details which I outlined all too briefly just now is that you you help the reader understand that there indeed is a difference between the recording which is in fact incidental to the ritual of the music itself that the music itself and its performance hey you know what this would be happening anyway we already do this we've been doing this for hundreds of years this this microphone and the wires that's okay but but but this is actually part of something else and you really help us understand that uh so vividly you know in in response to some of the economic and social violence of the music industry I would just remind you know casual listeners that those are awards for recordings recordings of music that actually deny uh as you help us understand more fully the deep wellspring of uh inspiration and spirituality that actually informs the many rituals which are unfolding in the the great uh black music could we pivot to that a bit I'd like to hear more of your your thoughts on that about the the critical difference between a recording as an archive and the actual music which is an expression of the culture from which it emanates and and how there's there's actually contradictions that deserve serious exploration there could you talk to us about that well I think that Zora's work as well first of all she was a polymath I mean people know her best as the author of one of the greatest novels of all time they're as watching god um but she was also a playwright and an anthropologist um she was a musician she was um um a multifaceted performer she was a diaspora historian she was sometimes we can think we're as a libertarian she was she was a contrarian she was she was a she was an outlaw um and I and I I love her pieces um but you know one chapter of the book is trying to really pay close attention to her fieldwork recordings that she made in the 1930s when she felt that it was very important to capture the sounds of um black sonic life in the south um in the early to mid 20th century um because she felt that you know um black vernacular practices um as a result of the great migration as a result of industrialization as a result of ongoing colonization um were were in a state of precarity um that they were fading away this was not an um an idea that was um zora's solely she had other harlan renaissance um brethren like gene tumor who wrote um in cane of the same kind of anxiety of um you know the the um the the the the quickly dissipating um forces of of black life cultural life um that were being affected um by so many other external pressures so the recordings were important um but she always made a point of arguing that they were not they they were they were in no way going to able to capture literally and figuratively um you know the fullness the complexity um the multifaceted components of black performative expression um what she did hope to do though was to um produce documents you know the kids would call it today receipts for her her northern colleagues at colombia and barnard her um alma mater that could really emphasize um that there was an entire lexicon of you know expression black cultural expression that was um deep and contradictory and um required great long lasting rigorous study and this was of course you know to intervene in um the the fetishization of of um black cultural life and black folk life in the 1920s and 30s you know resulting in you know um the rise of the primitivism movement and productions such as porgy and best which is i'm writing a book right now about porgy and best so then i will say i'll go on the record and saying that i believe that their eyes watching god was actually a a long-form rejoiner to porgy and best it was an interventionist rewrite of porgy and best but i i digress the point is that the recordings were important to her as um interventions in dominant intellectual culture but she she always emphasized that um black expressive life was fugitive that it could not be held and contained as you've suggested you know by any one tape recording um and that you know there were there are tracks you can listen to them if people want to go to the smithsonian website you can hear zora singing um you know making these recordings and there are songs that she was collecting in the field in which as she describes them on the recordings to her you know anthropological colleagues there this is a song that you know has 400 or more authors and it changes from town to town it changes from city to city so for her it was a matter of being able to contrast the recording with the scale and depth you know of black life that was that was kind of you know the eye the irony of what she was doing with her recordings was to call attention to everything that was not there i think what you're saying is of enormous monumental importance and it brings up many many different facets of of the book and some very long-standing arguments in the west anyway about aesthetics and their relationship to ethics beauty and their relationship to morality and very pointedly orality in its relationship to literacy literacy of course being something like a recording that is fixed when it's capable of pausing playing back turning up turning down whereas or orality and the methods of orality that are strategized and performed allow getting to the point that you were making about zora for a more supple and pliant interpretation of what is perhaps the same story of the same song perhaps ancient in its wisdom and characteristics but within the black american culture throughout the diaspora of the hemisphere can be used then as she shows us and as you have in this work to address the immediate circumstances the immediate material and spiritual circumstances of the singer the song and the environment that they're in i because it's not fixed because it because it is oral it has this capacity for illuminating the present moment in a way that a recording or a what's called the literate text could never actually do and this contrasts not just different ways of knowing and transmitting knowledge but more largely linear versus nonlinear organizations of time and space so could you talk to us a little bit about that now you've written a quite a bit about it in the book but i think this is an important point to amplify because you mentioned barbara christian and she addresses this as well about how because of this supple pliable buoyant welcoming nature of orality as a way of expressing knowledge in ways of knowing uh there's a a lot of barriers that are immediately broken down to inner histories and personal histories with black women that would otherwise be sequestered or suppressed so could you talk to us a little bit about that did you say a little bit more just in about what do you think about in the book i'm curious that that brings you to that oh okay well i can hear let me get to this particular quote from barbara christian uh-huh um our beloved barbara christian beloved from but now forgot um let's see here okay uh so i'll i'll read directly from your text here uh and this is uh in commentary about the great composer and pianist mary lou williams to call her a theorist then is to be reminded of barbara christian's revolutionary claim at the height of the 1980s academic canon wars that quote people of color have always theorized but informs quite different from the western form of abstract logic she continues and i'm inclined to say that our theorizing and i intentionally use the verb rather than the noun is often in narrative forms in the stories we create in riddles and proverbs in the play with language because dynamic rather than fixed ideas seemed more to our liking how else have we managed to survive with such spiritedness the assault on our bodies social institutions countries are very humanity yes so it seems to me uh you know again here you're helping our your reader understand how these modes of expression of in ways of knowledge that come through the culture and the music are unique to the form itself and otherwise wouldn't get through well that's barbara too yeah i mean that is that really is barbara yeah i mean i you know i i i found her her extremely famous essay that's the an excerpt from the race from theory for theory incredibly crucial to the claims that i wanted to make about these performers and in the case of mary lou williams an example of an artist who was producing theory about black life through her music and this is always the case this is this is an argument i think many of us who are black music critics would make is that you know the music supplies theories and philosophies about black life you know in the making and you know when it comes to mary lou williams with a song like nightlife which i write about in the book you know she's giving you an entire sermon on you know the meaning of time in in relation to you know black black sociality right um how to navigate time how to navigate an entire evening right this is an instrumentalist one of the the greatest composers and jazz pianist of all time if not the greatest right and um you know her her her compositions and her performances um offered us concepts and ideas and opinions about what it means when it meant to live a black life um in in the middle of the 20th century and she really stretched across you know all the major genres of jazz you know across the 20th century in her long career um but you know each of those performances one can extrapolate mary lou williams observations about you know a whole constellation of experiences in relation to african america right so i wanted to be able to to really to emphasize that and use her as an example of this thing that um you know that permeates the black music tradition across the board uh it's a it's a boldness and a rare courage and and tremendous tremendous authority of feeling throughout all of mary lou williams repertoire in her work and i i want to uh emphasize uh an underline the point uh that you're making to help those in the audience who may not quite be familiar with who mary lou williams is you're in for some big beautiful surprises when you find out uh but that is to say uh how uh radical and revolutionary was uh in its time for a woman to come forward and say hey you know what i'm going to play my music my compositions and my arrangements and i will be the leader i'm not i'm not going to necessarily adopt passively the repertoire of what is considered popular music i'll create my own yes and this uh uh again uh in its time and i think too many degrees still today was uh a decisively radical break yes in terms of the culture and and how music and cultural production was perceived mary lou williams really was kind of the exemplar in that regard which which led uh or opened uh towards uh other grand figures like abby lincoln mary lou williams also she mentored generations of jazz greats you know we all look to her you know there are some famous photographs of you know monk and jizzy gillespie and you know duke ellington all sitting around her right and and really you know again you know kind of absorbing the pedagogy you know of of her of her musical philosophies has manifested in her sounds and performances you know yeah that pedagogy and that again that critical listening the ability for musicians to build on the lessons of other musicians and the historical memory of other musicians and especially in the case of black women musicians the ways that they you know absorbed um the the models that were set for them you know and then pulled that tradition forward is something that i really wanted to to get down on the record um something that you know i think has been taken for granite in popular music history for a long time i think so i think so um earlier in the conversation you were just talking about uh the the role of of the soloist as being uh uh an expression not exactly um and and some of the more contemporary misuses of of uh the word diva and the designation of the individual who does it all on their own yeah and i'd like to hold some of our thoughts that we've brought about concerning mariela williams and and her uh radical turn and wave forward with what she helped to guide the music and other black women artists towards by uh thinking about abby lincoln and thinking about her in terms of someone who not only infused her own spiritual biography into her art and shared it with the world but also uh both in her music and visually kind of traced that entire arc of the individual so-called diva to a person who is deeply concerned with the collective and aligning their individual expression as as as part of that uh historical experience and i'll bring up a couple of images sort of as a chronology here that you're familiar with here's the famous cover of ebony magazine from 1957 wearing a very famous dress wearing mariela monroe's dress yeah which she performed in that dress in the the film with little richard the girl can't help it um very famous you know and the and really kind of marked abby lincoln early on in her career as being um you know a sex symbol in um in the in the genre of someone like dorthy dandridge and and this this is from let's see 1957 so so it's really uh actually just slightly before her career on records begins she'd already taken this yeah and she continues with that for a little while doesn't she here's the album affair a beautiful recording on on liberty she's continuing to explore and play with that image on her first album for riverside and then getting back to the point we start to see the turn which i think really begins with abby is blue where she very consciously adopts the themes of what is being faced in black life with enormous rigor and courage yeah including a work from langston hughes and that's right also from cry the beloved country yeah and beginning collaborations with oscar brown jr and then we see the abby that we start to know from straight ahead right ahead which has still got to be one of the most advanced aesthetically ethically morally yes and uh you've written about this in blue monk which i hope uh her and her lyrics will talk about a minute but very quickly here moving along we see now she is truly coming out i'm the mouth of moseca people and me mm-hmm and then lo and behold well yeah yeah there she is yeah and continuing with the strength of of the natural beauty of her woman yes abby lincoln is somebody that uh i think really amplifies so many of the salient points in your book uh could you share with us some of your thoughts as we look at these images and think about the connection with mary lou williams and that and that radical gesture that abby uh so valiantly brings to us in our moment today well i mean one thing to keep in mind about the connection between abby abby lincoln and mary lou williams and one sees this in their archives which you can find at the institute for jazz studies at wreckers university out here on the east coast in new jersey um their archives are incredibly rich and detailing the extent to which they really embraced the role of being cultural historians um rios for the the black community they really really you know um took extensive notes and in the case of mary lou williams and actually abby lincoln as well this isn't in the book where you can find this in the archives um you can find it mary lou williams um illustration in in the book and won't pull it out right now but they each you know mapped out these sort of visual ideas drawings and you know as well as poetry and um you know critical notes about black history that they wanted to be able to interpolate into their music um so they they took it really seriously the idea of you know being a black historian being an intellectual for the community and um melding that together with their innate sense of musicality and improvisatory experimentation so they were very similar in that way um and with abby lincoln she even went a step further mary lou williams did this in unpublished notes but abby lincoln was giving lectures at the new school and on on black feminisms and um she was writing articles that appeared in um in in jet and um she was writing letters to the editor to various jazz critics including nat hintoff and she got into dust-ups with you know irving gothman and others you know um so she really i i always like to believe that this was always the abby lincoln you know that was even in the red dress right it was just about being able to find um the platforms and the aesthetics and um a broad enough repertoire that could encompass all of that you know uh and and she was able to do that and of course her you know legendary partnership with um her husband for a significant stretch of time max roach was a powerful way in which she was able to kind of um take all of these passions about literature and history and art um and music and funnel them into a black freedom struggle um sounds so you know i mean i i will talk about Beyonce all night this is maybe something just and you didn't want to but i think she's Beyonce is an example of what abby lincoln was doing in the 60s because you know we could map if i had all her albums out we could map the evolution of Beyonce you know including the the pivot after the the harry bellafonte dust-up which i'm not going to suggest that he he was the reason for this but i think the timing was very interesting that his critique of the both of them of jay-z and Beyonce um you know came right before Beyonce delivered to us you know a series of just you know potent and unprecedented um you know sociopolitical activist statements about black feminism and and about black life and it started with black feminism so i think that's really important she comes out as a feminist and then embraces black lives matter so i just i think there's some very interesting resonances between abby lincoln and Beyonce just in case there there might be any young people who have to listen to this conversation um that's worth holding on to and and indeed um doing sort of a tiktok backwards we could find uh some of the origins with Mary Lou Williams and abby lincoln going back centuries even before musical recording with this very expansive presence that uh like Beyonce as you mentioned like abby lincoln and Mary Lou Williams where the woman artist has a social political economic and spiritual role both as a performer and musician but also as archivist as interpreter yep of the inner qualifications of the actual compositions themselves yeah changing over time this is something i think is really key and we haven't had a moment yet to uh drop in on it so maybe now is a good time it has to do with uh improvisation which we touched on a little bit and you mentioned uh uh poor game best i'm excited to see that work when it comes out yeah but uh where i'm going with that is the uh this tremendous uh body of song uh say from 1900 to 1950 we'll just call it an american popular song yeah which largely uh i believe it's fair to say survives because of its interpretation in jazz oh sure in other words were it not for it yeah okay so where i'm going with that is and how the soloist or the improviser uh from within the composition takes on an interpretive stance sure in which they reveal corners and details yeah magnify certain elements uh shadow others as a way of interpreting the work and bringing it into the present time it's one of the most miraculous and explosive aspects of of jazz from its origins right up into free jazz right up in yes and now could could you offer a little commentary on that because it's it's one of the features of the great black music that we see as a common thread that weaves together the entire vision yes no absolutely i mean i think you know one of the the gendered obstacles and being able to really um come to terms with the importance of improvisation as it relates to our great vocalists is that you know vocal performances um were um marginalized at the expense of a kind of um hierarchical investment in the instrumentalist as and the presumption that vocalists aren't instrumentalists as well so you know being able to understand um the ways that Ella Fitzgerald in interpreting the american songbook um is not only offering you know some of our most astonishing examples of the ways in which masterful improvisation works in popular music culture but she is giving us an example of what it means to to um to arrange in um in action and that's something that the French theorist Peter Zendia has written about and I admire his work a great deal he talks about arrangers as being listeners right and then an arrangement is a listening right and um to the extent that we can kind of understand vocalists who are you know improvising and um finding new and enlivening interpretive ways of handling um the object that is the song you know you are getting um a live form you know arrangement and rearrange arrangement and rearrangement of the of the material in question um and you know it's it's one of the things that in in feminist sound studies we've had to really you know fight to um to to put at the center of our studies is to take seriously you know what vocalists are doing somebody like Nancy Wilson who's a song stylist you know um that's it that's it um and enormously you know challenging and um invigorating and um sui generis and unique kind of role to play in the context of ensemble work um the the the Nancy Wilson of our generation to sale maclaurin salvant who i write about in the book um does unbelievable things like i had never seen before with um performing jelly roll mordens murder ballad which is you know a 40 minute song and what she's able to do um with that 40 minutes of folk material you know in jazz at Lincoln Center um i've i've never experienced anything like that before um that's that's radical arrangement in action and speaking about those uh radical arrangers who are also performers and interpreters archivists historians of their own i think of course of people like Betty Carter yes you know who's who's sense of uh drama in terms of theatrical proportion and timing is just astounding or you think of someone like Carmen McRae yes just as a stylist she's got a whole dramatically persona right all on our own yes yeah absolutely just like we're in the or in the popular context aretha patty labelle chakra absolutely yeah absolutely and and getting back to the point that i made you know earlier uh you know it it must be uh underlined i mean we're talking about a music that has affected in a positive way uh in a fertile fecund and welcoming way every corner of the planet there's nowhere on earth that hasn't been touched uh furtively and kindly and and warmly and welcomingly by the great black music and the women who created it you know so i now uh we're getting towards the top of the hour to have me and i want to thank you again for being really generous with us you know it's beautiful to have you here i know there's people who uh have have have questions for you so as uh in a moment i'll defer to anisa and we can start opening that up because i know there's folks that are excited that you're here but before we turn to the q and a i i just want to get a little more from you on the book and uh the magnificent uh rosetta records and rosetta writes right and uh came into my life as a teenager yes uh with this incredible collection of lil green and for folks who are familiar with uh rosetta records i have a few of them this is a feminist run executed educated and otherwise amplified label there's the great ethyl waters there here's here's some real business that you can bank on sorry but i can't take you women's railroad blues and to give you an idea of how thoughtful and valuable uh to the study of this music you'll see uh as as daphne teaches us in a book that rosetta writes offered um deep scholarship with with all her records these notes are an education in themselves and you devote uh some considerable space in line of notes for the revolution for rosetta records and rosetta reach could you share with us some of how that came to you and and why it was so important to include in your book well i really again i'm indebted to my mentors so hazel carby the great black feminist scholar at yale has told me about the rosetta records that she had purchased when she was teaching blues women's music courses at yale in the late 80s and early 90s and when i joined her as a colleague on the faculty at yale and started teaching black women in popular music culture there she said you know you should really take a look at these records and and that was really that was how it happened for me we're so lucky that professor carby had those albums the ones that you're holding up and there were um about a little more than three dozen that rosetta writes um put out on her own label um and professor carby was able to have yale purchased almost all of them for our collection so i've used them in the classroom but you know i became drawn to rosetta writes's story she actually passed away in fall of 2008 just as i was finishing teaching the class um and her story was really you know quite riveting and moving she was um uh jewish new yorker white jewish new yorker second wave feminist she was writing a book about menopause as she liked to always tell it in the late 70s and started listening to bessie smith and some of the other classic blues queens but then quickly discovered that most of their recordings were out of print and she took it upon herself with her divorce money to start her own independent record record label rosetta records she went beyond that though she wrote the liner notes so the the the essays the critical essays that accompany the recordings on the sleeves i.e. the the lining of the of the records the lps she wrote um essays that were really pointedly trying to recuperate the deep centrality of black women musicians as we've been discussing all night to to the foundations of not just american popular music culture but american culture in general so she was really pulling together feminist theory of the 1970s and 80s um with her politics and her musical sensibilities and writing these just you know really beautiful essays um essays that could go toe to toe with any of our you know greatest jazz music critics who you know often you know once again men um lennard feather um nat hentoff but also you know she's writing in one of the great rock music criticism of the 70s and 80s and i wanted to be able to to to bring her into the conversation of her understanding of what the intellectual history of black women's music is she went beyond the essays though she became a public historian she would mount these concerts in which she was able to gather together um some of the sisters who were still alive you know koko taylor um gosh sippy wallace you know they were they were you know coming into their deep into their golden years but she was able to bring them on to the stage um at symphony hall and other venues in new york city in the 1980s and um to bring that music to life and she's really for me just a superhero model of the kind of work that i do and um i wanted to make sure that we could think about the critics um who were looking after these musicians in my book as well as the musicians themselves um that's the broader history of black feminist sound um that i was trying um to present in a way that um you know could allow us to reevaluate how we think about popular music history altogether and and i think i speak for for many of us when i say we're deeply grateful to you for the extraordinary work that you've accomplished and brought our world um i do want to bring it back to anisa because i'm sure there's some questions out there anisa are you are you there in the i am here i am here um we have a question from annie uh she they say it's interesting about the archives and this was pretty in the start of your conversation do you see a change in how archives are handling black history and culture similar to the querying of the archive movement that's a great question thank you annie i think we are seeing um some changes and i think some of the things i'm excited about are the ways that archivists um are collaborating with academics and musicians in order to to think about how we can um you know manage the silences as we were talking about earlier um through creative means we're doing that yale i co-founded um a working group with my colleague brian kane also a cal alum um called black sound in the archive and that is a working group in which we we um conduct workshops in conjunction with our rare book and manuscript library and we're you know we look at we look at the song lyrics of langston hughes and um we we you know we look at the different um performances of summertime and we think about and try to piece together the ways in which those recordings and performances resonated in the time in which they emerged but also how we handle them in our present time so that's something we do with the students but we also bring musicians in we've had everybody from the aforementioned sissan mafor and salvant to reanna giddens early on i did a very large program with jack white um who's a very interesting blues archivist in addition to being this great you know rock and roll musician knows a lot about ethyl waters which would shock you he was actually one of the um his record label third man records helped to reissue the paramount records um entire catalogs which is one of the biggest and um largest race records um catalogs in american history um so we brought these folks in jason maran the jazz the great jazz pianist and we asked them to talk about how they handle our archives how they manage archives how they bring the archives back to life through their own musical rapporteurs and um you know it's my understanding both the talking with um librarians at the new york cup library where i'm in residence this year as well as my colleagues at yale and elsewhere that there really is a hope that we'll be able to do more of this kind of programming that brings the archives to to the public and that you know revivifies them through the ways in which musicians of today um manage them and care for them and look after them so thank you annie for that question thank you daphne i love it um there is also a question um thank you for the lecture looking forward to reading the book are there any black women in hip hop rap artists that you would consider as cultural historians oh oh that's such a great i have never got that question i've been on a book tour for a couple of years now oh man well i mean first first woman hip hop musician to be inducted into the rock ronald hall of fame although that's a shame but it's not that that she's being inducted but that she's the first missy elliot i think it's a great history she's also an afro futurist in many ways um and the ways that she has um you know used the archive you know used her kind of masterful um and really surprising and whimsical um you know excellence in sampling um to get us to kind of rethink hip hop history especially in those early missy missy elliot recordings absolutely amazing somebody like gene gray gray is someone you know working on a street level um um kind of engagement with um you know history of black urban life um absolutely extraordinary you know i think that there are inventive experimentalists somebody like azalea banks who i think has is is very polarizing figure has done some interesting things with um kind of taking fragments of popular music culture um and and um suturing them together in order to um create these kinds of fugitive um representations of blackness so you know one could also argue that you know all of our great hip hop artists are archivists and historians right because you're you're working with um all of these different postmodern fragments of sound and culture and piecing them in together into something new but that's really great i would i i definitely i think missy is the person the artist who who comes to mind as being you know the most electrifying still for me in many ways thank you i'm checking youtube right now the youtube viewer says they missed the liner notes very much yes thank you that i agree i'm right there with you um somebody who's who's still who's trying to bring the form back and i write about her in the book as janelle monne and her wonderland collective um um collaborators nate wonder and chuck lightning who you know fun fact went to more house and were black studies and philosophy majors they once came to my class at princeton where i used to teach before um yale and i said do you want to have a conversation like what justin and i are doing tonight and they said no thanks we're going to do a lecture we have a powerpoint we're going to start by talking about john pulsatra and move to web two points and that in a nutshell is how you get janelle monne in many ways but um um yes they they they've written um really just um exhilarating and surprising and um you know counterintuitive liner notes for her early recordings you know right through through her last recording i don't you know she's got a new album out coming out soon we'll see what she does um with this latest she is amazing she also has a book called out called the librarian i mean that's right she is just i am right by everything everything they do also yeah that's right gender fluid so um yeah i believe janelle monne will be uh someone that we will know quite in our future for a very long time um someone asked do you are you familiar with more mother and what do you think okay my god yes we tried to get her to come to an event that i organized last fall we did get the great diane reeves to come so that was great this was a um a conference in honor of another important extremely important black feminist scholar mentor to me farah jasmine griffin jazz studies great who teaches at columbia wrote one of the most important books about billy holiday and she's from philadelphia and so we had a session oh it takes you longer to explain this but the session is called critical karaoke it's something we've been doing for the past 20 years at the museum of popular music cultures annual music conference in seattle um and this this critical karaoke was um in honor of philadelphia and so we did ask more mother to come um she couldn't make it um now teaching at usc which is really exciting but to get to the heart of your question i think she's extraordinary i think i think her work um you know creates these overwhelming sonic palettes um that are you know world altering she does things with with sound um and with atmosphere um that are deeply sensorial and radically sensorial she's extraordinary so thank you for for bringing up more mother everyone should listen to more mother and last call for questions friends this is it youtube checking we're good i think we're good on questions i have one last question of course just enough i know i know um you know we were speaking uh moments ago about uh interpretive technique from within the song and many times uh artists some of whom you write about many times women in jazz interpret a song in a way that becomes the definitive version of this in sometimes a radical and unexpected ways i'm thinking now of Nina Simone's pirate jenny uh huh yes completely transforms uh baritone brecht and curt veils yeah it's an inspiration in her hands yeah can you can you definitely can you think of any other examples of specifically that where the radical interpretation by a black woman artist evolved to become the interpretation of the work which i think is fair to say about nina's live recording of pirate jenny i believe so are there any other examples of that that come to your mind i know that's that's kind of a big question to end on i mean i i yeah i couldn't i couldn't settle on one but i'm today i heard glad to sign the pips cover of yesterday and i wish it were the definitive version i'll say that it changes the entire tonal register of that song um it's incredible but i mean come on i mean eritha's you know otis said she took my song you know it's not my song anymore i ain't my song anymore respect you know i mean i think the the the really exciting thing is to be able to find these performances and recordings that um are doing this kind of work just day in and day out i mean nina did that all of the time you know just because it's on my mind right now but also because it's just extraordinary is nina's cover of summertime um from the hall performance she rewrites the opera you know she turns what is really you know a blackface blackface misogynist you know um folk erzatz anti-black you know folk caricature performance she turns it into um you know this cataclysmic kind of meditation on black intimacy you know between two characters who were you know constructed you know as a cartoonish imaginings of um you know white occupiers of black sound um she she goes to the heart of that material and turns it inside out so mm-hmm well i am uh this has really been a dream come true death yeah thank you for for making this happen and anisa again is always such a pleasure to work together uh with san francisco public library i will remind our audiences uh if you enjoyed this kind of programming i urge you to also support uh the before columbus foundation and our american book awards program you can find us online at before columbusfoundation.com where i encourage you to donate generously for more programming like this and of course the american book award program which honored uh professor brooks just last year for liner notes for the revolution the intellectual life of black feminist sound read the book and become that thing let it happen and next time we'll get a dance floor part of this here we go next time you're in the city we can like turn the whole atrium into the library uh into a dance floor we've done it before i'll be out there this summer so the records let's do it and um again yes this has been a i've been talking to justin about having you so i too am a big fan girl i appreciate you being here tonight and um library community i told you those resources would be flying with these two so here's the link for tonight's documents and also a big uh fan of your sister of course ronelle brooks yes ronelle in the morning when i moved to san francisco she had just joined k mel and i i just i can't even so amazing well i always i'm sorry to interrupt you but i say i've done you know maybe three dozen book events so for the past couple of years for this book and i've always told the story of how my you know my sister both you know created the conditions for me to fall in love with popular music culture but also being a proud alum of mills college you know she brought home all the black feminist literature that was unfolding in the revolution of the seventies and eighties to me and that combination is how i exist today so grateful to her thank you both and i mean it again email me when you come i will we will have a dance party it's on all right thank you everyone thank you library community thank you so much thank you daffney thank you thank you nita thank you nita just in


Hey everyone, welcome to theCUBE's coverage, day one of cloud native security con 23. Lisa Martin here with John Furrier and Dave Vellante. Dave and John, great to have you guys on the program. This is interesting. This is the first inaugural cloud native security con, formerly part of KubeCon, now a separate event here happening in Seattle over the next couple of days. John, I wanted to get your take on your thoughts on this being a standalone event, the community, the impact. Well, this is an inaugural event, which is great. We want to cover all inaugural events because you never know, and there might not be one next year. So we were here, if it happens, we're here at creation. But I think this is a good move for the CNCF and the Linux Foundation. As security becomes so important, and there's so many issues to resolve that will influence many other things, developers, machine learning, data as code, supply chain code. So I think KubeCon, Kubernetes conference and cloud native con is all about cloud native developers. And it's a huge event, and there's so much there. There's containers, there's microservices. All that infrastructure is code, the DevSecOps on that side is enough there, and it's a huge ecosystem. Pulling it out as a separate event is a first move for them. And I think there's a toe in the water kind of vibe here, chest in the waters a little bit on, it doesn't have legs, how it's organized looks like they took their time, thought it out extremely well about how to craft it. And so I think this is the beginning of what will probably be a seminal event for the open source community. So let's listen to the clip from Priyanka Sharma, who's a Kube alumni and executive director of the CNCF. This is kind of a teaser. We will tackle issues of security together here and further on. We'll share our experiences, successes, perhaps more importantly, failures, and help with the collecting of understanding. We'll create solutions. That's right, the practitioners are leading the way. Having conversations that you need to have, that's all of you. This conference today and tomorrow is packed with 72 sessions for all levels of technologists to reflect the bottoms up developer first nature of the conference. The co-chairs have selected these sessions and they are true blue practitioners. And that's a great clip right there. If you read between the lines what she's saying there, that Dave is, let's unpack this, solutions, we're gonna fail, we're gonna get better. It's the culture of iterating, but practitioners, the mention of practitioners, that was very key, global community, 72 sessions, co-chairs, Liz Rice, and experts that are crafting this program. It seems like very similar to what AWS has done with re-invent as their core show, and then they have reinforced, which is their cloud native security, Amazon security show. I mean, there's enough there. So to me, practitioners, that speaks to the urgency of cloud native security. So to me, I think this is the first move. And again, testing the world. I like the vibe. I think the practitioner angle's relevant. It's very nerdy. So I think this is going to have some legs. Yeah, the other key phrase I can mention is bottoms up. And you know, John, in our predictions breaking analysis, I asked you to make a prediction about events. And I think you nailed it. You said, look, we're going to have many more events that they're going to be smaller. Even the most large events are going to get smaller. AWS is obviously the exception, but a lot of events like this, 500, 700, 1,000 people that is really targeted. So instead of like, you take a big giant event and there's events within the event, this is going to be really targeted, really intimate and focused. And that's exactly what this is. I think your prediction nailed it. Well, Dave, we'll call this the event operating system. Really cohesive events connected together, decoupled, and I think the Linux Foundation has an amazing job of stringing these events together to have community as the focus. And I think the key to these events in the future is having, again, targeted content to distinct user groups in these communities so they can be highly cohesive because they got to be productive. And again, if you try to have a broad big event, no one's happy. Everyone's underserved. So I think there's an industry concept and then there's like pieces tied together. And I think this is going to be a very focused event. But I think it's going to grow very fast. 72 sessions, that's a lot of content for this small event that the practitioners are going to have a lot of opportunity to learn from. Do you guys, John, start with you. And then Dave, do you think it's about time? You mentioned, John, they're dipping their toe in the water. We'll see how this goes. Do you think it's about time that we have this dedicated focus out of this community on cloud native security? Well, I think it's definitely time. And I'll tell you, there's many reasons why. On the business, on the front lines of business, there's a business model for security hackers and breaches. The economics are in favor of the hackers. That's a real reality from ransomware to any kind of breach attacks. There's corporate governance issues, that's structural challenges for companies. These are real issues operationally for companies in the enterprise. And at the same time that on the tech stack side, it's been very slow movement like glaciers in terms of security. Things like DNS, Linux kernel. There are a lot of things in the weeds and the details of the bowels of the tech world, protocol levels that just need to be refactored. And I think you're seeing a lot of that here that was mentioned from Brian from the Linux Foundation mentioned Dan Kaminski who recently passed away, who found that vulnerability in bind, which is a DNS construct. That was a critical linchpin. They got to fix these things. And Liz Rice is talking about the Linux kernel with the extended Berkeley packet filtering thing. And so like, this is where they're going. This is like, this is stuff that needs to be paid attention to because if they don't do it, the train of automation and machine learning is going to run wild with all kinds of automation that the infrastructure just won't be set up for. So I think there's going to be root level changes. And I think ultimately a new security stack will probably be very driven by data will be emerging. So to me, I think this is definitely worth being targeted. And I think you're seeing Amazon doing the same thing. I think this is a playbook out of AWS's event focus. And I think that's right. Dave, what are your thoughts? There was a lot of talk, and again, I go back to the sort of progression here in the last decade about what's the right regime for security should the CISO report to the CIO or the board, et cetera, et cetera. We're way beyond that now. I think DevSecOps is being asked to do a lot, particularly DevOps. So we hear a lot about shift left. We're hearing about protecting the runtime and the ops getting much more involved in helping them do their jobs. Because the cloud itself has brought a lot to the table. It's like the first line of defense. But then you've really got a lot to worry about from a software defined perspective. And it's a complicated situation. Yes, there's less hardware. Yes, we can rely on the cloud. But culturally, you've got a lot more people that have to work together, have to share data. And you want to remove the blockers to use kind of an Amazon term. And the way you do that is you really, really, if we talked about it many times on theCUBE, do over, you got to really rethink the way in which you approach security and it starts with culture and team. Well, the thing, I would call it the five C's of security culture. You mentioned that's a good C. You got cloud, tons of issues involved in cloud. You got access issues, identity. You got clusters. You got community clusters. And then you got containers, the fourth C. And then finally is the code itself, supply chain. So all areas of cloud native, if you take out the culture, it's cloud, cluster, container and code, all have levels of security risks and new things in there that need to be addressed. So there's plenty of work to get done for sure. And again, this is developer first, bottoms up, but that's where the change comes in day from a security standpoint. You always point this out. Bottoms up in the middle out for change. But absolutely, the imperative is today the business impact is real and it's urgent. And you got to pedal as fast as you can here. So I think this is going to have legs. We'll see how it goes. I'm really curious to understand the cultural impact that we see being made at this event with the focus on it. John, you mentioned the four C's, five with culture. I often think that culture is probably the leading factor. Without that, without getting those teams aligned, is the rest of it set up to be as successful as possible? I think that's the question. Well, I mean, to me Dave, Dave asked Pat Gelsinger in 2014, can security be a do-over at VMworld when he was the CEO of VMworld? VMware, he said, yes, it has to be. And I think you're seeing that now and Nick from the co-founder of Palo Alto Networks was quoted on theCUBE by saying, zero trust is some structure to give to security, but cloud allows for the ability to do it over and get some scale going on security. So I think the best people are going to come together in this security world and they're going to work on this. So you're going to start to see more focus around these security events and initiatives. So I think that when you go to, you mentioned reinforce a couple of times, when you go to reinforce, there's a lot of great stuff that Amazon puts forth. They're very positive. It's not that negative, oh, the world is falling, and the sky is falling. And so I like that. However, you don't walk away with an understanding of how they're making the CISOs and the DevOps lives easier, once they get beyond the cloud. Of course, it's kind of not Amazon's responsibility. And that's where I think the CNCF really comes in and open source. That's where they pick up. Obviously the cloud's involved, but there's a real opportunity to simplify the lives of the DevSecOps teams. And that's what's critical in terms of being able to solve, or at least keep up with this never ending problem. Yeah, I mean, there's a lot of issues to evolve. I mean, I took some notes here from the keynote. You heard security and education, training and team structure, detection, incidents that are happening, and how do you respond to that architecture, identity, isolation, supply chains, and governance and compliance. These are all real things. I mean, this is not like hand-waving issues. They got their mainstream and their urgent. Literally the houses are on fire here, so at the enterprise. So this is going to be very, very important. That's a great point. Some of the other things Priyanka mentioned, expose edges and nodes. So just when you think we were starting to solve the problem, you got IoT. Security's not a one and done task. We've been talking about culture. No person is an island. It's a $188 billion business. Cloud native is growing at 27% a year, which just underscores the challenges. Bottom line, practitioners are leading the way. Last question for you guys. What are you hoping those practitioners get out of this event, this inaugural event, John? Well, first of all, I think this event's going to be for them, but also we at theCUBE, we're going to be doing a lot more security events. RSA is coming up. We're going to be at Reinforce. We're also going to be covering this event. We've got Black Hat, a variety of other events. We'll probably have our own security events fairly focused on some key areas. So I think the thing that people are going to walk away from this event is that paying attention to these security events are going to be more than just an industry thing. I think you're going to start to see group gatherings or group convening virtually and physically around core issues. And I think you start to see a community accelerate around cloud native and open source specifically to help teams get faster and better at what they do. So I think the big walk away for the customers and the practitioners here is that there's a call to arms happening. And this is, again, another signal that it's worth breaking out from the core event, but being tied to it. I think that's a good call. I think it's a good architecture from a CNCF standpoint and worthy effort. So I give it a thumbs up. We still don't know what it's going to look like. We'll see what day two looks like, but it seems to be experts, practitioners, deep tech, enabling technologies. These are things that tend to be good things to hear when you're at an event. I'll say the business imperative is obvious. The purpose of an event like this, and it's kind of aligned with theCUBE's mission, is to educate and inspire business technology pros to action. We do it at theCUBE with free content. Obviously, this event is a four-pay event, but they are delivering some real value to the community that they can take back to their organizations to make change. And that's what it's all about. Yep, that is what it's all about. I'm looking forward to seeing over as the months unfold the impact that this event has on the community and the impact the community has on this event going forward and really the adoption of cloud-native security. Guys, great to have you doing this keynote analysis, looking forward to hearing the conversations that we have on theCUBE today. Thanks so much for joining and for my guests, for my guest, for my co-host, John Furrier and Dave Vellante. I'm Lisa Martin. You're watching theCUBE's day one coverage of cloud-native security con at 23. Stick around, we've got great content on theCUBE coming up.


So let's do this one. So notice here we've got a charge, right? So what does that tell you? The number of protons and the number of electrons are not the same, right? Everybody okay with that? Okay, so let's attempt to figure all this stuff out Okay, name protons, neutrons, electrons just by looking at this symbol. Is everybody okay with that? So what would we call this at? So this one's called carbon-13. What would this one be called? Beryllium 9. In this thing would be what? 4. Well, there's not a 4 written up here. How'd you figure that out? Yeah. Atomic number. Atomic number. Look at the periodic table. The atomic number is the same as the number of protons. So in other words, we could say what's the symbol for atomic number C, right? So big C also equals 4. Or if we wanted to put that somewhere on the elemental symbol here, we would have a different color. It would be there that we would see. Okay, so the number of neutrons, 5, right? Because 9 minus 4 is the number of electrons. Okay, so that's a weird one, right? Because we thought normally the number of electrons and the number of protons are equivalent, right? But in this case, this has a positive 2 charge. So that means it's missing 2 electrons. Is everybody okay with that? Obviously you guys aren't since you told me 2 before. So it should have 4 electrons, but since that's a plus 2 charge, plus 2 means minus 2 electrons. So the number of electrons is going to be 2. Is everybody okay with that? I don't know if we could ask any more questions about that.


Well, Zoro has quite frankly set the bar quite high for the rest of the thrower bar with that fight last episode. Ladies and gentlemen, welcome back to the channel. My name is Jack the Buster Ice, you know me. Again, last episode we concluded the fight between Zoro and Ryuma in a very high stakes fight between two very talented swordsmen. And Zoro ended up winning and taking his blade and it was like a sort of a respect between the two. But like I said, sort of setting the bar high for the rest of the arc because that fight was incredible. We're gonna hop right into this one, see what's up. If you're new to the channel, drop a sub and hit that big web bell, and let's get started.  Like I said, he's lost all remnants of Sanji, sad. Chopper's just sitting criss-crossed applesauce, and Ores is soon to be the same. Zombie! Cause now he won't feel as bad fighting back, yeah. Oh! Like he's given them another chance? I wonder why Chopper's painting him in a good light then. Right?  Slaps chest? God dang, he got drip bro, what happened? Dang. Ropai made so much money, so that's how he got a name for himself. Oh I know suffering from success, huh Hogbag? You give it to him Chopper, come on! He ain't no doctor! They're all fakes, frauds! My question is how, what's her name? The woman with him has like retained so much of her memories for so long, and how she still hates him. Where's the sea? Oh my gosh. Sindri, Sindri-chan. Oh my gosh. Chopper's going to tell her to stop. Oh this is so sad. So twisted. Oh Chopper is pissed! Look how happy she used to look. Ugh. Oh he was just obsessed with her? But he gave her a second chance at life just to use her as like a personal tool. Oh that is so twisted. Wait, did he have her killed so that he could reanimate her himself? No, surely not. Was the stage thing an accident or was it on purpose? She wasn't his. You can't make me feel for him. She didn't love him. It wasn't an accident, was it man? Oh she did have someone. Oh my gosh. He couldn't have exactly what he wanted. Of some news. Oh it actually was an accident. Oh okay. I thought it was going to be even more twisted that he had her killed and then just took her himself. It's still messed up, but still. This voice, bro. It's so good. So he just went grave digging? Oh my gosh. What a freak, bro. She's his Franken- Well he's her Frankenstein. I mean he's the entire island's Frankenstein inherently. God. But again I asked why did she retain so much of her memories and what not as opposed to the other zombies. Like she still hates him and seems to have a good idea of what's going on but is still under his control. Like how does Gekko Moria fit in these rooms? Like how does he get in? Her eyes are so lifeless in comparison. So yeah but what was the plate thing exactly again? I don't remember. So think about her fiancé with plates.  That ain't what a doctor would do. He's a real hack. Oh I want to see Chopper lay into Hogback so bad. Spit Chop, spit buddy. Mediocre doctor.  Up here are the plates. Ooh these plates look heavy. Oh my gosh.  Here we go. Here we go baby. Get in there. He's just gonna lay right into Hogback man. He doesn't want to have to hurt Sinjri. Oh does he think he can get through to her? I mean maybe he's realized there's like a sort of part of her in there. Maybe he can. Like free her mind. Then she'd actually have like somewhat of a second chance at life if he's able to free that much of her mind. Which I feel like it's sort of leaning towards that. That's why I brought her up so early on and she's had such a heavy focus. He's not underestimating her, he doesn't want to have to hurt her. She's basically innocent in all of this. What's programmed in her that makes her obey him? Is it just because he created her? Or is it just because she's been here so long? That's your dream bro. And you're not even resurrecting the dead. You're just making dolls. Yeah. It's the ability to feel. Oh? Did he get to her? Parsely? Wait her eyes kind of like actually lit up. Wait did Zoro zombie kind of? Was she let her? Nah she snapped out of it. I figured it wouldn't be that easy. God dang look at those legs on the zombie though. Zombie Zoro. Holy. The arms don't matter because he can break limbs and whatnot and not feel it. I guess it'd be like longer lasting implications. Oh wait. Wait this is perfect. Oh shoot. A Minecraft skeleton shoots another one on accident and they just start slamming into each other. Keep fighting. Let's go. See a hogback boy isn't even that much of a fighter. Like Chopper could probably beat him down. He can't control him if he can't speak to him. They're trying to take out the pests but see each other as pests. He issued the wrong order. Broke coded them wrong man. They're just going to destroy each other. Oh but they have to beat him salt. It's still Zoro and Sanji in there. Or rather tall. The jump up. Wait what? Was she just testing him? Wait why would he actually say that? This is a song in the background. This is so insane man. Zoro they need to be fed salt. Wait he thought she tricked him into thinking like them? Oh my gosh. That is you. It doesn't work like that. That's what we found out. Sanji is still back there. Yeah hogback I'm guessing is not a fighter. Is she crying? Her heart. Is she like resurrecting? Like knocked it into her. Really sad. I still have a large part of her left though. Orz is back home from his little venture. And he's more of a mindless monster than ever. He's like welcome home sweetie. I can't believe I didn't even realize up until this point. Luffy actually didn't know what Orz looked like because he was taken to the ship unconscious. So he didn't know what he was going to have to deal with here. But man that was some really dark backstory with Sinjwi. And that was kind of along the lines of what I expected in terms of him bringing her back to life and everything. But knowing that he knew her before and that he was obsessed with her. That's so messed up. Episode 364 let's run it! Earth to Sinjwi. She's like torn between her new and old self. Crocodile tears. You think a zombie is just going to fake cry? It's like her heart maybe. Yeah. The mysteries of resurrection.  Like back between her zombie self and her actual self. And I think they could tip the scales eventually. They need to talk more. Try and make her understand what's going on. He is running. There is no way. I knew he wasn't the fighting type. Oh no. He's back. Beat him down chopper. Beat him down. A pervert and a guy with a long nose. And a moth head. Spit. What are they going to do to him? Please suplex him or something. Anything. I want this man to feel pain. Oh my gosh. Just plummet him to earth chopper. Something I would love to see. You're not serious. You did not actually just cut away from that. Are you joking? You cut off the robycho suplex.  Now how much salt needs to get down him. Yeah talk some sense into yourself Luffy. I'm you bro. Attached to your arm. You just put all the straw hats on there. Oh my gosh. Chopper's 50 berry bounty. Such a cute little bounty. Bro like gave him like cheat notes. Little cheat sheet on his arm. I'm kind of scared of the full extent of his power. He's like that. Is that you? Mori is just running. He knows that it's going to get destructive. That's dangerous. Do you think he cares Luffy? Oh the suplex is still going. I see now.  Holy. The suplex should still hurt a little bit at least. Oh man it's all going down baby. It's all going down. That felt kind of good. Not as good as a suplex. A full suplex would have felt but. Wait we're sinjury. Dude he's enormous.  Or was it just old age? They say he found him frozen. Wait sinjury can get stomped. Hogback too but I don't care about him. No sinjury don't. Wait could this be the end of hogback? No way. It's up to sinjury to save him. Cause Orz is going to walk right through them. Sinjury come on. I know you're in there. Make the right choice. He's not. They talked some sense into you. Your heart's still there. Oh no. There's no way she goes out like that. That would just be insanely depressing. He's getting closer. It's like her life flashing for eyes. Her past life. I feel like if he pushes too hard it's going to push back. It's like Chopper knows he doesn't have to say anything maybe. Like there's enough in there of her. He changed her. The smiles. He actually smiled. Hogback's done. No way. No way. Just like that? Play for me. Stop. This show is just a monster. Oh my gosh. Everybody's going to be together again at this rate. Orz is collapsing the entire place. Wait where's Hogback? Did he actually step on him? He only sees Soga king. He's like that didn't look like him. Oh my gosh. Even the church. The chapel. It's all coming to a head. He's destroying it all. He's too large. Yeah. When is Nami going to wake up bro? Oh my gosh. Absalom. Now is not the time. He yanked her. She turns invisible with him. Sange you know what happened. What do you mean couldn't be? He got up. We know he wouldn't hurt Nami at the very least. I don't think. So did Hogback get crushed or not?  Maybe lit a flame again. Just follow the sound of his voice Sange. Guess. My hair stand on end. Okay. Never gets old. Done. What is Zoro doing? Examining the new blade. I feel a lot better with him having three swords again. You can't brock. Franky's sick of it. I saw it coming from a mile away. There he is. They just need to like have like a group effort and getting salt into him. Because if they get salt into him Ores is basically like done though. The body will just fall and then Luvio will be completely back. He can't be that fast too. How big he is. Really cook. Is Sange just standing? Oh my gosh. Well Moria is running. But he said that even if he takes him down the shadows like he has oh wait he just said he has to subdue him and like force him into doing it. Killing him won't do it. He has to manually do it himself. Now he really did have a pump cover on. This is his entire focus is his wedding. It's incredible. He's a psychopath but he's consistent.  Curse long nose. The almighty long nose. She's just stunned still from the roaches and the hammer. The whole mansion is about to collapse at this point. God dang attack on Titan man. Reunited and it feels so good. He's just standing there. I like how they just taped the posters to his arm. Like here you go. He's calling them his own crew. It's only a matter of time before Gekko Moria and Luffy get out here too. I guess all the fights are taken care of. Aside from the final boss and Gekko Moria which is kind of like both final bosses. Zoro's feeling confident. I guess it's sort of all built to them fighting together because it's going to take a team effort to either cut Ores down and get Salt down him or just like I mean there's no other way around it. They have to. To some extent I mean either that or they turn their focus to helping Luffy completely and it's just all of the straw hats versus Gekko Moria. But to an extent which job is easier is the question. I feel like in theory getting Salt down Ores would be easier than subduing Gekko Moria solely because Ores is so big he only moves so quickly and there's so many of them with different angles for Salt. Well I mean this arc has kept me guessing from the beginning so I'm not going to start questioning anything now or theorizing anything because it's just going to throw me curveball after curveball and I love it either way. Guys that has been it for episodes 363 and 364 of our One Piece Watchthrough. Do drop us some of the channel if you are new and I'll catch you guys in the next one. Peace, peace.


Julia and I'm from Seattle. I was born in a Christian home, baptized in a Holy Spirit since I was nine years old. I always knew Lord the Lord. I knew of the Lord. I can't say that I knew him. But life led me a little astray and I went into living very, very bellious lifestyle because I didn't want to follow the religious footsteps of my parents. That led me into the sin, a lot of sin which a lot of opened the doors to the demons to come in. And I was addicted to pornography. I was addicted to masturbation. I started questioning my sexuality. I started being interested in the girls and I started realizing quickly something's off. And when I started to make efforts to change my life, I would get, I felt like there was a block that wouldn't allow me to come near God. A year ago, when you guys had a conference in Federal Way and at that time, the last day of the conference, you guys even pray for deliverance. You're praying for the baptism of the Holy Spirit and for the healing. And when Pastor Vlad started praying for the baptism of the Holy Spirit, I started sensing the presence of God so strong. I started gagging. I would try to say Jesus. I couldn't even say Jesus because my jaws would clench so much. I would, I started panics. I said, God, I'm manifesting. There's nobody around me to pray for me. Like, what am I gonna do? And I just fell to my knees and I started foaming. I felt this enlightenment. I felt like something had completely left me. And God said, okay, now pray for my holy fire to fill you. The things that you shared with me a little bit earlier, can you mention that how it was like physical things that would attack your body? Can you just share briefly about that? Yeah, it was really crazy. I mean, one specific moment I remember which led me to think that, okay, this is a spiritual. I remember I was walking and I felt like something just shoved me right here, like on the back and just led me to the room where I was, I felt like I was forced to masturbate. And as I was doing it, I was crying. And I was crying, I said, God, this is not me. I don't want it. I'm asking you to take this away. I don't know why I keep doing this. I really, I really don't wanna do this. And that was the moment when God told me, it's because you need deliverance. Like I see your heart, I see your desire, but you need to get delivered. This is just to show us that we're not fighting again, flesh and blood, but it's the spiritual powers that make one to be bowed down to sin. And Jesus Christ came to set us free, amen. And you're, I know that God continued to set you free further on it. Can you mention a little bit more about that? Yeah, it was pretty amazing. So after I realized I got delivered from one thing, I'd go in there, I felt like I was free enough to go in the prayer room, but every time I'd feel the presence of the Lord, I'd start gagging. And I was like, okay, that means I'm not, and it wouldn't be just like, it would be a natural gagging. And I realized I needed more deliverances. And then God led me to watch the video by Pastor Vlad of self-deliverance at home. And it was in the morning, I started worshiping and sent the kids off to school. And it's as if devil knew I was gonna get delivered.  Like whatever's in you, you're gonna get out right now. And I got in the room, I laid out the towel on the floor. I started, that was nine o'clock in the morning. I started watching the video as I was watching the sermon Pastor Vlad was giving. I started falling asleep. And I slept all night just fine, but it was in crazy sleep. Like I couldn't keep my eyes open. I said, God, I need this deliverance. And I was able to watch it through the whole thing. Then as Pastor Vlad gave the steps, how the deliverance was gonna go. And he started praying for the renouncement of the sins. And he would mention every other sin I would be fined. As soon as he touched the topic of generational curses, I started gagging really bad. And the same thing happened. I renounced it, renounced all the generation of curses in my family for my mom. And I was set free.  I feel like I'm so hungry for the word of God. You know, I crave, he wakes me up at 5.36 o'clock in the morning and I just don't do anything. I just run to the prayer room. And I, he feeds me, he feeds me with his truth. I feel like right now is the time when he grounds me and roots me in his truth. So I can walk in that truth. And you're like, can you share with us a word of advice? Those are maybe facing the same challenges, maybe seeing these continuous cycles of it. What advice can you give him to seek that freedom? And a lot of times we downplay it. We think it's not the big of a deal. We listen to advice of other people. In my case, I knew deep inside, when I was alone one-on-one with myself and God, I knew there was an issue that I needed to be set free. So I guess I would say, listen to what God is trying to tell you. If you feel like you need deliverance, it's better to take the step and go and get delivered. And if you don't, you don't.  And one more question.  How can you break that idea? Well, look at me. I mean, Baptist since I was nine years old, I grew up in a Christian religious home. I loved the, I thought I loved the Lord. And I grew up with the mentality that no, you cannot have the demons side you. But even if, fear, if you open the doors to sin, that's it, they're in there. You need to get rid of them.


The People's Democratic Party PDP's Acting Chairman Ambassador Liu Damago has taxed the PDP House of Representative member-elect on the need to give the right opposition so as to put the ruling party on its toes and ensure that the right things are done in the country. Damago gave the Charjah the meeting member-elect of the PDP caucus with leadership of the party ahead of the June 13 inauguration of the National Assembly noting that Nigerians are looking up to the 10th National Assembly to correct the wrongs experience in the country in the past 80 years. I don't expect any PDP member to be less in terms of that argument and capacity. Earlier the convener of the meeting on a re-fedric abadi by also state PDP said the aim of the meeting is for members elect to meet with the acting national chairman and national working committee of the party to interact as well as get guardians and direction ahead of the June 13 inauguration. We are still joining on towards the 13th of June and we believe that it's important we call ourselves together also invite our chairman and members of the working committee to come and take and take with us guide us advise us direct us where necessary as we join into the 13th of June 2020.


When students need to memorize small pieces of information, the teacher can use the rote learning method. In rote learning, the teacher says the information, and the students repeat it over and over again. This repetition helps students to memorize the information. Then they will be able to recall the information quickly to use it in later lessons.


We are in Albany, New York, at the most advanced collaborative semiconductor research facility in the world. This kind of facility is the products of billions of dollars of investment and over 20 years of dedicated work. It has been built on a highly successful public-private model designed to support an ecosystem of world-leading semiconductor suppliers and manufacturers. It is where IBM researchers have done some globally-altering scientific and technological breakthroughs in nanotech and semiconductor research. Many of you may not know this, but my early research at IBM was in the field of nanotechnology and lithography. You probably have heard about the field of nanotechnology. The field of lithography is a bit more obscure, but it is at the heart of why computing gets better and cheaper decade after decade. Mukesh Kare, one of the most respected leaders in the field of semiconductor research, is going to share how we're building the chips of the future. We're going to get a chance to talk about one of my favorite subjects for hard tech, semiconductors. Maybe we could start by discussing how are chips made. Well, Dario, it may not be immediately obvious, but transistors, the basic unit of computation on a wafer, is printed. Wafers are sawed out of cylinders of pure crystalline silicon, then polished to mirror-like finish. With lithography, we are able to print and ultimately etch billions of transistors onto a wafer with atomic precision. A high-energy laser fires on a microscopic droplet of molten tin and turns it into plasma, emitting extreme ultraviolet light, which then is focused into a beam. We reflect beam of a masked pattern that contains the complex design of the circuitry of the chip we want to print. That pattern of light is then shrunk through an array of atomically precise reflective mirrors, finally casting onto the silicon wafer at a microscopic level. This light exposure burns the pattern into the photoresist and after it is developed, it forms a relief pattern that can be used to etch the desired structures into the silicon. The wafer gets processed subsequently and cleaned to remove the resist. This process gets repeated layer after layer, as many as a hundred times. And over days and weeks, we get to ultimately create a fully functioning chip with transistor dimensions at a nanometer level. Imagine we're stepping down from our typical field of view by powers of 10. At 10 centimeters, our field of view crops the edges of a device like our phone. We see a printed circuit board as we move down to 1 centimeter, entering the chip and its 50 billion transistors. At a millimeter, we're now roughly to the point at which the industry had scaled 20 years ago, 30 million transistors on a single chip. Stepping down now to 100 microns, we see the largest elements of the integrated circuit. Just beyond the scale in our biology would be at the width of a single strand of human hair. Now at 10 microns, you'll see a portion of the chip with a large array of devices performing core functions of the chip. Passing beyond the nucleus of our cells at 1 micron, we continue to travel down deeper till reaching 10 nanometers, the scale of the very fabric of our make-up. So, Mukesh, there's a lot going on in this fab. Tell me about it. We use lithography technology to build the basic device for computation called transistors. Working together with our talented research team and many partners, we have pioneered a new transistor structure. We at IBM call this nano-sheet, which has become the foundation for every chip manufacturer's future chip generation. The nano-sheet structure is formed by vertically stacking multiple layers of silicon sheet channels around 5 nanometers in thickness, which is about 2 DNA molecules. In 2015, we were the first to create the world's first 7 nanometer test chip. A few years later, in 2017, we did it again, creating the 5 nanometer test chip where we first introduced the nano-sheet technology to the world. Now, I'm very proud and excited to say that we've done it again, creating the world's first 2 nanometer node chip. And we did it right here in this facility. There are almost 10 times more transistors on this wafer than the number of trees in the entire world. Scaling to this 2 nanometer framework will equate to 45% performance improvement over today's 7 nanometer chips using the same amount of power or a 75% power savings at the same performance level. Extraordinary, Mukesh. It's hard to imagine that this technology could get any better, but I'm sure you guys are going to try. Yes, and we like the challenge. These continued technology advances ensure an enduring platform for both our own hardware and systems, but also the entire technology ecosystem. While the commercial availability of 2 nanometer processors is still several years away, the IBM Research Innovation Pipeline gets directly commercialized through our hardware platforms. In fact, IBM's first commercialized 7 nanometer processor, based on our 2015 innovation, will appear later this year in IBM Power 10 based systems. And next, we will show you how these advancements are bolstering the capabilities of our system Z. Our work here underscores the importance of advancing semiconductor chip design and performance across all modern computing architectures. And investing in these innovations is also critical for our partners, such as Intel and Samsung. It is also vital to the secure chip supply chains of industry, from IT to car makers and to the success and security of our nations. Our 2 nanometer breakthrough will create advanced nodes that give hardware designers a more powerful canvas to create specialized tech. 2 nanometers is now the foundation for researchers to explore the future of hardware, including AI hardware, that can drive greater performance across everything we do. But we face a challenge. Today's AI is incredibly power hungry. AI's rapid progress has fueled an insatiable demand for computing power for ever larger neural network models on ever-growing datasets. We have to figure out new methods for running these large AI models on today's most advanced machines sufficiently. In other words, it requires hard tech. IBM Fellow Donna Dillingberger has been innovating in systems for years, and it's here to tell us more about what makes system Z such an amazing machine. Hey Donna, how are you? Good to see you. Hi Dariel.  Z is known for its speed and its scalability. The Z15 was built with 9.4 billion transistors. With that type of power, we can run open-shift workloads at 4.7x higher performance, 4.4x lower latency with 34% less cost. It also runs 1 trillion transactions a day. It does that with half the energy that other servers require. It's the greenest server in the planet. It also has the highest availability. Z stands for zero downtime. There are clients that have never had an unplanned outage in years. While a Z server is running, you could pull out its memory, its processors, its IO drawers, and it will still run. Yeah, what a marvel of a machine in terms of transaction processing. But what about the world of AI? What can it do for AI? AI could be done in Z with millisecond response time. You have these transactions just being thrown at the server, 20,000, 30,000 transactions a second. No other server could do that and run AI embedded in real time. Wow, Dana, the green transactional power of Z combined with AI and security makes it like a marvel of engineering. So I want to thank you, Dana, for the amazing work that you do and that the team does to make the best computer systems in the world. Thank you and see you soon. Thanks, Ariel. The progress being made to advance the performance of classical computing is truly amazing. The two nanometer node chip we explore represents the absolute cutting edge of computing technology and proves that the power of bits continues to be remarkable. The way we are pushing computing to excel in AI workloads will allow pervasive and interconnected intelligent systems to provide extraordinary value. And these advancements are not just science for science sake, but for real business outcomes. It's how our research provides the technological innovation behind IBM's most advanced systems available today.