Now, when we're doing our calculations, we talked about an approximation for enthalpy earlier. What we want to be able to do is we want to be able to express enthalpy in terms of enthalpy per kilogram of dry air. So let's take a look at that. Given that for typical HVAC applications, the mass of the air, the dry air that is, does not necessarily change. Usually what we're doing is we're either adding water vapor or we're taking it away. So the mass of the water is changing, but the mass of the air is not changing. And consequently, we quite often will non-dimensionalize things per kilogram dry air. So that's what we're going to look at now. And so there we have the two components, the dry air, as well as the water vapor. We want a non-dimensionalizer divide, I should say, by the mass of the dry air. And this term here we just saw when we were talking about specific humidity. So that becomes an expression that we can use to evaluate enthalpy. And that would then be per kilogram of dry air. Now, oftentimes, we're looking at enthalpy change for some sort of process, whether we're removing moisture or adding moisture or anything like that. So let's take a look at how we would handle an enthalpy change. So we can treat these two different terms differently. First of all, we have that one. The first one is for the dry air. The second one is for the water vapor. And it has the specific humidity integrated in there. So if we look at our earlier expression that we had for the enthalpy for dry air, we can write that out here. Once we get that, notice enthalpy at zero degrees C, that's going to cancel out. And we get that for our expression. Now, for the second term that we have here, notice that the specific humidity at two does not equal the specific humidity at one. We need to retain the full term, given that the enthalpy at zero degrees C, we said was 2501.3 or something of that order. It might vary depending upon the book that you're using. But given that, we can't make the cancellation that we had in the first term and cancel out the enthalpy there because the specific humidity value between two and one will change. But anyways, that gives us an approximation for calculating enthalpy change per kilogram mass of dry air.


We mustn't forget that media workers are, after all, doing work. It takes a lot of labor to produce good content, and often even more to bring it before the potential audience.  But then again, this takes a lot of human work. And this work cannot be sustained purely as a heroic mission. I cannot pay my rent by reciting to my landlady all the glorious articles I've commissioned this month. Believe me, I tried.


If I was to reverse everything, I could say I would reverse AR, I would reverse the sales, reverse the sales tax, and then you could say that you're reversing the cash and the accounts receivable. And so this is going to be a credit and this is going to be a debit, right? But these two I've already been, so you're not going to do this again, you're just basically going to say, well, I'm just going to reverse the cash. So the cash is going to go down when I issue this form instead of the accounts receivable because I've recorded it here already. And therefore, it's the same reversal of the invoice, except that the invoice has already been cached. Therefore, instead of reversing AR, I'm in essence just reversing cash. And I'm not going to do this down here, right? And then I've got the cash. And then the sales is going to be reverse sales tax. And then if I get the inventory back, inventory would go up and the cost of goods sold would go down.


Cool. So a friend of mine owns a leaf and he was kind of enough to let me drive it. Here I am filming with my phone. I just did his neighborhood going 14 miles an hour, so it could be the end of the world. But silence aside from quite acceptable, faster than I might have thought. I'm glad to get a chance to drive one.


Okay, well Nathan said that he invited three kinds of people and I suppose that I may count as a Force since I fall to the category of random guy that he happens to know I'm not really a synologist By training originally. I'm a japanologist Actually, but I stopped doing that a long time ago. In fact, I stopped doing linguistics for me a long time ago This is actually my comeback. I haven't had a job in the in the academic in 11 years So coming in as a sort of outsider this talk will be somewhat unorthodox in that It will be in two parts the first part is Is sort of a cautionary and autobiographical story, which is relevant. Don't worry And if you know anything about how Maltese is spelled that's a big clue right there the GH And this will tie into my remarks on Oh Chinese reconstruction in the second half I Prepared this talk Thinking that some of you may not be super familiar with Oh Chinese reconstruction and all the decades of wars and arguments about it. So for some of you this may be rather boring But I'd like to provide some background anyway, at least from my by my experience when I first started learning about Chinese phonology in the early 90s My only exposure to it was through the works of Bernard Colburn I borrowed every carbon book I could find in the library and I regarded it as like a religion. I totally believed it and In the carbon in carbon and carbon type systems of both Chinese reconstruction There are two kinds of syllables that in the notation. I use here, which is not problems one type I Will call after pulley black who came after Colburn a Has no yaw or J and type B has a yaw That is a J in it. I'll be using this color coding throughout this PowerPoint presentation So red means type a blue means type B now for decades. This is this is the reconstruction that people outside Synology use if you look at Japanology stuff if you look at look at Korean studies stuff You will see that carbon stuff is still religiously quoted today as if Baxan cigar had never happened Which really really irritates me, but that's the way it is and that's that like I said I I originated as a japanologist. So this is this is where I started from I was totally unaware of Baxan 1992 Even as I was reading these books by carbon. I had just no idea. I mean in Japanese studies. Nobody mentioned it Then I started looking around and I discovered other interpretations Pulli black in 1962 Interpreted and in terms of vowel length There have been other interpretation since I'm not going to list them here I mean, I'm not going to list them here, but I'm not going to read them I just want to I just don't even have to read this. I just want to point out that there's been lots and lots of ideas about what And you are now 1995 one of my Japanese professors sent me a Journal of the American Oriental Society article by Norman from 1994 and He said oh mark. I think you'd be interested in reading this So I said okay, and and he thought it was so important that this is pre-internet, right? So he mailed it to me in an awful loop to my house and I opened it up and I was absolutely shocked I have never seen anything quite like this before according to Norman All Chinese had three kinds of syllables. Yes, you see two here. I know it says three up there bear with me What I've been calling E and B corresponds to Norman's perennialized consonants and his plain consonants Norman has a third type that I'm going to Ignore which is his retroplex class this I only have half an hour of speech I just can't go into it. So for our purposes I'm going to concentrate on the pharyngealized versus plain Distinction that Norman proposed. So this is 1995 I had just started to emerge out of a whole call gradient religion and This to me just came as just total heresy and unbelievable bizarre and Norman wrote that in his theory His idea was that If a syllable is plain that is he has no pharyngealization It will develop in Palombe deal unless for initialization blocks this Palombe now Here he's argument was based on it was partly based on Arabic This absolutely blew my mind at the time now the crazy things is that I had to take I took a course In which I was introduced to air Arabic phonology morphology, etc. etc So you would have thought I would have been receptive and this is why I say this is a cautionary tale I did have to acknowledge but in my mind it was severed from all this East Asian stuff So I didn't want to listen to Norman. I just thought this just cannot possibly be relevant It didn't help also that Norman possibly due to space constraints or something didn't really explain His Arabic argument as much as he could have and so he didn't get any specific example and so to me this just seemed really bizarre and Moreover by this point Since I was emerging out of the whole call graining religion I had started to question the whole concept of the yaw being the defining characteristic of the AB distinction and At that point I thought well Norman still believes in this yacht stuff even not at the old Chinese level, but at a later level and Since I was becoming skeptical of this job stuff. Thanks to pulley blank. I was starting to switch religions from carbon to pulley blank I was like well, this just can't possibly be right What good could the supposed parallel Arabic be if almost all this Pathalization didn't even exist as pulley black had been arguing so I just totally Put this in a file and kind of forgot about So that was 1995 So for years, I just played almost fully agnostic about the AB distinction I was certain that it did not involve J I was not convinced by the other hypotheses like vowel length that had been proposed Basically, I had no real idea. I'm not I just rejected some ideas, but Um for me it was an algebraic thing Now in 2000 of Wolfgang bear Showed me a unpublished list of later on Chinese reconstructions by Axel Schuessler This completely blew my mind Until then I switched religions again from point blank to Starristan and so I was a big believer in Starristan's 1989 book and its reconstruction and In the unpublished version of my PhD dissertation Starristan has quoted all over the place if you've seen my 2003 book. I chopped out a lot of that stuff Starristan's old Chinese reconstruction looking back strikes me as really complicated I actually wrote diagrams for myself to try to make sense out of it What's done to me about Schuessler was that his his his account of Chinese historic analogy was so simple and It just struck me as currently elegant Here's what I need by elegance Now you may be thinking what why are you talking about? Well Well bear with me One of the key concepts of Schuessler that I just fell in love with instantly. Yep, it's religion changing time again Was what I'll call vowel bending the Schuessler system vowels warp or bend in Schuessler starts off with a six vowel system. That is pretty much familiar to anyone who's worked with Jung-jung or Starristan or backstop cigars. So this is the starting point Bending refers to how in during history of Chinese these simple vowels become More complex in a type syllables and at this point in 2000, I didn't know what a type was. I just said, I don't know High vowels bent down And those low vowel lower vowels stayed low. They're already low and you really can't they and it's like you can't push them any lower Congress we can type these syllables and again at this point. I didn't know what type he really was We have the opposite change where lower vowels are pulled upward And vowels that are already high more or less stay high We can argue these phonetic specifics here. The point is is that the two different types of syllables are associated with two different kinds of warping patterns The details these patterns are arguable put it very by dialect Now What impressed me was that these these workings or bendings were reminiscent to me of Khmer now Khmer One could it could try to project Chinese style terminology. Do not do this But but just for the next two minutes just bear with me In Khmer you could claim that there's two kinds of syllables. In Khmer the type A syllables are have voiceless consonants originally and The type B syllables had voiced consonants originally in the type A Constance in Khmer. You're the same kinds of bendings as in type A Chinese and Similarly the type B now in Khmer again the conditioning factor is the voicing of the initial constant This is not a factory Chinese so the parallels stopped there, but what struck me as me was the was the patterns of bending So Chisler's proposal struck me not only as elegant, but also as Typologically highly plausible I am not trying to say that these two phenomena are related in any way that Khmer's influence by Chinese or anything This is just a pure typological Comparison these did not even happen in remotely the same era Which is why I have older versus newer the Khmer phenomenon happened Perhaps with prayer happened within the last millennium long after this happened in Chinese The point is just that the vowel patterns are quite similar and that in both cases you have a You have a two-way distinction that is characterized in the later stage by different patterns of bending now if we take this bending as a fact and The question becomes What is this happened at this point in 2000 I was agnostic I had no idea Something was pushing It's something was pushing all up Well, it wasn't I didn't know now What I call the Maltese moment happened in the University of light and light the Lighting University library I was looking through linguistics books there at random one day with no real purpose at all I just grabbed some book that had the word Maltese on it on the side I mean, this is just completely Thoughtless I opened it up and again completely at random. I Packed it to be on the section of phonology And I pointed out that in Maltese historically where you had earlier Arabic pharyngeal and the earlier Arabic The bow's bent In the same way that the Chinese More or less For our purposes for the next couple of minutes, we can call this Maltese type A Now in Maltese words that didn't have these The pharyngeal this usually these that these barrier back consonants You'd have Chinese like bendings in the other direction So eyes went upwards to ear This phenomenon of Arabic is called Imala Norman mentioned it in his article, but he didn't say what it was And I had read about Imala a couple of years ago in another article in Arabic But because of the wall in my brain, I just refused to put the two things together The shock we've seen this in Maltese and the Shusei article all within a matter of weeks Just set my brain on fire If Norman had mentioned a specific example of Imala in his article, he might have told me Five years earlier, but no So now they ask us what Imala looked like. I was really excited. I I thought wow, look at this Pharyngeal's conditioning about lowering So I concluded That Imala was happening in Chinese and I'm not really sure it surprised me because Imala means bending Which is exactly what I've been showing you for the last few minutes But at this point, I still don't And at this point I started to think now I finally know what A and B is A is capitalized by pharyngealization I would rightly use the vaguer term that some Arabic linguists use Emphasis because there was a huge literature upon emphasis in Arabic And there's this huge debate on whether it involves pharyngealization or uberalization or this or that I mean, there's just books on this and I prefer using the vaguer term because when we deal with an extinct language, we cannot pretend to Write exact IPA transcriptions of what it was. I mean, so All that matters to me is that these emphatic consonants I'll call them Are somehow different from the others the exact details of this was it where they be lowerized or whatever I think Are open to debate So from this point on I'll mostly use this vaguer term emphasis deliberately Now my next question I'd like to ask one question where where does type A come from type B being non-emphatic I'm pretty certain of that now. I've been certain of that for 15 years I've been looking into Into Semitic historical phonology and just done by stuff I see So now the next for the next 15 for the 15 years after this question for me became What was The source of this all this for immunization Is it primary or is it secondary? Has it always been there? So in part two now, I'm going to get more hardcore in Chinese and less biographical Oh, I was hoping to do that. I made a mistake of not reaching anything during the break now We have the key of my teas We have the friend the fertilization Adversive type A symbolized by high Key there So what happens when we know about this door? What awaits us next? What's behind the the door in Maltese an example of work on bending itself Now rereading more norm in 1994 with a more open mind than I had years earlier I noticed this That a two degree a two-way division of words Is a common phenomenon all over the Eurasian continent this made me think rethink the whole question in terms of Irreal technology now One characteristic of the new background back since the car reconstruction that strikes the strikes me and Possibly others as very unusual is the huge system of 36 inch fatic consonants Or pharyngealized or whatever as you may prefer All of these consonants have type B or non-fatic counterparts except for this rare one there I don't know of any language which has more in fatics than non-fatics now For some time I was that I tried to Reconceive with fewer in fatics than this and I will confess I fail I can't really beat this system. So I'm going to take this as a given what you see here I Do know like more more over the more thought of life This isn't as crazy as I thought it was initially I do know of languages with similarly structured constant inventories. So typologically this is not As bad as it looks When looking into Semitic, um, I found a I found the work of Islam Yusuf who writes a lot about the Arabic of Cairo Now in a description of standard Arabic you have very very few fatics Yusuf's description of Cairo Arabic is stuffed with emphatics. There are 23 of them And they have near total symmetry with the non-emphatics. So superficially this almost looks like the old chinese inventory However, there is a key to this difference so Most of these emphatics are elephants of non-emphatics and not phonemes. Most of these emphatics are predictable They are conditioned by the five True emphatics and by and by something else which I will mention shortly The point though is that it is possible to have a language with tons and tons of emphatics and it's spoken right now it's just that I I mean this just Probably eludes people because of course, there's no way in the Arabic script to write all these emphatics But my assumption is that if you try to pronounce Cairo Arabic without them, you'll sound really bizarre Norman mentioned Russian and I think Russian put me off at the time 1995 because I because in russian the two way distinction is between palatilized and non-palatilized Norman described the russian non-palatilized process as pharyngealized I don't know if I would agree with that but Once again, we have near total symmetry And this time like back since the god of Chinese most most all these pairs really are phonemic But like I just said the russian section post palatilization and old chinese It is true that some type beat syllables palatilizingly old chinese but unlike The calgrenians. I don't define type beat as palatilized so there are limits to these powers of russian A third example that I studied after I initially read norm's article was old turkic Old turkic is written in a runic script and It too has And it too has a two-way opposition But there is no phonemic So the point is that these systems demonstrate that The back since the god system is not typologically as odd as they may seem at first and I will stop there Without actually going into all the original stuff At the end You can just take it out of your question time. Yeah And if you have further get through your slides Really? Yeah, okay Yeah, now What all the three previous systems have in common is this These large systems turkic russian and kairi arabic derive other Diachronically or synchronically from a less complex system In in the case of old turkic the back is in front of the two types of constants are entirely predictable In kairi most of them are predictable And it is true that composition is currently community russian, but it wasn't it wasn't like some permanent eternal thing It's secondary So the question becomes then if these large systems come from small systems What about old chinese? Do we have to assume that the 36 constants are I just have forever from sound Tibetan? I don't know Maybe there maybe old chinese was like classical arabic and had a few core In fads and things just grew and grew and grew or maybe hadn't known that originally. I give up with hypothesis that In early old chinese There were few or no true emphatic and that emphasis was predictable on the basis of something i'll call x In a later stage of chinese corresponding to the vassal cigar reconstruction X is partly or wholly gone once a conditioning factor starts to vanish Something else may become fumimic and in that case it was emphasis So we have this huge constant inventory now These constants in turn influenced following vowels and so that vowel alphons developed after constants In the final phase of both chinese Let's say in han times Emphasis is starting to vanish and the bad vowel alphons come into their own and become fumimic And this is then this in turn results in the very complex qianun system of rhymes So what was x? There's another novel trend toward words get toward word structure getting wish in the in East and southeast asian region That's a cigar so we're trying to assess for syllabic meaning that the word structure is one and a half syllables the half syllable is maximally a consonant and a schwa schwa is the only possible vowel in What's called a pre-syllable modern chinese is so called a monosyllabic yes, we can argue about that but It's this is pretty much gone and this kind of reduction can also be found in other lighter regions of the area Given that emphasis Was located on the initial cost of the main syllable I thought that maybe x must be near that initial to cause it to become a fact What if so my hypothesis is this what if in fact are traces of lost vocalic distinctions in pre-syllables which are right before initials I see in fact is a step in the progression between disyllables and monosyllables in chinese language history This is this is now really going on in the middle here and being very dangerous Let's suppose that in very early chinese you can call it core chinese pre chinese whatever They were actual real disyllables not sesquic syllables And over time the first syllables start to lose their distinctions and fell into two categories We'll call them Which the type a and the b category the type a categories typified by a Low vowel short up and the type b category is typified by a high vowel short in in middle chinese which is Equivalent to the back of cigar reconstruction the short out triggered Emphasis and short did not These vowels I have merged with the schwa or lost entirely or even the the pre-syllable just fell off But the quality of the vowel can be determined by looking at the Quality of the consonant Why do I pick low vowels as conditioning emphasis? Some consider low up as a syllabic form of a pharyngeal blood It's Salish the pharyngeal is a syllabic Alphan of I And in korean arabic low conditions pharyngealophones This is the most important for our purposes I think the spreading of emphasis points with aerial friends I've been talking about a low high distinction low a verses high There are low high vowel systems throughout this region There's a lot of harmony in eurasia of feature spreading I'm going to skip that If we look at Dysyllabic morphines in old chinese and these are attested. This is not my hypothetical super old chinese You can see a lot of confatic harmony I call these type 8 words type bp words based on the type of each syllable My thinking is is that what we're seeing here is the same is the same kind of harmony that would be assessed for syllables But on a bigger scale If you find harmony in re-duplication And I've compiled statistics in a 2008 article that I published Now it is true that not all dysyllabic words fall fit into these patterns And in these cases, I wonder if they are loan words or Compounds that have become opaque over time Now I'm going to conclude with some potential issues for What I'll call the extended in fact theory I consider norman's theory to be the the base the original fact theory minus the extended version the overextended version possibly Well, one problem is this If I can supposedly reconstruct vowel qualities based on in fact emphasis Why is it that we have cases like this where The low vowel that my theory predicts Seems to correspond to a high vowel in a possibly related word This is not good for me I could come up with some kind of ad hoc solution to make this work, but I'd rather not this is rather troubling Of course one could just just throw this entirely away and just say well the oxygenation words just a complete lookalike, but I'm not So sure I'm not by the way, 100% endorsing signal oxygenation here I'm just saying that that this could be a loan word. This could be an aerial word. I have no idea But I don't think this is coincidental And this is not the only case there are others that my theory fails to account for Another problem is if my theory is correct supposedly you might be able to determine vowel qualities and prefixes I have failed to do this. I haven't even tried to do this and frankly I'm a little scared But if I'm correct This should be possible another problem is Trying to explain type a b doublets I've come up with ad hoc solutions like this one, but I don't find them entirely convincing To to prove this particular ad hoc solution I have to demonstrate that in every case of the body part prefix. I can make it work with a high vowel pre-syllable and I'll just conclude by saying that I could try to extend my impact here even further From the last decade or so I've been doing a lot of work in tundra And I suspect the tundra may have also had a type adb distinction But whether it has a similar origin is something I'm not sure about yet And that's it And I don't think we have time for questions except maybe at lunch or something


Live from Las Vegas, it's theCUBE, covering NAB 2017, brought to you by HGST. Hey, welcome back everybody. Jeff Frick here with theCUBE. We are winding down day three at NAB 2017. It's been quite an event, 100,000 people, a ton of buzz, a lot of cool gear, a lot of cool activity, and we're really excited to have Jason Friedlander with us. He's the director of marketing communications for the Verizon Digital Media Services. A mouthful, welcome, Jason. It is a mouthful, the email's even worse. We won't go there. So for people that aren't familiar with the Digital Media Services, a lot of people know Verizon obviously for lots of different things. What specifically does your group do? So our group, our mission is to change the way the world watches. So we do that a couple different ways. We are a group made up of about three acquisitions. So in 2013, Verizon acquired uplink video streaming service, which is where I came from. And that's an end-to-end video content and gestion delivery, ad insertion, workflow, and then we acquired, literally three weeks later, the Edgecast Content Delivery Network to really put those two things together. Because Verizon saw that video was eating up a large majority of the bandwidth. About the bandwidth, right? So we put together these services and Verizon bought these two kind of startups and they knew that we could put the war chest behind it and build the infrastructure that's kind of associated with the name Verizon, like that backend to really build these two systems up to really be able to handle the shift from broadcast television, cable television to OTT. So we built a lot of new features on top of uplink since we were, in the last three years, we've added a lot of scalability to handle tens of thousands of people hitting play at the same time, tens of millions of people watching. And we've also, on the CDN side, we went from about two terabits per second to over 31 today with over 100 points of presence around the world from about less than 20 when we were required. So it's been an exciting time. So that's really what we do is we kind of prepare and create the assets and deliver the highest quality of the end user. Because you're sitting right there, you know very specifically how video to the mobile has just completely changed the world. Yeah, and being part of both the delivery and the preparation, we get to know a lot about what works best so that every user can have the highest quality. Because we know if our customers can't deliver that high quality, personalized experience to every user, then it hurts their engagement, it hurts their brand loyalty, and thus doesn't help our business. So our goal is to really use all the pieces we have to make sure that we're delivering that for our customers. And you had a new exciting announcement here at the show, so tell us a little bit about that. Yeah, we're really excited about this. Like I said, Verizon Digital Media Services is made up of those acquisitions and last year we had another one called VoliCon. So the three companies are really the basis of what BDMS is and this year at NAB, we launched Media Experience Studio. And Media Experience Studio is really exciting because it's the first product we've launched that sits on the same level of those three acquisitions in our stack. And it's what we're calling a content intelligence system. And what that means to us is that where we've kind of nailed monitoring and quality, we've nailed delivery via our CDN, we've nailed content preparation and personalization via uplink, we really heard our customers and kind of the entire industry talking about how everything upstream is still kind of a little dysfunctional. A lot of different systems are needed just to execute the delivery of a single asset to an end user. So we've kind of moved upstream to really give content owners the ability to manage a single asset from whether they're acquiring it or producing it like you guys are and manage the metadata associated with it. And then the delivery to the end user, whether they want to build an app, come up with a subscription service or personalized feeds or anything around that, that's what this service really does from an end to end perspective. It's really magical when you think of all the things that have to happen in the background. For someone to navigate pit picking application, Netflix, YouTube, whatever, go to an asset, hit play, and the thing is delivered. Yeah, my kids have no idea what it takes to actually get it there when they're watching Disney Junior. But, and the content owners are constantly having to deal with those headaches from conforming metadata from one system to another. And we felt, if we can kind of get rid of all those little pieces and put it into a single really usable, really cost effective platform for people to use, then this becomes the source of truth for everything out here. And then if I need to update my metadata for an application that's out here already, I just make that change.  So we think in the long run, it's going to help our customers, which are content creators, it's going to help them create new experiences and experiment to be able to offer a better OTT experience to the end user in the end. And not only did you think it's a cool idea, but it looks like you got some accolades from the industry as well and a few awards. Yeah, we did. We won the MX Studio won an award, our live event solution, which our live streaming solution won an award for Best in Show. That one we're really, really excited about because that's another one where we've listened to kind of our customers. For years, the APIs on top of Uplink and Edgecast have allowed customers to produce the largest live events, whether it's sports or it's concert series or whatever, but they asked us for tools to simplify the production of that where they, for instance, we had a customer who bought the rights to multiple college conferences and when they get those rights, there's only a small subset of those sports that they're actually going to ever air on their broadcast network, football, baseball, basketball, right? Right. And they have the rights to field hockey and men's soccer and girl swimming and all those things and they said, we already own these, help us come up with a cost effective way to produce these highest quality and put them in our OTT app because in our OTT app, we can offer much more niche kind of sports because we don't need millions of people to watch it. Right. Just a handful of people are watching it with monetization. So that's what our live events tool does. Last year we did 26,000 events for customers and this year we're on target for over 56,000. So we're really excited about the power that this really simple tool has to deliver and help monetize those events they could improve. It's interesting because there's a lot of talk about the democratization and kind of the, you know, the semi pro or the hobbyist now that has access to all these tools and live events. But even within the big brands, you know, you still have this kind of long tail content that never was going to break into regular on broadcast but it does have an audience. Well, it's a waste of money. They're, yes, they're buying the rights to football. I mean, that's what they're getting, but if they can offset the cost of those rights via offering all these other services, then that's a win. And really in the end, it's really a win for the consumer and down the road, the advertiser, right? If we can finally put all the pieces together where, you know, you're watching a specific thing that you're interested in, obviously you're getting served dynamic ads, but your dynamic ads are super highly targeted to things you really want to buy right now or then it's a win for everybody. You get the best experience, you know, sitting back on your couch. The content owner gets the most value for their content and the advertiser gets to reach people they traditionally couldn't reach that targeted. Right, right. And the variety and types and size of the content, it's only getting bigger. I mean, as you walk around here and see all these 360 cameras and VR cameras and IR cameras and, but then you have 5G coming right around the corner. So a whole nother kind of ratchet up of opportunity to deliver a whole nother kind of genre of content right around the corner. Yeah, it's great for us. It's, you know, 5G to us is just another distribution endpoint for our content, but we're interconnected throughout the world to 3,000 last mile networks, whether they're 4G, they're your home internet, or it's a next 5G network. But what that means for us on our end as a vendor is we have to make sure that the encoding profiles that we're using the most efficient bandwidth that we're offering that highest quality that can be delivered over the available bandwidth of the network to that end user so they're getting the most value of their 5G network or whatever it is. Okay, so you got the first product out without giving away any trade secrets. If we see you in a year from now, kind of what are some of your objectives? Where are you guys going next? Yeah, I think part of our MX studio is, again, giving that insight to a content owner to be able to see this piece of content cost me X and I've made Y. Now what we want to do is the next layer we want to be able to offer up a vision to your entire content library to tell you you need to produce more content like this or you need to put out an app that consists of these assets from your library because based on the data we're looking at, we can tell you that's going to have an ROI. So in the end that content owners are avoiding the risk or much less so risky and they're going to be more targeted with their concepts and allow them to experiment more to really find what works in the OTT space. Analytics instead of intuition, how about that? Analytics and personalization, man. That's what it's all about. All right, well Jason, congrats on the awards and the product launch and make sure it's taken a few minutes to stop by theCUBE. Thank you, my pleasure. All right, Jason Friedlander from Verizon. I'm Jeff Frick from theCUBE. You're watching us from 2017 NAB. We'll be back with our next guest after this short break. Thanks for watching.


And I believe we are live. Hi everybody, this is George Kau. I am here with my friend Amelia Vogler. She is the director of the Healing Touch Professional Association. You should all check it out, htprofessionalsociation.com. Dot com. Dot com. And she was generous enough to say, George, you just launched your book, Authentic Selling. Maybe we can have a conversation around that and this will benefit my audience and your audience. And so that's what we're here to do. So hi, Amelia. Hi, George. So nice to be here with you. Yeah. The last time I saw you was just almost a year ago in your city when we were having dinner. Absolutely, that was a lot of fun. Yeah, it was.  George, I just want to take a minute and acknowledge you for your work because I work with a lot of people as a professional association. We bring people in time and time again around business support, training programs. We do a lot of advanced education for energy medicine. And George, you're really special in your approach. And just want to acknowledge you for stepping in and through your virtues. You know, the highest virtues that we bring into our work. And finding you and finding the ability to find those virtues in our marketing, that it's what we were looking for, what we were looking for. And so this professional association is filled with healers, healing touch professionals. And so we're looking for people who line up with our virtues and our core principles and, you know, foundations. And so I think, you know, it was just a really huge gift to find you. I appreciate that. Well, I have so enjoyed interacting with the members of the Healing Touch Professional Association where, you know, in the group calls and, you know, and afterwards I had some, a chance to work with some of the members. So that was really great. Yeah. That's great. Well, George. So just for those people who don't know what you do or how you do it specifically for my group, you know, can you share a little bit about what makes your marketing approach different? Authentic marketing, I think is what you call it. Yeah, exactly. And this new book that I just wrote is called Authentic Selling. And, you know, marketing and selling, I'll just, there are some differences in what those two things mean. But for the sake of this conversation and make it simple, it's the act of allowing the right people in the world to discover our presence and our message, the benefits of our work so that they can actually use our business, use the services and products we provide to move their life forward. You know, that's really what marketing and selling at the core is. And to do it authentically, to me, it means to have an alignment between our values, our stated values and how we're doing our marketing and our selling. So what I mean is a lot of times, what happens is we say, I love, Amelia, that you said our higher virtues, bringing that into our work. Because we say that we are about healing. We are about wisdom and love and truth and generosity and compassion. And yet when we do marketing and selling, a lot of the times we're learning from experts who are coming from a more, I mean, for lack of a better word, like a more, like a mercenary way of doing things where the focus is almost entirely on the transaction instead of on the relationship. And as people who believe in the importance of spiritual growth and healing, it's all about relationship. Relationship with our clients and relationship with our, you know, our higher self or our spiritual source. And so authentic marketing and selling is the alignment of our values and our behavior. And so what that means is if we believe in relationship, then our marketing needs to improve the relationship with our audience rather than force something, force them to buy something or force them to even want something. And the forcefulness, I think, and of course, and healing, I'm sure that's something that you guys talk about too. It's not about forcing anything on anybody because we can't even force healing on others. We, it's a partnership, right? Like we can't make them heal, right? They have to want healing too. So the same thing about marketing and selling, if we, all of us, all of us have experienced it, whether it's reading somebody's email sequence to us or whether it's on being on a call with a potential provider for us, we have felt that pressure. We have felt that sense of forcefulness that doesn't feel right. It feels like they have an agenda that they're not totally being upfront with us about. And so naturally, the way that most of us interact with salespeople is we are naturally doubtful and protective of our space and of our energy because we feel like we want to, we have to be so careful that we don't give away our free will that, oh, I gotta make sure I make the right decision for me because I know the salesperson or the marketer, they are just thinking about their own agenda and their own profits and they might just be seeing me as a means to that end. But when we do authentic marketing or selling, we are saying, okay, let's return to the heart of service. Let's return to the importance of relationship. And then from there, we connect to that person in service and in relationship. And when we do that, it's very natural that the person starts to trust us because the trust is earned. And when the trust is earned, we can better understand the other party. Let's say we are the provider and we have a prospective client in front of us. If our purpose is to serve them and to build a good relationship, no matter if the transaction is done in this session. And that's really, really key. Just like, well, that's the definition of non-forcefulness. It's like you're flowing with life and we're flowing with the energy of this relationship and this interaction, whether or not a transaction happens. And we're actually trying to sense into the energy of the other party to say, well, is this the right person that I should invite into the energy of my business, essentially? Because every client that we serve actually affects the energy of our business. And sort of, are we wanting to invite that energy into the space of our business? So we are as much, in a sense, we are as much interviewing our potential clients as they are interviewing us. And sometimes we forget that. And so when we come to it with a sense of, is this a relationship that I should take forward into a business relationship, becoming a client or buying this thing or selling this thing? And how can I best serve this person? Is my product or service really the best thing for this person at this time? And when we can honestly say yes to that, there is a natural upwelling of excitement and joy to say, oh, I would love to work with you. I really believe that I can help you. This is a situation I've seen before. This is a situation that I'm passionate about, helping to heal. And if that's the case, then it's a joyful invitation. And the prospective client can sense that. And of course, it's up to him or her to say yes or to say no and not at this time or whatever it may be. But whatever they say, of course, we are in service to them. So we need to, if they're ready, they are going to say yes. They're going to be excited too. And if they're not ready, then they have felt that we have tried to be in service to them and they will go away having good thoughts about us, well-deserved, kind of good energy. Oh, that was, that felt right. That felt good. And very often they will come across a friend. And if they said, even if they said no, even if they say, oh, not at this time, they'll come across a friend or a colleague later and they'll think of us because that friend or colleague could use our services. So I know that's never a large nutshell. That's kind of the energy behind authentic selling. George, let me ask you something. When did this idea come into your consciousness? And let me tell you why I'm asking. Because I'm sure, or I'm making an assumption, which is not polite, that you've heard the expression as above, so below. When we match our spiritual qualities with our Earth characteristics and we walk through that bridge, and less familiar is the phrase, as within, so without. Have you heard of that? As within, so without. The other part of our balance between spiritual living on this planet. And when I was hearing you talk about the alignments between our inner core, our inner beingness, our inner voice, what we believe to be true of who we are and how we are in service to the whole. I was seeing also that bridge, and I think you're talking about relationships and coming back into that co-creative, expanded partnership relationship in business. And that's what's surging up underneath in the global consciousness. And so I'm curious, did something happen in your life that was an awakening? Was there some pivotal moment where you stepped into your life and you said, you know, this doesn't resonate with me because you were talking about resonance, about when we resonate with our potential client, our future client, the person who's sitting with us and we're listening, you know, you're tapping into those energy principles of resonance. So I'm just wondering because I sense that there might be a shift in your story.  Axiom moments, Axisite moments. Yeah, thanks for asking. Yeah, well, we're live, you know, I thought I'd catch you with the personal one on live. No, it's a perfectly good question. So I think for most of my life, I have wanted to do good for the world and probably everybody watching this really has that same core intention to be of contribution to the world. I think human beings, when we're well rested, when we're well fed, when we feel loved, we want to give back and be a value add to the world instead of some kind of an extractive relationship to the world. So I think I've always had that, and what happened along the way is I think I've absorbed some of the mainstream world's values of competition, success. I put success in quotes because I think we need to define our own definition of success, right? Success isn't necessarily what others put on us of you got to make lots of money. You've got to, you know, become famous. Better than other people or, you know, however, and I think along the way, I did absorb some of those values. And so when I started my business close to 10 years ago now, I was in that mode of success and making more money and getting clients. Even that idea of getting clients seems like what does that mean? Getting them, you know, instead of relating to them instead of blessing them instead of loving and caring for them, you know, like getting them. So, but that was how I started my business, you know, back in 2009. And for a couple of years, I was learning from those marketing experts whom probably all of us have encountered that was all about the six-figure income. Nowadays it's seven-figure income and, you know, get a million followers. And so in the first couple of years of those kinds of strategies, I was in that mode of competitiveness and getting and acquisition. And then, inevitably, my soul caught up with me. Inevitably, my core purpose caught up with me and I'm grateful what happened was that essentially my spirit, my higher self maybe, started to sabotage my efforts. I started to experience less success at the same time I was starting to have crisis of conscience. Like, is what I'm doing really aligned with what I say I want to be about in life? And what is it that I do I really want to be about in life? You know, and I think that's actually a purpose and healing is also there's something there, the connection there. So, long story short, I was feeling my conscience nagging at me. Inside, I wasn't happy. Like, I wasn't sleeping well at night. And then on the outside, I was starting to see my business being sabotaged a bit by my own efforts, by my own actions, by my subconscious lack of alignment. And I think that's what tends to happen is when we do have a lack of alignment, it starts to eat away at us and then it starts to manifest itself in the outer results. Now, it can take some time because some people are able to fake it until they make it kind of success thing for a while but then it always catches up eventually. I'm grateful it caught up with me within five years of doing that. It still took a little longer than I had hoped nowadays. But anyway, so back in, so it's starting at about 2013, I decided to start to shut down my business. 2014, I basically started over because I said I can't do it in a way that doesn't feel right anymore. I can't do anything other than what feels right. And so I've started, I essentially started over about, what is it, four, five, six, about five years ago now. And I didn't know what it meant to be in this new world of being authentic in business because most of the people I was learning from, I would say almost all of them, their stuff didn't quite feel right anymore. Some of them felt very not right anymore. So I had to stumble into, well, gosh, if I just try to give, if I just try to bless my audience instead of always trying to get something from them, what would that feel like? So I really kind of started out innocently just trying to love in my marketing and in my business, regardless of whether the transaction happened, whether or not I made a lot of sales this month, whether or not clients said yes to working with me. I just tried to care. I just tried to serve them. And over the last five years, I've learned how to do that in a way that also happens to make sense for business. Because yes, it is true that we can, I would say, misapply our generosity and compassion in a way where, for example, I think maybe a lot of you watching this, well, all of you watching this care, okay? That's number one. I assume that to be true. You care about your audience.  But we can forget that we are still in a world where if you want to have a business, there needs to be a give and take, right? And so if you are always giving of your time and your energy, and you say, no, no, no, don't pay me for it. It's not right. And you can, of course. You can, of course, do that. And it's called volunteering. It's called having a hobby. And it's great to have a hobby. It's great to have volunteer. It's great to be a volunteer and to help as many people as you can. But then you still have to go back to work. You still have to go back to your job or you have to build a business. And so the past few years has been, the question I had is, can we be our authentic selves tearing, compassionate, generous, service oriented and still make a living? And even quite a good living if you want to. And that's been the inquiry I've been going through. What did you find out? I found out that absolutely yes. I'm grateful that today, my business is doing as well as it's ever done, thankfully. Except for there was a couple of years in the beginning where I was so transaction oriented. I didn't care about what people thought of me and I just made as many cells as I could. But now my business is making full time income. Of course, I'm living in San Francisco. It's not cheap here. And I'm able to support myself and my family. So things are going well financially. And at the same time, I figured out how to give as much as I can. And basically we need to have an understanding of what makes sense in our business to give as freely and as generously as possible. And then what makes sense to charge for, right? So we all have a natural feeling of that balance. And if we over give, if we overextend ourselves, we feel that too. And if we under extend ourselves or under care, we also feel that. And so it's really a process of self exploration and sensing into what is that right balance for us. And here's the thing. Over time, as we figure that balance out and as we create a business that works, we can then shift that balance. We might find ourselves being able to care for more and more people because our capacities have grown, right? That's the definition of growing a business. Our best capacities grow. We can care for more people in an even more generous way and yet still be sustainable ourselves, right?  I write two thoughtful blog posts per week.  People are able to access my knowledge and my expertise, my experience at a fraction of the price that I use to charge. And I'm able to make it work. And my one-on-one, you know, coaching rates are actually lower than they were when I first started my business. But they're still at a level that's enough for me to live in San Francisco. So, you know, that's the balance that we all need to find. And if we can find that balance and then do our practices every day to return to our higher self and to resource ourselves, then we can be fully authentic in our marketing and our selling. When we give, we fully give. When we have an invitation, we invite with joy because it's the right thing for the audience, it's the right thing for the client. Yeah, and George, you know, hearing you speak about your journey of alignment, you know, finding your place, finding your sense of purpose and also reflecting a little bit on how, you know, how funny and sneaky purpose is. You know, people come to us as healers and say, I really want to find my purpose. What is it? Is it painting? Is it this thing? And you know, purpose is, I believe, alignment. Alignment with your spirit.  How do you bring that out? Well, it's by showing them and being a mirror for them through your virtues, giving them hope through your hope and watching the cycle return. And, you know, I'm just acknowledging, like, the well of our purpose is within us. And it's people like you that help us to bring that out. And I am so grateful that you have stepped into, you know, maybe at times felt like a real departure back, you know, when you had to step out of the same type of work to do the same type of work differently. And what a cool lesson that is. You know, I'm just going to sit with that later thinking about other ways that I can do my own work, my own self-work or my energy work in my practice. Maybe what else am I missing? You know, where else can I grow? And so I just want to thank you for sharing that story. And I have, like, hundreds of more questions. But I want to ask just a quick one. You were talking about your definition of success. So I'm curious, you know, what's your definition of success now? Wow. Yeah. Well, it's hard to put into words. I feel like it's more of a feeling. And the feeling, I guess, I'll use the same words that we've been using, which is balance. But it's not just like work-life balance. Oh, I, you know, have a set number of hours I work, set number of hours I play or whatever and rest. But it's sort of more, sort of more maybe inner composure and a feeling that, wow, there is a, there is a right balance of giving and receiving in my life and in my business. And I, so that's one idea. I think that's success. And the other idea is growth. I think success to me is about growth, but growth not necessarily in the external metrics of, oh, I have this many more fans this month or I have this much money, you know. Yeah. And, you know, when our, when we find the balance of giving and receiving, there tends to be healthy external growth as well to a certain sustainable level. And we have to also be aware that growth externally can't happen forever because that's the definition of cancer. So there needs to be a sustainable level. But what I mean is growth inside. Do I feel like my work is providing me or that I'm shaping my work so that I'm feeling like, oh my God, I'm growing in my creativity, in my generosity, in my virtues, essentially, is that happening in my day-to-day work? And if that is a yes, then I feel like I am on the path of success. Like I feel really good about what I'm doing day-to-day. Regardless of how the external metrics look this month, because I feel like business and work is a stage for our own personal evolution. It is a business and work is a tool for the growth of our virtues. Like every single day, there's an opportunity to bring a little, bring a little light, bring a little love, bring a little more courage or a bit more humility to the situation at hand. And it's not about getting just about, it's not just about getting things done. And I think a lot of times when we're in business, especially when we have our own business, there's so much to do that the temptation becomes, well, I just got to get through the day or just got to finish this task. But every task has the opportunity in the moment to bring more of source, right? More of good and positive energy to the thing right there. So I think that's the path of success for me. And gratefully, of course, it happens to work well with external metrics at this time. But regardless, I think wherever we are right now, wherever you are right now, those of you who are watching, maybe you're just in the beginning of your business, maybe you're doing really well. Or some of you might be at a valley stage of your business. No matter what, if you return to the deeper purpose in this moment, you can still set yourself up in the path of success. Thanks, George. Underneath that, I was also hearing the word courage. Courage and flexibility. Flexibilities to work through what feels static and held in your day to be aware of when does it feel held in a way that you're not growing your spirit because energy always moves. And whenever energy is stuck, cancer. It's the same idea that which is not moving is really at odds with the natural tendency of the world. And so there has to be some courage to say, oh, I'm feeling like I need to be inspired again in this moment, even though I was just inspired five minutes ago by that new email that popped in. So these are such amazing and wonderful reminders about how many opportunities are hiding in our day to explore more of ourselves. You mind if I ask you one more question while I do a couple more? Okay, great. You know, I'm a community leader, and so I work or steward over a community of healers worldwide. And in our community, there's this hesitation. And maybe this is just a human tendency. I don't know. But to ask people that we know already, you know, I do healing work in North Carolina. And I have all these people who I know are very unwell. And yet I still either it's a boundary thing or I don't want to bring my work, which is actually service to them or I think, well, they know what I do. They would call me if they wanted me to help them. But I'm just curious, like, do you have any ideas about what might be happening in that resonance and alignment between the people that I already know and the service that I'm out here providing? Yeah, yeah, it's a great question. I think there is a natural modesty, which is a good thing from heart-centered professionals such as healers. There's a natural modesty about reaching out even to the people we already know, even to our friends, family, colleagues, because we don't want to bother them. And like you said, you know, they should already know what I do and if they need me, they'll... But here's the reality that we need to also accept. The reality is that everybody is thinking about their own issues and their own problems. And rarely do they even remember what we do. Actually, it's true. I mean, because we ourselves, obviously we do our work every day or we think about our work, we read about our work. And so it's obvious to us what we do every single day and we assume that because we are so clear about what we do, that everybody around us must be clear about what we do. But I find again and again, it's just, it's shocking to me honestly that even some of my own friends and family don't know what I do, you know what I mean?  Some of them are like, not really sure, you know? My dad would be like, she just does this. Especially when it comes to holistic methods of healing.  I don't know what kind of surgery, but some kind of, but like people don't know what we do. It's really interesting. So it's our responsibility to remind the people we know every now and then that we are here to help, and that we're here available if they have a healing issue or whatever issue we help them with, that we have a service that provides that. Now, how do we do that in a way that doesn't come across as salesy or marketing? The simplest way of doing that, right, would be through social media, right? Basically, if we are willing to use something like Facebook or LinkedIn or whatever, where we connect with our friends, our family, whatever it feels appropriate to connect with, on Facebook it's appropriate to connect with friends and family, et cetera. So Instagram, et cetera, whatever social media you use. Be sure to occasionally mention on your Facebook profile what your service is. Hey, for those of you who don't know, here's a reminder that this is what I do. I love what I do. This is an example of some of the issues that I help solve. And I love my work because it allows me to do it in a holistic way or whatever it is that you want to say that's unique about your work compared to conventional means of healing, for example. Because all of us have work that you can contrast with other ways of doing things that you think are maybe less effective or less holistic for the people that you want to help. So, for example, the way I do business coaching or marketing teaching, consulting is better for my people. The people that are meant for me don't like the traditional ways of doing marketing and selling and business building. They like the way that I do it. And so they need to know that I do this. Otherwise, they'll forever be bombarded with the conventional ways of doing things.  If you're a healer, for example, they continually see on television or billboards or on the internet pharmaceuticals or mainstream ways of medicine that they might feel like, you know, I wish there was a better way. And they've forgotten what you do. They don't think about you all the time. And if they think about you, they don't think about your work all the time. So it's your responsibility and the opportunity that you have to remind them occasionally. Now, you could do this at least, you know, once every couple of months at the very least, but I would say once a month is completely acceptable to mention it on social media that this is the work you do and this is how it differs from the conventional ways of doing it. Now, that's a simple way of doing it. Are you doing that? A lot of you will probably say, no, I haven't. When was the last time I posted about my work on my Facebook or on my Instagram or, you know, LinkedIn or wherever? Zero times. Yeah, exactly. Most of the people I talk to, that's what they say.  The secondarily, I think when it comes to colleagues particularly, you know, your professional network, it is such a good idea to keep in touch personally once every couple of months with people. So I encourage everybody to make a list of, I don't know, 20 to 50 of the colleagues that you want to, that you like. It could be friends, could be even family members, but people who are also professionals or who have a network themselves. Now, it might be somebody who is a slightly different profession than you, or it could be somebody who does exactly what you do, but, you know, they are very collaborative as well. So write a list of people and keep in touch personally.    I love what I do. This is where, you know, the similar kind of message you would post on social media, but you would do it personally and you would write that message in a way that's customized for that person. So you might look at their social media or whatever it is and see what they've been up to lately and then reach out first with, hey, I saw that this has just happened lately. How did it go? Oh, I'm thinking about you. I also wanted to kind of give you an update on what I'm up to professionally right now. So how many people do you know in your professional network keep in touch with you like that even once a year? You know, you count on one hand probably, the number of people who do this thoughtfully, right? If you do this once a year or once every six months, it is not too often and your colleagues will be glad to keep in touch with you. And usually the people, you know, and you'll probably notice when you keep in touch with people, you get a lot more referrals for new clients because you are top of mind for them. So if you make a list of let's say even 50 people, right? And keep in touch with, you know, two to four people per week. It's not too many, you know, or let's say you have 25 people and you keep in touch with one person per week. That's very minimal, right? Then you're keeping in touch with each of the 25 people twice a year. And that's a very simple, low maintenance thing to do, but it's thoughtful and you'll almost certainly get more referrals as a result. Well, you know, George, I so appreciate that because in Healing Touch, you know, we have very, very strong scope of practice and code of ethics that we are all required to step into as healing touch professionals. And in that scope of practice and code of ethics, there's that sense that if we can't be of service to somebody in our highest way, you know, aligned with our greatest gifts, that we need to refer out. And, you know, there are thousands of healing touch practitioners all over the country. And we all do it differently. The techniques might be the same, but we all have specialties in different areas. Some people work post-surgically. Some people work more in the psychospiritual dimension. Some people work with chronic pain. And I know that my community is such a rich group of talented healers all over this world that are all different. I just, you know, for when they see this interview, I'm just sharing what an opportunity we have to call out for each other so that we can stay in our scope of practice, practice being in our code of ethics and that we're here for each other. So I love it. It takes us right back into the spirit of collaborative service that you were talking about, you know, as within, so without, and also that it's balanced across our community as well, the macrocosm and the microcosm. So I just see you stepping in and speaking on behalf of all of the alignments that we have as practitioners, how we work with our clients, how we work with each other, how we work with our spirit, our moral compass, our integrity, our history, our future. So, you know, I'm just struck by the landscape, the vast landscape of your work. And I want to acknowledge you for writing, you know, and getting your work out in your books. And so this, this, I promise this is my last question. My husband's probably downstairs going, where are you? But I want to know a little bit about your book, your authentic selling, because already I hear the word selling and I go, no, but I hear authentic first and I go, okay, I'm game. What's it about? Thanks. Well, in a nutshell, it unpacks the strategies and the mindsets of what we've been talking about, you know, for much of this session, which is how do we bring our highest self into the outreach of our business, knowing that guess what, you know, if you don't do any outreach in your business, probably won't get any business. So I think outreach and marketing is a requirement for a business. But if we look at outreach and marketing from a perspective of being of service, rather than trying to sell and trying to force that transaction and, oh my God, I got to get clients. But if we say, oh my God, I have the opportunity to help and bless so many people, right? How can I do more of that? And how can I do this outreach in a way that feels so good? And so that's what the book, you know, unpacks in a couple dozen chapters. And so I hope you all check it out. Came out in September of 2018. And, you know, those who have read it thus far have really enjoyed it as far as what I've heard from people. And there are some philosophical components in there, but there's also very tactical, here's what you do to do authentic selling. So check it out. Read the book. Let me know what you think. I look forward to hearing your questions and your comments. Thank you, George. Thanks, Amelia. I really appreciate you holding the space, asking the questions and helping to get the word out about this philosophy. So thanks so much. Bye.


17 years ago, the U.S. illegally invaded Iraq, leaving a trail of destruction and death. Thousands of U.S. troops lost their lives and millions of Iraqi civilians were killed or wounded. The U.S. invasion was actively opposed by peoples and countries all over the world. 17 years later, the consequences of the invasion have lived up to the fears of all who opposed it. Let's take a look at 12 of the most serious consequences of the U.S. war in Iraq. 1. Millions of Iraqis Killed and Wounded 2. Millions more Iraqis displaced 3. Thousands of American and other foreign troops killed and wounded As of February 2020, 4,576 U.S. troops were killed. 4.  5. Trillions of dollars wasted The Congressional Budget Office estimated $2.4 trillion for wars in Iraq and Afghanistan in 2007. None of this money went to rebuild everything we destroyed in Iraq. 6. Disfunctional and Corrupt Iraqi Government Most men running the country are the same U.S.-backed Iraqi exiles that planned the invasion of their own country in 2003. 7. The illegal war has undermined the rule of international law. 8. War lies corrupted U.S. democracy U.S. Congress voted for war based on a previous document produced weeks before the vote to make the case for war. 9. Impunity for systematic war crimes 10. Destruction of the environment War-created pollution is a major cause of the skyrocketing levels of cancer, leukemia, birth defects, premature birth, and miscarriages in Iraq. 11. The U.S. Divide and Rule Policy Unleashed Regional Havoc The sectarian divisions the U.S. unleashed in Iraq led to the resurgence of al-Qaeda and the emergence of ISIS. 12. The new Cold War between the U.S. and the emergent multilateral world The war in Iraq has set off a precarious polarization put in Russia and China against the U.S. 13. World public opinion so likely critical of Washington and our European allies increasingly distant from us. 14. The invasion of Iraq was a humanitarian catastrophe and remains a symbol of irrationality, illegality, and greed. 15. The Iraqi parliament recently voted to expel U.S. troops. The U.S. should comply. After 17 years, it's time for our troops to come home. Hey, wanna read the full article and learn some more? Go to CodePink.org.


This study found that rural primary care practices face unique challenges when trying to implement evidence-based programs to manage opioid use. These include competing demands on clinicians and staff, a culture of clinically and autonomy, inadequate data systems, and a lack of patient resources in rural areas. However, there were also some positive factors such as a desire to help patients and their communities, external pressure to make changes in opioid management, and support from external sources. This article was authored by Michael L. Porchman, Brooke Ike, Catherine P. Osterhage and others.


The fellow broadcasting company presents the first in the new series of famous stories for young people. Adventure Ahead. This week, a tale suggested by that epic of the sea two years before the mass by Richard Henry Dana. A story which has brought reading excitement to six generations of American boys and girls. And so, Adventure Ahead. It was 1844, and the first time that I ever saw the pilgrim, I knew she was the ship for me. Because in all of Boston Harbor, she had the finest lines, the deepest drafts, and masks that almost scraped the sky. Yes, the clipper pilgrim seemed the answer to my dreams. The largest, tallest, most sea-worthy ship that I had ever seen. And even though I'd never been to sea and hardly knew my way around a deck, I climbed aboard to find the captain. You're looking for somebody? Well, yes, I am. I want to speak to the captain. Right after a job, are you? A bird? Yes, sir. She's a fine ship. Maybe. There's worse ships afloat in the pilgrim, and there's better ones, too. What do you mean? You'll find out soon enough. Got a tale of time, John. Do you think you'll take me? I've never been to sea. We'll make much difference this trip. The pilgrim's due to sail at night, and we need men. You look strong enough, Husky. You can learn. We'll make a sailor out of you. You might be first mate by the time we sail back home again. Well, thank you, Mr... My name's Harris. Save the mister for the office. I'm just one of the crew. All right, Harris, you'll find Captain Taylor at. At? Need men to fill out the crew. I expect you'll be glad to see you.  Yes, Captain. You're kind of young. Any experience? I want to learn, sir. I'm not afraid to work. You seem mighty anxious to sign aboard. Yes, sir, I am. Nowhere we're bound for? Well, uh... No, sir. California, that's well. You know what that means? It's a long ways off, sir. It may be a year or two years before we sail into Boston Harbor again. Make no difference, Captain. I want to go to sea. I like to cut of your jib lad. Thank you, Captain Taylor. You'll be kind of an apprentice seamen to start out. What we call a soldier. Let the crew or so you're the ropes. Won't take you long to get the drifter sailing. No, sir. Keep your eyes and ears open, Dana. And to be the auditors of the meet. The mates, sir? First meet, Mr. Ragged. Yes, sir. Take your gear and go along now. Report to Mr. Ragged. You're the new man, eh? Yes, Mr. Ragged. Ever been to sea, Dana? No, sir. Ah, a land lover. Please, sir, I want to be a sailor. All right, Dana, none of you are. When I talk, Linda, do you understand? Yes, sir. Startin' off as bad as the rest of the crew.  Cherry pickers, land lovers. McCabe! Mr. McCabe! Hi, sir. Hi, Nick. He's a new man, McCabe. Give him a bunk and a postal. Hi, Nick. Dana here thinks he wants to be a sailor. Yes, sir. But I'll take that out of him with the time we were on the horn. Hey, we all love her. That's not that way, Nick. Oh, did we, Mr. McCabe? Hi. And who asked for your opinion? Well, I only...  When I want your opinion, I'll ask. But I only want...  I don't like a man that talks a lot, McCabe. I'll make you wait. You never failed aboard the ship, woman. Well, Dana, your gear all stowed away. Oh, hello, Harris. Yeah, I'm all ready. You think we'll sail soon? Sometime tonight, the wind comes up all. Tell you better get some sleep, Dana. After we get underway, you'll be busy climbing around the rigging most of the night. I'm too excited for sleep. After a few months, I'll be glad to take your sleep, and you can get it. Especially aboard this ship. What do you mean, Harris? When you've been around a little... Well, Dana, this is it. You mean we're underway? Hi, get a move on. This way you'll learn to spread canvas. The sails were loose, the yards were braced, and the clipper pilgrim was on her way, leaning from the damp night breeze and rolling with a heavy ground swell. Everything seemed beautiful that night, as we sailed into the dark Atlantic bound southward for Cape Horn and California. But in the morning, things didn't seem so beautiful. With all the crew on deck, the day started off with a few words from the captain and Mr. Agat. Welcome to the Clipper Man. Some of you are old hands. You know the work I want. And the new men will manage fine if you obey the officers. That's me, the first mate, Mr. Agat, and second mate, Mr. McCabe. All right, take over, Mr. Agat. All right, all right, all right. All right, stop the gas! You didn't sign aboard the pilgrim for no pleasure, crews. I expect every man deck of you to work. And after that, work harder. Obey orders to your duty. Farewell enough. But if you don't, I'll break the man that crosses me. Understand? All right, come and watch on deck. Rest of you below! From that day on, our work seemed never to cease. For there was always work to do aboard a sailing ship, rigging to be examined, continually replaced. Sales to be mended. And ropes are yards repaired. Taking off, mending, putting on. Taking off, mending, putting on. There's no rest for those at sea, regardless of the weather. It was difficult to learn at first. The scheme of things aboard a full rig clipper. But the crew helped me in every way. I never will forget Tom Harris' advice to me before I went a loss among the sales. First time. It's not hard, Dana. Keep one hand for yourself, one for the ship, and never spit the wind in. The winds blew up and down the pilgrim's deck. Days blew into weeks and months. But there was always work to do. More work and still more work. Our Mr. Ragged thought of that. Washing down the deck, rubbing, holy sand, boiling up the rigging, bracing up, mending sails. The ship was like a lady's watch, never in repair. One afternoon, when the weather was bright, we stood well off the coast of Brazil with a strong wind that I turned. See you later! Move along! Bring the top rope! Rigging your boots! You, Dana Harris, I said right along, coil up this rigging. I said, coil up there! I want to see you swabbed at work! At work from sinless time! Water rains the fields and rigging your boots! Well, Dana, three months of this, what do you think of sea life now? Well, it's hard enough work, Harris, but I don't mind. I'll get used to it, I suppose. No, Dana. Long as Mr. Ragged's aboard, none of the crew get used to this driving, driving. Well, you ship with them before, haven't you? Time, any time. Hard work and never a kind word. What about the captain? He's hardly ever up on desk. Doesn't he know the makes go stirring trouble? I doubt it. Captain Taylor trust them, and I'm sure of that. And since the captain's sick so much, well, someone has to take the man. The captain sits in his cabin most of the time. What's wrong with Captain Taylor? I don't know. No one knows, I guess, except Dr. Ragged. Dr. Ragged? Aye. Does he know about medicine?  Well, does that make him a medical man? Well, he's the maid, he keeps the medicine chair. Well, I hope then is I never get sick on this voyage. Well, none of that gets the cures or remedies from me either. Well, I need to keep me in ship shape as my good luck charm. As long as I have this, I'm safe. Can I see it? Aye. The lucky elephant. Yeah. Oh, an ivory elephant. Where'd you get it, Harris? India, four years ago. Oh, I'll give it to you, Dana. Someday, when I quit the sea. I'd like to have it, but that'll be a long time waiting. When's up, Dana? Aye. Squally off the starboard. Dirty weather on the way, all right. Get near Cape Horn. It won't be many days. Here's McCabe. He looks sad. Aye. What's wrong, McCabe? Aye, it's dogged again. I just had another set, too, with him. Oh. He's been after me ever since we left Boston. Aye, I'm afraid of him. What are you afraid of? I don't know. He might do anything. As long as I first make the run in the ship, we're headed straight for trouble. And so it went. As we neared the Horn, Mr. Agate seemed more and more in charge the keeper of our destiny. And we scarcely ever saw the captain. But by that time, the spring storms of October broke upon us. And we were busy hauling, furling canvas to keep the ship upright on course through tempest scales and freezing icy rain. Day after night after day, we plunged through mountainous waves driven westward through the straits by savage lashing gales. We were on deck on watch continuously, furling sails, tying broken yards and spars, drenched by rain and snow and sleet and hail, and waves that tried to wash us over them. Dana. Dana. Aye. Slack off, Irish. Huh? Against the head pump. Here's another. Steady on. Right. There he caught me. Been below deck. Stay out of it. Everything's awash. Dana, the bell's following us. Look out! Another! Are we shipping water? No. Help them to build the way to the nest. Hello! It's McCabe. Easy on there. Careful does it.  A rough night. Let me get that rigging errands. Where you going? Up the main man. Why do you dash? Order. Royal yards. Get it away. But in this weather... You can't climb along McCabe. Pass to order. Who's ordered? He says I go along. The other way. I go along. He'll never make it. Not in this scale. Hold on! Watch it! There he is. He's still climbing along. Can't we... Can't we do that? An honor. An honor, Dana. Especially when it comes from Mr. Rack. How can he hold on in this wind? Look out! He's... He's falling. Ah! McCabe was lost. There was nothing we could do to save him. Four days later, when the Cape Storm blew itself away, Harrison and I were caught. He ordered the Cape of the Rican. Mr. Rack had ordered him along. What do you mean, Harrison? I think he tried to kill McCabe. I wonder. Harrison, do you know where on deck he is? He's on the ship. He's on the ship. He's on the ship. He's on the ship. He's on the ship. He's on the ship. He's on the ship. He's on the ship. He's on the ship. Do you know where on deck that night? They saw it happen. The mate ordered McCabe lost. Hey, man! What an officer in his right mind. Order a man aloft like that? He's a mixed man. He is. Hi, Hayes Mad. Well, man, what are we going to do about Mr. Agar? We can't do a thing. What's that, Dana? There's nothing to be done, man. Can't we go to Captain Taylor? No, it wouldn't do any good. What do you mean, Dana? We don't know a thing for certain. And Captain Taylor, sick or well, has faith in Mr. Rack. What if the mate is really mad? That's not for us to say. Why not? Why can't we take the law in our own hands? That's mutiny, man! And at sea, mutiny's never the answer to the troubles of a crew. You'd better think it over. With fresh strong winds behind us, we sailed on. Northward, up along the coast of South America. Past Chile, Panama, Mexico, closer. Drawing closer to our goal of California. And throughout the long five months of travel, we suffered beneath the stinging lash of Mr. Agar's vicious tongue, and dawned a dusky scream at us, threatened us, and swore at us. And when the good ship Pilgrimankered at our destination San Diego, and our voyage halfway through, the worst we hoped was over. And we celebrated with assurances. Our first since leading Boston as the crew was emptied of a cargo, and the hulls refilled with cattle hide. And then, in April, we set sail again, bound for the Cape and Horn. The Pilgrim was going back to Boston, and we were going home. We thought the mate might change, but he was no different than before. He managed everything, and ran to Gordon Ray. He didn't have a friend aboard the ship. I brushed with Mr. Agar just after he left the captain's cabin. Excuse me, sir. What are you doing here, Dana? Nothing, sir. I'm going forward to my bunk. Get away from this cabin. I don't want none of you swaps even getting near Captain Taylor. Understand? Hi, Dana. Hi.  I just fell follow the mate. Oh, in today, huh? Where'd you want to go to Mr. Agar this time? Outside Captain Taylor's cabin. Give me old man medicine, I guess. How is the captain? No one knows but the mate. The old man hasn't been out of his cabin since we left California. He's been in there alone nearly two months. Except for Mr. Agar. Aye. Except for Mr. Agar. Strict orders of the mate. Nobody goes inside. The captain doors most always locked. Captain Taylor must be very sick. We have to take the mate's word, Dana. He knows more about medicine than anyone else aboard. Maybe he knows too much. You know, Harris? I'm curious about that cabin. What do you mean? Do you suppose someone could get inside? Find out about Captain Taylor? Talk to him? Alone? I don't know, Dana. I mean, is the cabin door always locked? Most of the time, yes. But who dare to go inside against the mate's orders? I might. What? You? I'm curious about that cabin, Harris. I take the chance. But the mate, he'd kill you if he found you there. Aye, he would that. But it's worth a try. If you and the crew will help me. I have a plan. Of course we'll help you, Dana. We must get word to the captain. Tell him about the ship and the mate. It's our only chance. We must get word to the captain. Careful now. The mate, huh? Here he comes, careful. Uh, Mr. Agate. Well? Well, what do you swabs want? We, uh, we're, uh, having trouble binding these spars. Huh? Can't lash them tight enough, mister. Let me have a look. There. Ah. This rope's too wet, see? Aye, aye.  You use some dryer off like this. Make a bite, circle around twice. Captain Taylor? Yeah. Yeah. What do you want? You thought that door was locked. I, uh, I'm sorry to bother you, sir. But I have to talk to you. You see, I, that is, we of the crew didn't know how well you were, sir. And we want to... Crew. You speak for the crew? Aye, sir. Mr. Agate tells me the crew's going to mutiny. You're dissatisfied with your work. Mutiny? That's what he says. Oh, no, Captain. Eh? We, uh, well, we're not exactly satisfied with Mr. Agate's way of running the ship in your absence. But we're all working, sir. Working hard. There'll be no mutiny. But, but he told me, and they... It's not true, Captain Taylor. Believe me, sir, I speak for all the crew. Why did they tell me that? Mutiny is a serious charge. I thought it is. It doesn't change about all this, lads. But he's been telling me. Why, I... Can I help you, sir? It's, it's just my complaint. Can I do the medicine, lads? Medicine? Tablet. That's the tablet. Oh. You see, Captain? Hi, lad. And some water. And what's wrong, lad? Sir, these tablets, eh? Did, did Mr. Agate give you these? Hi, lad. And you've been taking them? The last two months.  Of course, sir, I understand. But if I may ask, sir, do you really feel better after taking these? Well, no, not so much. Mr. Agate says if I don't take the tablets, I might feel worse. The mate told you that, sir. Eh? Captain, I have a suspicion that all isn't right. What's that, lad? These tablets. What you talking about? Captain Taylor, speaking for the crew, I'd like to tell you about the way the ship's been run since you've been locked in here. All right, lad. The mate wasn't wrong when he said we talked about mutiny. But we had a reason, sir. And that's what I want to tell you. We agreed that I should come and tell you about these things. We thought you'd want to know, Captain. It's incredible. Incredible, lad. I have wondered about the mate. And this explains a lot of things to me. But what can I do, lad? I'm too weak to leave this bed. What can I do? Well, if I may suggest, sir. First of all, stop taking these tablets, sir.  They're harmful. But if I stop, then they may get worse. Well, possibly. I'll chance it. Crew and my ship mean more to me in life. I'll chance it. We need you, sir, to take control of the ship again. That'll be the jail, lad. If a scheme works. It must work, Captain Taylor. He must come back and take command. We're five or six weeks off Cape Horn. And in the dead of winter, we can never sail around without you, sir. The captain followed our advice and slowly came around to help again. Lots of exercise. When he was hungry, we sneaked him bully beef and biscuit. All unknown to Mr. Agatha. And then, one day in June, Captain Taylor left his cabin, came on deck. Quite suddenly, surprising all the crew at work. But most of all, surprising Mr. Agatha. Faster, faster, you swabs! What I needed of black snake whip, I'll make you move along. Did you say something about a whip, Mr. Agatha? What? Hi, Captain. Surprised to see me, eh, mate? You? You, sir. You shouldn't be up. Oh, no. Why not, Mr. Agatha? Why, your health, sir. My health? I never felt better. Your, uh, cure was real good, Mr. Agatha. I feel fine. Oh, you do. Well, you got no ride up here. No? Then why not? I've earned my right to run this ship. Oh. I've been running a pilgrim for the last three months and before that. So I understand. And I can sail her into Boston myself. Oh, can you now, Mr. Agatha? And nobody'll stop. No! Well, I can stop you, Mr. Mate. You've been running things too long aboard my ship. You've made several big mistakes. First, when you tried to poison me. And then when you didn't recognize men, real men, these men, you're crew. Crew? There's not a better crew on any ocean, Mr. Agatha. You might learn a lot by watching them. They're mutiny. What about them? It seems to me, Mr. Mate, that if anybody is guilty of insurrection and taking over the control of a ship, it's you, Mr. Mate, and nobody else. Yes, sir. Yes, Captain. If I didn't need every manjack aboard a ship to get around the horn, I'd toss you in the break, Mr. Mate. So you're on good behavior. And if you make good, I'll forget about the charges I mean to bring against you, mate. Yes, sir. Watch your step, Mr. Agath. And don't be asking any manjack to do a job you wouldn't do yourself. There's a boat headed out of the south, sir. Aye, lad. First to the Cape Storms. You'll have them all the time from now on. Your turn, sail! Man the clouton! Man! You're getting dark, sir, in the south, eh? Aye. It'll be rough and heavy through the straightest time of year. Aye, sir. Mr. Agath! Aye, sir. Aye, Captain. You think you can manage to help us out? Aye, sir. On your way, then, mate. But I'd advise you, watch your step. We'd prepared for winter weather, but we never expected the heavy storms that lashed our ship from stem to stern as we went around the Cape. The worst of all the storms struck late one night when I'd come up on watch. A great ship rolled and pitched and wallowed in a heavy sea, driven blindly eastward by a gale of rain and sleet and snow. It's all a man could do to keep his feet upon the wetness that protects. Ada! Ada! Aye, sir. Aye, Captain. Easy on there, lads. Aye, sir. Harry's with you. Right here, Captain. Good. She's rough tonight, lads. Aye, she's heavy. You lashed the long boats. Aye, sir. Now, hold on. Here comes your towel. Aye. And if the rigged horse will weather through... Every sparring yard on splash down, sir. That's right, Captain. We'll hope for the best, lads. Have you seen the maid, Mr. Haggert? It's along with that, Captain. No. Believe me! Mr. Haggert! Light her up, Mr. Haggert! Aye, Captain. Good morning, sir. Aye, Mr. Haggert. More snogging? Aye, Captain. Look another turn of lashing round. We stop, lads! Don't, sir! Aye! She's down all right. If she's able to break off saving the day, somebody ought to go aloft. Aye! Leisure down against the man. But it's dangerous. A man can't climb up in this wind and see. But she's got to be lashed. Can't be done, Captain. Not in this weather. Now, where's the knight you sent the cable off? What did you say, Harry? You heard him, Mr. Haggert. You set the case up and weather is bad, isn't it? Oh, you're going to order aloft this time, Mr. Haggert. Well, uh... Aye, Captain. She's got to be mended, mage. You're going to aloft yourself? Me? No! No, I won't! No! It's death for the man that tries to... But you ordered the cable off, didn't you? I won't! It's death! Certain death! All right, Mr. Haggert. You've had your chance to make good. And you've failed. I don't care!  I won't! I won't! No! No! Captain Taylor! Aye, Dana. I'll go aloft, sir. I'll go up. You? She must be lashed down, sir. I think I can do the job. It's a long chance, Dana. I know, Harris. But I'll try if I may, Captain. Well, I'm not ordering you, Dana. But if you think you can make it... Aye, sir. Then go aloft, Dana. And best to luck. Thank you, sir. The wind's bitter. The rope's icy. Be careful, lads. Watch your step, Dana. I'll be careful. But you'll make a place for me. I don't know, Harris. Mr. Haggert! Aye, sir. Keep your eye on young Dana. Doing the job you're afraid to do. Climbin' higher. Higher. Up and up, I climb. Hand over hand upon the icy roads and rigging.  Bullshit lurk, sonny. It escaped me into the sea. Seemed like hours until my frosty, gleaming hands had laced the gross spoken mass. I'd started down to death. There he is, sir. Yes, Dana? Easy, lad. Easy. Aye, Captain. Give me a hand, Dana. I'll help you. Aye. You're lashed her down, tight lad. Aye, Captain. As good as McCabe might've done himself. Watch another one. Aye.  A brave lad. Haggert! Mr. Haggert! Aye, sir. Aye, Captain. You call yourself a mate? Take a look at our real seamen. And I want to tell you men, members of my crew, that I know what you went through under the rule of Mr. Haggert. And he'll stand trial for his misdeeds when we get to Boston. Since Mr. Haggert's in the brig, that leaves us without a first mate. And since young Dana had the most to do with bringing Mr. Haggert to justice, I'd like for Richard Dana to be first mate of the pilgrim till we get to Boston. Well, congratulations, Mr. Dana. I don't know what to say, Harris. You should've been the one to get the first mate's birth. Well, you weren't at Dana. I didn't. I guess your good luck white elephant wasn't working this time. One thing more, man. Mr. Haggert won't be drawing your salary down in the brig. Do I propose to divide it up equally among the crew? I suspect you can use the extra money when we get to Boston. When we get to Boston? Those were magic words to us who had been away from home so long. And the last weeks and days went quickly. After two long years at sea. Two years at sea. Well, Mr. Dana. All right, Harris. Now that we're sailing into Boston Harbor, you can drop the formality. Why? Well, in a few hours I won't be first mate. And the pilgrim and our long voyage will just be a memory. Well, in that case, Dana. Here's a good luck piece I'd like to give you. You know, the tiny elephant you always like. Oh, yes, but here, Dana. Little souvenir. Oh, thank you. Little souvenir for our trip together. Two years before the mass. This story of two years before the mass, suggested by Richard Henry Dana's classic of that name, was written by Tom Gute, and was the first in NBC's new series, Adventure Ahead. Young Dana was played by John Thomas. Music was by Doc Whiffle. The entire production was directed by Joseph Mansfield. During the weeks to come, as each Saturday morning unfolds Adventure Ahead, you will meet a gallery of heroes and heroines who appeal to youthful-minded listeners of every age. From the pages of books and stories, both old and new, your adventures will come to life, solely for your pleasure. NBC and its affiliated independent stations present Adventure Ahead as a public service. This is The National Broadcasting Company.