The Whistler, another signal mystery. And I know many things, for I walk by night. I know many strange tales, many secrets hidden in the hearts of men and women who have stepped into the shadows. Yes, I know the nameless terrors of which they dare not speak. Tonight, the Signal Oil Company, marketers of signals famous go farther, gasoline and motor oil, bring you another in a series of strange tales by the Whistler. The story of a strange and desperate crime, a crime so carefully planned it was practically foolproof. The first I'd like to take a moment to tell you about Jack Henley, who's signal service station in Santa Ana, California, has been on the same corner for 13 years. While I was getting acquainted, it would rather surprise me to find how many cars come to this station for lubrication. As many as 298 signals safety chart lubrications in one month. You see, Jack Henley guarantees no squeaks for 1,000 miles. Because folks know that Henley stands back of his work like that, many drivers trust their car's entire care to his signal station. One of his old customers, a doctor recently remarked, I've traded with Henley's signal station for 10 years, because I know my car will always be ready to go. Well friends, there in a nutshell is one reason why so many drivers are switching to signal stations these days. They know that signal dealers, being in business for themselves, give the conscientious kind of service that keeps regular customers. And they'll be there, year after year, standing back at their work. These days when cars must last, that's the kind of service you need. The kind you will find at your friendly neighborhood signal oil dealer. And now, the Whistler. Edward Bowman and Marco Lorenz are the proprietors of a popular little lending library in a quiet residential section of town. They cater to a highly respectable clientele, a clientele who might be surprised to overhear their breakfast table conversation this morning. As they sit in the back of their shop, huddled over a crudely drawn diagram, the smoke from their cigarettes curls upward, to hang like a cloud in the stream of morning sunlight. Suddenly Marco, with a gesture of disgust, pushes the diagram aside. The whole thing is impossible, Eddie. They got the place locked up tighter than a drum. I told you it was the guy who never gave up.  Listen, Marco, look at this diagram. Now look, here's the vault where they keep the bonds. Now it's five yards from there to the door. Here is where we can cut the wires and the alarm system. See? Once we get inside, the job's a pushover. Sure it's a pushover, if we can get inside. There ought to be. We spent three months casing the joint. But how do we get in? You couldn't blast through that door, and it's for the windows. And I suppose you're going to shrink yourself down and crawl between the bars. Well, what's wrong with using a hacksaw? I already told you it takes too long. It's too risky. They've only got two bars in each window. If we could get one bar out, I might be able to squeeze through. But if you need it, it's a nine-year-old kid, a small nine-year-old. Yeah, one with a criminal record preferred. Hey, are you still planning to fence this stuff with Jake? Yeah, right after we pull the job. I'm not taking any chances. Jake will give us fifty grand for the bonds. And then we're sitting pretty. No hot money, no stolen goods. Yes, we'll be sitting pretty. If we can only dream up a way to crack that office. Don't tell me we've got a custom of this here. I'll go. Oh, good morning, Mrs. Miles. Good morning, Mr. Bowman. I brought someone in to meet you. This is Mr. Johnson. Well, I... How do you do? What are there, Bowman? And the name is Shorty. Shorty Johnson. Known to millions as a small-change kid with a million-dollar personality. Well, uh, just call me Eddie. Mr. Johnson... Oh, Shorty is my new tenant. Your new tenant? Yes, he just came in from the east. He plans to go to work in the aircraft industry. Fuses, you know. Ah, fuselage, ma'am, fuselage. Yes, sir, Eddie. I walked out on a great theatrical career to come out to the west coast and serve my country. A great career. You're, uh, you're an actor? Acrobat, my boy acrobat. Played the palace for eight weeks. Tumbling Tom Thumb, the world's mightiest mate. That's how they billed me. But from now on, I'm taking my cues from Uncle Sam. Yes, sir, E. Well, now then, what have you got in the way of a rootin', tootin', hair-raisin' yarn? Well, I got to... That was the first thing Shorty asked about when he moved in, Mr. Bowman, where he could get books. I think you're going to have a very steady customer on your hand. That's right, Eddie. I'm a sucker for exciting literature. Mysteries, westerns, spicy stories, anything. Yeah, well, we've got a new mystery called Another Man's Poison. It's a bestseller. Yeah, now, I'm tired of poison. Haven't you got something with a lot of gunplay in it? You know, an old-fashioned gangster story with lots of shooting? Yeah, well, let's see now.  Oh, sorry, Mrs. Miles, I didn't see you. Hello, Mr. Lorraine. Oh, Marko, this is Mr. Johnson, Shorty Johnson. Huh? What are you staring at, brother? Haven't you ever seen a midget before? Oh, sure. I mean, how are you? Shorty just came in from the east. He's written a room over at Mrs. Miles. Oh, I see. Yes, Shorty's quite a bookworm. That's why I brought him over this morning. I told him you boys had the best rental library in town. Well, I hope he's as good a customer as you are, Mrs. Miles. Well, I guess we might as well push off, ma'am. Uh, nice meeting you boys. I'll see you around. Yeah, yeah, you're best. Sure. Goodbye, Mr. Bowman. Mr. Lorraine. Goodbye. Goodbye. Now I've seen everything. The richest game in town takes in a rumor. Oh, I know. She's got plenty of room to spare. Yeah, I guess so. Friendly little guy, wasn't he? Oh, Shorty? Yeah, kind of a character. Yeah, how big would you say he is? Huh? Oh, uh, about four feet tall. 75 pounds. Why? Just the right size. Sure. Just right. What are you talking about? Nothing. Just an idea I had. What could Marco be thinking? Could it be how very fortunate it is, just when they need a very small man to complete their plan, the midget walks in? But what kind of man is Shorty the midget? The kind who would listen to a business proposition? It certainly wouldn't seem so, as Shorty just a few blocks away spends a quiet evening at the home of his wealthy benefactor, Mrs. Miles. What are you reading now, Shorty? Temptations of a gun mouth. Uh, the boys just got it in today. I suppose this one is a regular humdinger? A tipperoo to say the least, ma'am. You'll have to read this one, Mrs. M. Make your blood pressure zoom right up to 300. Yes, sir, just what the doctor ordered. Shorty, what would my friends think if they caught me reading temptations of a gun mouth? Only trying to improve your education, ma'am. I used to teach school, you know. Ma, you certainly had a checkered career, haven't you? Checkered is the word for it, ma'am. But no more. From now on, it's a time clock and a pair of overalls. Oh, uh, then you've heard from the plant? Yep. I'll start to work any day now. A simple honest toiler. That's my new role in life. Well, that's fine. I guess it's about time I started paying you back for everything I owe you. No, Shorty, we agreed not to talk about that. Why, goodness' sake, you've been such a help to me. I don't know how I'll get along when you go to work. On the contrary, Mrs. M., on the contrary, having you fuss and worry over me makes me feel like... well, like that someone's taken an interest. You know what I mean? After ten years of traveling around from one circuit to another, living out at trunks, it feels pretty good to talk over your problems with someone besides agents and producers.   It wasn't easy, ma'am, especially for a fella like me. Hey, listen here, young lady. Don't you know what time it is? Half past eleven. Come on now, come on, off to bed with you. Oh, not yet. Oh, yes, come on now. Oh, no, but I don't sleep. Now, none of your back talk, miss. Hurry up now. Oh, all right, you tyrant. Oh, I guess I'll take that book if you're through with it. Are you going to pass up Shakespeare tonight? Well, I think I ought to branch out a little. One can get in a rut with Shakespeare, you know. One certainly can. Well, good night, ma'am. Good night, Shorty. Oh, well, wait a minute. Yes? Aren't you forgetting something? A picture on the wall? The picket. Oh, the safe. I don't think that's really necessary, Shorty. No, yes it is. You want to wake up some morning with your throat cut? Besides, you'll have to poke your eye out and you're sleeping with one of those rings. Oh, all right, but it seems so silly. I've never used that safe for anything but old love letters. Well, from now on you're keeping your jewels there. You certainly need a man to look after you. I guess I have one. Well, you store your little trinkets away. All right. I'm going to curl up on the sofa with Sagebrush Destiny. All right. Oh, pearls. I almost forgot. That's done. I hope you're satisfied. Good night, Shorty. Shorty. Why, for goodness sake, he sound asleep. Man is sound asleep. The tight, sharp little face is relaxed now and the lamp light reveals a network of fine lines around the eyes. A tired droop in the lips. The old lady smiles down at the small, strange figure on the couch and she turns off the light and quietly leaves the room. There is no sleep, no rest. Eddie Bowman and Markola Wren sit facing each other across the kitchen table, their eyes narrowed, their voices raised in an excited argument.   We can't get away with a thing like that. What do you mean we can? I got it all worked out. Shorty's room is in the back of the house and he's got a separate entrance. And the old lady sleeps upstairs in the front of the house. That's right. Drive over there tomorrow night, about midnight, when the old lady's sure to be in bed. She won't hear a thing. We get Shorty first. He'll come easy. The thing is a cinch the way I got it planned. Now look, we give Shorty the combination to the vault. Then we push him through the window and he cracks the vault. Won't take more than two minutes. We get the bonds and take them right over to Jake. 50 grand in cold cash and the rest is smooth sailing. And what about Shorty? He won't be any trouble. We got a nice burl of cement for him.  Hey, no, Marko. Let's not get mixed up in anything like that. No one can pin a thing on us. We got a perfect alibi. We got a alibi for the robbery, yeah. But what about the other? Okay, what happens when Shorty's missing? The old lady Miles calls the police. Meanwhile, the police are trying to figure out how the bond firm was robbed. Well, they find out the midget's missing. Naturally, they put two and two together. And they find out he was a steady customer here, so they come around here and stop pumping us. Yeah, but they're not going to be looking for a body. They're going to be looking for an escaped thief. We don't know a thing about it. The setup is beautiful. Absolutely foolproof. You are listening to The Whistler, another signal mystery brought to you by your friend, the Signal Oil Company. Marketers of signals famous go farther, gasoline and motor oil. Partners in the business of lending books and borrowing other things have decided to add a third and unwilling partner, but only for a very short time. Tonight is the night, and they've driven out to the home of Mrs. Miles to pick up their intended victim, Shorty, the midget, at his private entrance in the rear of the house. Hey, Shorty. I need this light on. Shorty. Yeah, we just dropped over for a little visit. Well, it's awfully late. I was just getting ready for bed. Well, we just stay for a minute. What goes on? What are you packing for? Physical over at the plant. I'm leaving tomorrow morning. Leave what?  Going back to the big dump. Get away from that suitcase. Marko, please be careful. I've got everything all neatly packed.  Trying to get away with one of our books, huh? Hey, what do you know? Sagebrush Destiny. A brand new one, too. Where's the other one? Temptations of a gunman. Mr. Marko, here, take the book. Put that book back in the suitcase. I thought... You have what he said. We mean business short stuff. Now come on, snap into it. You're ready. Now close the suitcase. Okay.  Okay, Eddie. You take him to the car. I'll bring the suitcase. Move over, Shorty. You're not better than we planned. Yeah, you're leaving town at a very convenient time, Shorty. Very convenient. What's all this about, fellas? I haven't done anything wrong. I don't like this, Marko. What's Eddie doing with a gun? Never mind about the gun.  I don't like this, Marko. Come on me out, please.  Boris will tell him now, Marko. Yeah. Have you ever heard of the J.M. Donahue firm? Stocks and bonds? Yeah. That's where we're going right now. But what for? For 100 grand in negotiable bonds. You're crazy, Marko. You can't get away with a thing like that. Oh, yes we can. With your help, Shorty. What are you talking about? The only way to get into the place is through a window. And that's where you come in. No, no, I won't do it. You can't make... You do it all right, my friend. You want to keep healthy. Either way, it's not going to be so healthy for him, is it? But he doesn't know that as the car pulls up to the curb at the rear of a small building and a three of them alight. The preliminaries are over quickly. A strip of the pliers and the emergency alarm system is cut. Eddie goes to work on the window. A few twists to Eddie's gym and... It's easier slicing a cake. Okay. Here, Shorty. The combination of the sabers on this paper. Can you read it? Yeah, I guess so. Okay, now when you get inside, the vault's just a few feet to your right. Go straight there. Open it and get the stack of bonds.  Yeah. Yeah, I understand, Marko.  No funny business. We can see every move you make. We ain't got these rods for luck, see. I know it. Okay, come on, Shorty. I'll give you a boost. Give me a hand. Okay. Oh, I grab hold. That's right. And a boy. You can squeeze through the bar sideways. That's it. In you go now. Okay? Okay. All right, get going. And don't waste any time. Do you think he can crack it, Marko? It's better. It's a simple combination. If he has any trouble, we'll know he's sterling. Hey, he's turning the dial now. Huh? Hey, that's right. Four to the left. Yeah, yeah, yeah. Now, right. Two. Yeah. Then back. Okay. That should be it. Pull it open. Did it. He's getting the bounce now.  It takes you with Jake to take the stuff tonight. Yeah, I told him we'd be there at 2.30. It's 20 after now. Good. Okay, Shorty. Don't bother to close the ball. Just bring the stuff over to the window. Okay. Look at that lettuce. 100,000 smackers right in my hand. Not bad, huh, pal? Hey, listen, Marko, give me a hand. I can't get out of here by myself. Yeah. Maybe you're going to catch a train. Okay, here. Get my hand. Wait a minute. I heard you. What did you mean? What are you talking about? What you just said. Don't waste time. Take my hand. No. I'd catch a train. He didn't mean nothing, Shorty. No, I was just kidding, Shorty. Come on. Take my hand. No. I thought you wanted to get out of there. No, I did. No, listen, Shorty. No. We'll even cut you on the take, honest. We just come on down. Get out of there. No, no, no. Marko, he's running back. He won't blab to a cop.   Yeah, but Marko, I... Never mind. There's no time to talk now. Let's get out of here. But Marko, they can't pin anything on us now. They can't pin anything on the medjord, you mean? We'll find this body in there. And then they're going to start looking for the guys who stole the bonds. I mean, now it won't be just a grand loss in the rap. It'll be murder. I'm sorry, Marko. I must have lost my head. I told him if he got into that vault and hid... Well, he could have gotten them out some way. I assume our gun's given them half the take something, but now... Well, what are we going to do? I don't know, but they've got to get another alibi quick. Yeah, yeah. Hey, hey, how about this? Suppose we just walked into the police station, see, and told them we heard gunshots near there, see?  Yeah, it might work. It's dangerous, but we've got to do something. I guess we better take a chance. I mean, come on, we've got to get this stuff over to Jake's first and get rid of it. A hundred thousand in bonds missing, and a body lying at the door of the open vault. And you're going to walk into the police station and tell them about it. But, well, it may work. Anyway, you feel better about it now that Jake has the bonds and you have the cash safely put away. And the desk sergeant doesn't seem too interested when you walk in and start to tell him about it. Where'd you say you heard these shots? The vicinity of Fort and Powell Street. How long ago? About 15 minutes, I guess. Yeah, well, it took you so long. That's not that far from here. Well, you see, at first we thought they might be backfires from a car. So we drove on our ways and we talked it over and decided to come back and report it. Okay. Hogan, take down their names and addresses. Okay, bud, you first. Come on, come on. Marco Lorenz. Marco Lorenz. Address? Bowman Lorenz Library, Reggie Street. Reggie Street. Okay, your name? Edward Bowman. Address? Same as he is. Business together? Yeah. Is that all? I guess so. Just a minute, boys.  Yeah, that's right. What were you fellas doing driving down near Fort and Powell Street this late at night? Well, you see, we were gone on a vacation. We wanted to get an early start. You know, Mr. traffic. Yeah, we even got our suitcases out in the car. Oh, you even got your suitcase in the car, huh? Hogan, maybe you better run out and take a look at the car. Yeah, and you'd better bring in the suitcase. Okay. Hey, what's the idea? It's dangerous to leave valuables in a parked car on the street at night. You wouldn't want it stolen now, would you? Yeah, but we were just leaving. Yeah. Well, if you don't mind, I'd like for you to stick around for a few minutes. You see, I'm very much interested in books. Books? Yeah, this one, for instance, called Temptations of a Gun Mile. Ever see this one before? I don't know. That's funny, because it has your stamp on it, see? The Bowman Lorenz Library. Yeah, where'd you get that book? Oh, I picked it up a few minutes ago. Oh, good, Hogan. You got the suitcase. Yes, sir. Well, gentlemen, I've been thinking about taking a vacation myself, and I'd like to see what to take along. You won't mind if I just take a look at what you're carrying, will you? You can't do that. You can't search a person's possessions without a chance. And who knows? Maybe I've got a charge. Why? Maybe the charge is suspicion of robbery, shall we say? Okay, Hogan, open up. Robbery? That's ridiculous, is it? What'd you find, Hogan? Well, nothing much, Sarge. Kids' clothes. Hey, wait a minute. There's something down here at the bottom. Sarge, take a look. Yes, that's what I was looking for. What'd you find? As if you didn't know. Jewels. I suppose you didn't think they'd be missed this soon. But we got an emergency call to go out to Mrs. Miles' house about an hour ago. Shorty. Listen, you can't pin a jewel robbery on us. That old dame can't do that to us. We know who did it.  She didn't tell us anything. When we got there, she was sitting on a sofa with this book in her hand. So what? But she wasn't reading. She couldn't. You see, she had a little round bullet hole right between the eyes. No. No. Lock him up, Hogan, on suspicion of murder. Now, in just a moment, the whistler will return to give you the ending of tonight's tale. First, let me give you a life insurance tip for your car. The youngest cars on the road today are three years old. Most are much older. Vital parts for many of these cars can't be replaced. And when one irreplaceable part wears out, the whole car stops running. Uncle Sam says that one in every 12 cars will break down and go out of service this year. To help prevent that happening to your car, your signal oil dealer takes this double precaution when he lubricates your car. He has a safety chart on which the engineers who made your particular car show every lubrication point and the exact oil or grease it should have. Before he returns your car to you, your signal dealer checks every part against this safety chart. Not just once, but twice. That's your double assurance that no irreplaceable part on your car will be left un-nubricated and thus wear out. It's typical of the extra thorough job signal dealers do to help today's cars go farther. If it's been a thousand miles or two months since your last lubrication, now's a good time to get acquainted with your neighborhood signal oil dealer. Make a date tomorrow to have your car signal safety lubricated. And now, back to the Whistler. Well, that was quite a mix-up, wasn't it? For a crime that was supposed to be foolproof. What Eddie and Marco didn't know was that shorty pumped a bullet into Mrs. Miles and was getting away with her jewels when they kidnapped him to help them rob the security office. Yes, shorty killed Mrs. Miles. Eddie and Marco shot shorty. And now they'll die for the murder shorty committed. It all came out even, didn't it? Well, no, not quite. Because you see, in the hospital ward, the doctor bends over a still small figure. He shakes his head. Shorty Johnson will live. The shots Eddie fired didn't kill him. Though Eddie and Marco will burn for a crime they didn't commit. And shorty will go free for it. Yes, free. But he won't get off without paying. Oh, no. Because as a result of the gun wounds, the mightiest might of them all, the tumbling Tom Thumb, who lived by his agility and skill, will lie helplessly in his bed all the rest of his life. A hopeless paralytic. The Wesley will bring you another Signal Mystery. Bill Pannell speaking. This is CBS, the Columbia Broadcasting System.


Hey everybody. Still a few minutes early, but I thought something that would be cool to do is see if maybe this session could have the most feedback on it. So, does everybody have a computer? Some pen and paper. That's cool. So if you go to this URL and there's a button there for submit feedback, one cool thing you could do is you could hit that button and you could fill it out already to start with what your expectations are. And then in the bottom of it, in the comments, you could kind of, you could write what you're hoping to get out of this session and then any time that you think of something during the session you could keep a note in there and then when the session is over, all you have to do is hit submit. Right? So like preload that feedback, get that ready. Because I would really value that as a speaker and it would be really cool to be the session that got the most feedback. So I'm hoping to get one piece of feedback for everybody in this audience. That's on cool? Yeah. Wouldn't they think it was weird? Because most sessions might get like four or five pieces of feedback and if we had like 20 or something, that'd be cool. So that's a URL of this talk. Is the button on it, button for feedback?  I'm just talking and you guys are nodding. There's no button up by the title, the top of the paragraph, nothing to provide feedback? Oh my goodness. This is, well now we've got different feedback to give. Now I don't know what to tell you to do that. I thought that was a really good idea. You have to be logged in. Oh, but someone has the button? Oh, beautiful. All right. Some people have it. All right, super theme. I'm going to get started here. It's a 25 minute session. Talk is usually longer, so I'm going to cruise through it faster. I'm Kelly Albrecht. I'm with Last Call Media. I've been doing a lot of agile coaching, kind of product owner role, business consulting there. And the title of this talk is getting closer to your customer using Drupal in the last mile. So first I want you to think about how close are you now to your customers? Half a mile, some people are maybe a quarter mile. Some people's customers are right here. I mean like, how many customer service people? Anybody doing kind of a customer service role? Or anybody in like a marketing role? Or on a product team? How many people are doing the deployments? Or are you a developer doing the development? You're making the thing that goes into operation. You're developing the product that then gets later operated. If you're in a small business, you can get pretty close, pretty easily to your customer. And that can be a really cool thing. You do a good job, you get that feedback, you get that customer satisfaction. But how are we going to get closer to our customers at scale if we have hundreds of customers or thousands of customers? How do we retain that same level of communication and that same relationship? One of the ways that people are looking at this is by using a mindset called DevOps. There are a lot of misconceptions about DevOps. I think some people think DevOps is just stuff with the servers. A lot of people that maybe have had a little bit more experience think of automation when they think of DevOps. So DevOps is this idea that starts with the development team and the operations team in an organization seems to have this wall of confusion between them. And the development team would develop the product and then they would throw their product over the wall to the operations team who would then reconfigure the work, re-script some of the deployment, and then they would deploy it into their own precious production zone of operation.  It became a source of miscommunication, rework, finger pointing, blaming, and there was a big surge in the industry to think about how do we get these two teams to work more closely together? How do we break down this wall of confusion? How do we break down this barrier between the dev and the ops team? And a lot of work has been going into that. A lot of people think of DevOps now as frequent rapid release cycles, as automated deployment with automated rollback, as continuous integration with automated testing, basically automating everywhere where possible to work together and get this value deployed easier, more frequently with fewer miscommunications and fewer things gone wrong. In addition to that, you might think of the feedback mechanisms being also automated, pinging servers or the like, much more complicated to detect errors before the customer can see them and fix it before the customer experiences it. This has been up until very recently, this is kind of a trending topic right now to think about, well, if we can just automate everything, maybe we can just automate the operations team and we'll never have to talk to them again. We can just automate the deployment, so there's, you know, you can go to Twitter, hashtag no ops, people are posting about this idea. There was a paper written back in 2009 saying that we can just automate this whole thing and just deploy things right to operation without any other team. Automate everything where possible. This particular slide is not useful to this talk because we're going to go a little further than this and I'm going to say, submit to you that this is a short-sighted misunderstanding of the DevOps mindset. Breaking down the barriers between the DevOps team, the dev team and the ops team was a great starting point, but there is more to it to get value into operation and to the customer than just this little step. You get in an operation and while it's in operation, you have the product team, you might, if it's for a lot of places, might have a community manager or a customer success team and it eventually gets to some customers who receive that value. And my question to no ops is what are we going to do? Automate this whole thing? We're going to automate the product and the community team? Are we going to automate the customers too? I think we're just, I think no ops is just kicking the can down the road a little bit and it's missing the point of a DevOps mindset. I'll point out that, I don't know if people watch everything that Amazon tells them to, but Amazon told me to watch Philip Dick's Electric Dreams a couple months ago and season one episode two had a episode called Auto FAC and the episode is basically about where artificial intelligence and the machines had taken over and they were producing products, producing products, producing products, but then humanity went extinct. So the machines made robot humans to consume the products that it was creating because the products were getting, were piling up otherwise. I don't think that we're going to do that and I don't think that that fits with the DevOps mindset. So a DevOps mindset actually is about having people work together better, developers, testers and operation engineers working together, having a common business oriented goal that covers the whole value chain that a product, for delivery or product and the teams, the team working as one has the authority to make the changes it needs to make to adapt to, to, to deliver a better product. And the feedback mechanisms that are in place are more than just monitoring servers or code quality, they're in place to ensure continuous assessment of that, the fact of whether or not we're delivering the right product and looking for continuous improvement and learning. So we need the, we need the ops people. We need all the people. Maybe things consolidate and things get more efficient, but this is about working together, all of us. So if we accept that we're not going to know ops and we're going to go with, with the, with DevOps and the ideas behind it, how do we think about this arrangement of teams for things like rapid release cycles, for things like working together better and for things like knowing that we're delivering the right product and, and getting ideas on how to improve it. So rather than that, very linear model or concept of teams, we can think of things as more of a circle where we're delivering and we're getting feedback and we're planning based on that feedback how to improve the product and then we're delivering it again. We're working together to do those things. And so operations, when something's in operation, it's when it's deployed, then it is, then we need to find out how is it working, and then we need to plan together and move that, you know, could be issue creation or plan developing it, releasing those, those feature requests essentially, fixing those bugs. If we think about it, all of those characters that were in that original linear model, if we think about them all as one team, we're, we're back to a very useful topic that I'm not sure anybody who's encountered before but Paul Graham, if you search Paul Graham, maker, maker manager schedule, we're really looking at the distinction between a maker and a manager and how those two work together. So check out that. It's a very short essay written back in July 2009. And this is the idea where makers to best develop their products need focus. And the people that are not developing the product can have their focus be on, on the customer essentially letting the customer know what's, what's been delivered to them, letting the customer know how to use it best, getting feedback from the customer on how they're enjoying the product that's been delivered to them, and then bringing that feedback back, prioritizing it based on what they know about the customer back into the build stages of the continuous DevOps model. There are three things necessary to identify a DevOps model and that would be flow, feedback, and learning. So focus and automation helps with flow, right? So if we get our internal processes or maybe our Kanban boards are set up just right or our sprints are running super smooth and we're not interrupting each other with too much work in progress, we're able to focus on good work. And we've got this, we've got terrific automation, which we have there's, there's 10 other DevOps talks here about incredible automation tooling. And we're able to just think of something to do or come up with something to do, do it really quickly, and just get it right out the door. We have that capability, we have that potential. But how do we know that this isn't just a feature fire hose on our customers that don't really know what they're getting. They don't really know how to use it. It's not exactly what they wanted. How do we know? So we need to go further. We need to, we need to have something as part of our way of working that seeks that feedback. And we need to experiment with what we're producing and learn from those experiments to keep trying to get at a better and a better product for continuous improvement. So what about, so what about the feedback and learning parts? What are we doing right now? And what can Drupal do? What can we do with Drupal to focus on feedback and learning with our customers? So imagine a school department and, and their section of the website. What do they probably think about the website? Well, it probably depends. But one common scenario is they're not quite sure how to use it. It's overwhelming. It doesn't always quite do what they think it's going to do. Maybe it's got bugs that they work around, or maybe worse, the last person who knew how to use the website left for another, another job or something. And no one in the department knows how to use the website anymore. These are, these are common scenarios. Maybe they use WordPress at home, and they know it works pretty good. And it works a lot better in their mind than the buggy product that they're having to use at work. Do they feel confident in their, in their product? This surely affects the value output to the broader audience and any number of originally desired outcomes for the organization. So we need to be thinking about our product and our customers experience with the product. We need to thinking about Drupal and the users of Drupal and their experience with the product. And what more can we do? There's a lot more work that we can do. And this is a great, this is, there's great opportunity here. Every time we deliver value with the product, we can inform our users of this product what's new, right? And if we've been in this relationship for a while, this is a showing of a following through of commitments that we listen, that we fix the bugs, we fix these things, or we heard your request for, for these new features, and we're delivering them. We can also build into our systems ways to show our users of the product, our operators of the product, what it is, how do you use it? Is there, is there enough help? Is the back end of Drupal's authoring experience intuitive enough, helpful enough that people feel confident with this as a product that they're going to stay? Do they feel, do the operators of Drupal feel like a priority in the relationship that we're in as developers of Drupal with the users of Drupal? Do they feel like our priority? Are they going to stick around? We need to be asking, how is this going? We can build in ways to everything that we do to seek that feedback. If it's a help page, we can ask, was this help page, was it helpful? If it's not, how could it have been more helpful? We need to be seeking that feedback. And that becomes the source of what we want to do next to continuously improve our product. And we can also interact with our customers to prioritize what's next. So use cases for thinking about Drupal as a product in this way would be authors in large government education or nonprofit organizations, where their CMS of choice is a product that has authors that are in their, or their organization that need to be using it to produce value for greater organizational desired outcomes. So in these cases, Drupal is the product that's in operation. So there's more work to do and great opportunity. And in the next few slides, I'm going to talk a little bit about some ideas of directions. And hopefully, you all could come up with even better ideas. Because the point of this is not to prescribe how should we, what exactly should we do with Drupal and how should we do it to achieve this? This is not a long enough talk for that. Really, let's get thinking about what can we do to do with Drupal to make it a continuously improving product that people want to stick with, that our end users, our operators of the product want to stick with. So first, what's new? Let's think about communicating what's new with our users of our product, of Drupal with each delivery. There are ways that we can do this and streamline this into our workflow. Here's a familiar screen. I just logged in. Why is it still like this? This gets customized, right? And it's nice that Drupal hasn't made too many decisions for us. But I think there could be a reasonable default. One idea is that we just let people know what's new. Welcome, John. Here are the bugs we fixed. Here are the updates that were applied. I don't think it's too far off the mark to include release notes in the bits of work that we do on our custom modules and our featured, you know, for updated feature. It wouldn't be too much work.  Or you're not the developer and this might strike you as a good idea to say, hey, I think my Drupal site should do something like this. Or I want a way to tell the authors of my product what new, cool work we're doing. We listened and we fixed it. And then below that at the bottom, maybe we could have something useful like frequently used content, some helpful information. But up above that is an example of maybe something that you might have added to your site that you want your users to know about. And maybe you could have a little link in there to take a tour about this new content type that we added. Does anybody use the tour module for anything? Tour is in Drupal 8 core. It's available. It's worth looking into. There's also a tour user interface module that will help you create tours. Last call media has also done some work that we'll be contributing back soon that that allows you to use tour a little bit more elegantly and in more diverse situations. But one thing out of the box you can do with tour after you create one is you can go to the URL that it's configured for and add question mark tour at the end and that will auto start the tour that you've configured. So you can have links to places on the website that someone would go to use functionality, but you can trigger the tour to start. So anytime you want to link somebody somewhere that you have a tour built to show them what's new on this page, you can build that into the user authoring experience. So in terms of DevOps and what identifies something as DevOps, we're thinking about flow feedback and learning. Tour is built out of YAML files. So that means that you can build it into the flow of the features that you're developing and adding tour tips or adding tours can become part of the acceptance criteria of a new feature that you're developing. So not only are we building this new feature, but hey, we know that this is a new feature that the customers want here and maybe it's not even built yet, but here's what we will want to say to them when it is built. So make sure that before we deploy this that the YAML file gets created or added to this content. And so on deployment, this tour gets updated and so that information can flow. You can automate the flow of that information. You can ask for feedback on tours. Tour tips allow HTML. So you can put an HTML link to a survey that you're asking like was this tour useful, any sort of drupal thing that you can do. You can hook it up there. And we can certainly learn from that. So this is a tour tip that pops up in the center of the page. That's a configuration option. And maybe you said, hey, we just add this new content type. Here's what specifically knew about this content type. Let's take the tour. You get a tip for maybe one of the most important fields. And on this tip, we can just imagine that maybe there's a help page of longer form content to help with this. And we can link out to that. See where it says, read page help. So maybe there's some help on this. Maybe this field is very complex and there's a lot of content strategy behind this field. And we want to give our authors an opportunity to learn a little bit more to become better authors and produce better content. So this will lead into the next thing that we can consider doing with Drupal, which is basically telling our authors what is this product that they're using and how can they best use it. We like providing contextual guides all over. We can put them all over Drupal. Links to our guides and produce help content to make sure that they really know how they're using the product. What a beautiful thing this is, if we can get budget for it and do it. It would be so great. So this is that tip. This is read page help. The author in this example decides I'm going to go for that. Here's a piece of page help for the for the basic page. And you can see it's got the title. Here's the basic page help. A little subtitle, some intro copy, and then below it it's got a description of the of a couple of important fields. So you can take some time. This is obviously a very basic example, but I'm sure many of you have very complicated content types. And this is the help text field that's in all of your Drupal installs anyway. How many people use this? Not many. Some people can provide helpful information. But what if you could provide even more information, longer form help content on each field. Let's see where this goes. It would show up there, but how can we why not get it to show there? But how can we smooth this out, automate this, make this DevOps-y? I will point out that the help text on the fields, fields are that micro feature. They're on the micro feature level and if we can make it part of our build flow to add and update these with this information and deploy it with everything else, then we've really streamlined and automated the updating of our help pages if we can get it to go in there. So let's say that we were to edit this help page. It might look something like this. Where it's got a title. It's hard to see. It's got a subtitle. Right here we could make all of this information pull from its related content type. If we can relate this content to the content type, then Drupal knows what the description of a content type is. It knows what fields it has and it will know what longer form help content that it has. And so we can have these auto-generated help pages. We can also display this content in different ways. This could be a teaser of a help content page coming from the same information where we have a key components field down here. We have an image field maybe of what the page would look like. And then the related content type can drive the other fields. Even the create a basic page button. It knows what content types it is for. Why not provide a button to create it. So let's carry this even further. What could be useful for that teaser view of that help page? Well remember this page. Add content, blah. What about this page? A page that's a view of help page teasers. You're using the power of Drupal. This is a grid view of those help page teasers. You've built this up automatically fed from all of the help text that you're building into your feature development. Just flowing through, staying updated with every new feature, every tweak. If you're keeping your help text updated, all this stuff is staying in sync. And this view is driving this new add content page for a better authoring experience where they feel like they're really being taken care of. So what else? I said these things. You can further, you know it's just content at this point. Now you just put this abstraction layer of content over top of your content types in this example. You could add any sort of feedback mechanism the same way you'd add feedback mechanisms to any node. So what else? Remember this page? Does anybody ever gone here to get help? You click the help button and you get something that looks like this. This is Drupal's current help system. Well if we did go with this idea of having help be content tied to content types or tied to other things, we could create also create other help pages. It's just help content. We could have a help center. We can build out our tours. We can have a collection of tours. We could have recommended help if we have multiple users giving feedback. You know the most popular help could be there. You could be saving help with some sort of bookmarking functionality that Drupal has functionality for. You could just add a block here if you wanted your authors to be able to contact you for support. Since it's just content, you could organize it by topic and add additional help pages. You could really just help your users and get feedback from them along the way. So you want to make sure to gather feedback on the usefulness of our guidance. We want to know was it helpful. We want it to improve. So we have that there's endless numbers of options in Drupal to do that. I would say experiment with that. And we would use that to collect feature requests and bug reports. And this becomes the what's next that we're going to do with our product. And all of this is to build a culture of closeness and open collaboration between the developers of a product and the operators of a product. Developing software product is complex yet flexible. This means the closer the operators are to the developers, the shorter the feedback loops can be and the better the product will become. Or set a shorter way. When change is easy, awareness fuels improvement. A product is a relationship. Anyone who's been in a good relationship for a while knows it needs to be a priority. We need to be continuously listening and improving. When the relationship is a product, we need everyone's perspective to make our product as intuitive as possible. And the operators of our product are using it every day. The customers are experiencing it every day. What a better source of feedback and information to improve our product with. So if you make a product and you're feeling distant from your customers, get closer. Do this. Start your courageous journey of openness and collaboration to share in a focus on your commitments to continuously improve your product. If you do this, your customers will get closer to you. Thank you. I don't know when the next session starts. Does anybody know when the next session starts? Two minutes for questions. Yes, there's a microphone too. So I haven't got chance to work with the tool module. I have a quick question. Is this module has an API or something which we can integrate with custom content entities? You would, the way that it works right now is you build a YAML file that has a tour that you're defining and a location in Drupal where it's supposed to show up. And then you also define each tip in the YAML file and you target like a CSS class or an ID and you put them in order in the file. And when the tour is triggered, it just shows each tip pointing at the CSS, the target and it just shows the HTML inside the tip. That's it. Okay, sounds like then I have to try that. Yeah, check it out. All right, thanks.


If you had to pick three martial arts to train in today, which arts would you choose? Ah, but there's a catch. The current arts that you train in right now, they don't exist, so you're starting over as a new student. So what would you choose? We have Grandmaster Daryl Vidal with us today as a guest and we're going to explore cross-training and how we make the perfect blend. Now many of you know Mr. Vidal for his role in The Karate Kid, but he's also a lifelong martial artist with extensive experience in Kempo and the Filipino stick fighting system. So we're going to pick three martial arts, talk about how we blend them together and at the end we're going to pick an additional art that we throw in just for fun. Let's do it. Yeah, I think we have a fun topic in store for this time and we just want to reiterate for everyone who's watching, we're not approaching this from any point of academic or authoritative stance on these arts. We might be exploring some arts here that we might not even know a lot about, but the whole point of this drill is just for us to kind of spitball and brainstorm a little bit about if we were going to start over today from scratch but still kind of knowing what we know, what would we choose? You know, would we choose something that's similar to what we're doing now or choose something that we think looks cool? So we're going to apologize ahead of time if we get something wrong about an art. This is just, again, an exploration and we do invite everyone to give feedback down below if there's any insight you can provide or maybe even suggestions that could elaborate on this. And, sir, do you have anything to say before we go into this, any ideas? Because we did not actually share these ideas yet. No, no, we have it and I'm going in kind of cold, going along with Mr. Dan here on a fun adventure. And I just want to add to that disclaimer that, you know, I know my art and the few that I've studied, but, you know, at the risk of sounding ignorant about some other arts, let's give this a shot. Sounds good. So just to go over kind of like the rules of what we're doing here. So basically what we're doing is we're pretending that our arts don't exist. So for me, that would be American Kempo and Judo slash Santa Jiu-Jitsu. And for you, sir, that would be Kempo as well as Filipino stick fighting. Is that correct? That's correct. So we're going into this concept as if those arts don't exist. So we have to choose three arts to cross train ourselves for a self-defense point of view. So basically we're going on what we think would be a good mix for ourselves versus whether it be we like the ideas, we'd like the methods of teaching, we like the conditioning, we like the way it looks. However, we decided we're constructing our own mix. So it's just an exploration and what each one of us would do. And hopefully those watching, it kind of gives an insight to maybe a different perspective of how you can approach martial arts. And if you wanted to look to cross trains, just kind of taking a step back and look at the big picture and kind of figure out how to cherry pick what you would like to learn at the end. We're going to pick a fun one that we're going to do just for whatever reason, because it looks really cool. It could be really silly. It could be just another interesting art that we want to throw in. And we're going on the point of self-defense. And then maybe at the end we'll explore what would we change if we're going into a competitive vote instead? Okay. So would you like to go first, sir? What was the three arts? If you had to choose three brand new arts to start with, what's one of them that you choose? And just to comment a little bit of a, I think the challenge part of it is, um, is starting from scratch, right? Because both you and I, we've been kind of martial arts all our lives, right?  Uh, and so I had to kind of take myself out of that and kind of, like you say, clear my mind and figure out. So, uh, one of the first things that I came up with Kung Fu, San Su.  And I said, Oh yeah, we should get together and spar, you know, to see how we can, you know, how to compare styles. And they said, uh, we don't spar. And I was like, I was kind of incredulous.  You have to spar. How do you practice? And they said, no, the techniques that we practice are so deadly that, uh, we can't really spar. And, you know, I kind of scoffed at that and it, it really left a, uh, impression on me for a long time until I, I talked to this guy later, uh, and he kind of gave me an example. He had gotten in a, in a bar fight, uh, and he got, when the fight started, he got the guy in the headlock and, and put his fingers in his nose and ripped like that and tore the guy's nose. And of course the guy was just down after that. And so I said, Oh, I, I understand why you can't spar. Did you notice any sorts of overlap or any sorts of similarity in terms of the movements and the mechanics of what you've seen and compared to Campo? Uh, you know what? I think you'll, you'll, uh, you'll, um, take this heart. It was very similar to some of our, our own techniques.  Yeah, there were, there were a lot of those similarities. This was hard because I know, I originally were contemplating going over five arts and without that might have been too much, but, um, I had a hard time choosing just because there's a lot I want to try and there's a lot I don't know about, um, so I tried to think of what would be a good base. And after a little bit of searching, I think I've decided, um, my first start would probably be combat Sambo. Um, I looked at it for a little bit and I'm like, okay, well, it's got, um, it's, it's, it's a Russian martial art. It's grappling, but it's got a strong standup game. They punch and they kick. I love punching and kicking. They have that they've got some really good takedowns, grabs and a lot of trips, a lot of similar take sounds that you see in judo, as well as you've got ground fighting a little bit similar to BJJ, but there's also an emphasis on ground fighting with striking. So I kind of liked it as a hard conditioned martial art that had standup takedowns and some ground and pounds with the intention of getting right back up. So I thought that was kind of a, um, a good, uh, foundation to build onto just because it seems to have a little bit of everything in there. Yeah. Yeah.  Yeah. It seems to be like one of those, uh, all around, uh, arts. Uh, it's not as, uh, it doesn't have the mystique of, of, you know, the Asian martial art. It's Russian, but I always think of Fedor, obviously Fedor of Emilianco, uh, that's his, his art. So it's pretty well proven in the ring. I like the emphasis on competition and sparring. Like the sparring seems to be such a huge part of it.  You got a little bit of a fight on your hands for that. And I kind of, that intrigued me. And I don't know a lot about it. Like historically, I don't know a lot about its curriculum, but just a little bit I've seen. I'm like, it actually kind of set that little bell. Like, I'd be curious to learn more about that. So I think that would be, I think that would be my first choice into the four waves. Just, um, yeah, combat song will be my first one. Yeah. And even if you think of Fedor, you know, he, he's a striker, uh, but he's on the ground.  So very well rounded fighters. So I think, I think that's a good choice. All right. So as I started to, to deal with, you know, another one, I kind of went off in a lot of directions because I didn't know if, okay, from a self-defense standpoint, I almost went, I need to talk to Mr. Dan about, you know, what type of self-defense, you know, is it a bar fight? Is it a gang?  It's self-defense, right? It's, it's not competition. Something that had solid striking, uh, because I'm, I've always favored striking.  And then there's the footwork and the kicking, you know, the legs, the leg kicking, which, which we know can be a devastating weight. And if you're not familiar with, with it, which, you know, I don't really do that in karate, you know, so if I got the ring with a Muay Thai, I would really be, we're afraid of getting the legs, you know, attacked. And, uh, and then, you know, the way that they train and fight is just very, uh, very aggressive, very, you know, uh, fast and I, you know, just, I think it's, it's the right, uh, level of, uh, aggression and violence that you want, uh, for a self-defense situation. So that's where I went with that one. Yeah, I have to agree with that. I actually had that, I was debating between that one and my third choice. And I went back and forth for a long time because for a lot of the reasons that you said, uh, those chopping kicks are just absolutely devastating. And, uh, my, my Kempel instructor, uh, for a while, he was training amateur MMA fighters and he implemented some, some minor techniques into our Kempel curriculum, but those leg kicks were definitely something we drilled a lot. And we would, we would do pad drills with it all the time. And I love that kick just because, I mean, you catch someone off guard with that, you're, you're sweeping your feet right out from underneath them, if not right leg. It's the mixture of boxing, which I love, you know, I've boxed for a while. So to me, boxing is, is one of those spaces that I think any striker needs. I always said that I didn't learn to punch until I learned to box, you know, I was already a black belt or it was a brown belt when I started boxing, but I kind of felt like, you know, learned how to punch when I learned how to box.  So yeah, that's why I can't stop that. So for my second one, um, I thought for a little bit and I kind of leaned toward Krav Maga and not the standard Krav Maga that you would go out and like, like, if you just go, let's sign up for a school right now, a strip mall type school, there's a lot of really, really good schools and there's a lot of other schools that are questionable. But what sold me on it actually was, um, a previous guest that we had last year. His name is Aaron Cohen and he does a lot of tactical stunt work for film, but he also has extensive experience in the Israeli military and, um, he did a lot of special force work in, in, in the Middle East and he explained their method of training wasn't just, you know, we're just going to run through some drills, some partner drills, they went full contact, they went hard and they also would, um, outside the school have teams, they would ambush each other to the point like he goes, you could be out in the movie theater and one of your competitive teams in school could come up behind you and just attack you while you're watching the movie.  So I think, um, I would probably choose a Krav Maga that went really hardcore with the, the weapon defense and also the weapon usage. Um, I think it's one of the, the arts out there that actually really has a good grasp on weapon self defense and weapons that are very, very common and also has the tactical edge to it so that if you want to learn how to, and I think using, learning how to use weapons is one of the better ways to learn how to defend it because you have to understand to begin with. So absolutely. And in addition to that, I also like Krav Maga in terms of, it's very similar to Kempo. What I like about Kempo is it's very close quarter. It's, you know, close quarter striking, limb destruction, body destruction and quick sequences. You're trying to overwhelm your attacker. And sometimes when I watch Krav Maga, I see a lot of similar emotions. So I thought, as far as my own physique, my own bodywork that would lend itself to, or that art would lend itself to be a bit more complimentary to myself since I do have the Kempo mentality, thought that something like Krav Maga with that intensity cranked up might have been a good option for my second art. Very good. Very good. And I think it's a good lead-in. My third one was between two, Krav Maga and Brazilian jiu-jitsu straight up because of, you know, an area to have, you know, some level of specialty. And obviously that's one I don't have, you know, I've watched it for, for the whole era. And so I could say I can analyze it from, you know, a armchair standpoint. But I don't, I wrestled in high school, but I don't practice, you know. So, you know, I can see a new Maplana. Can't say I can set it up. So, but I did go kind of gravitate toward Krav Maga for some of the same reasons that you enumerated, which is, you know, the fact that it's based on, you know, real warfare, if you will, you know, tactical, military type applications. Now, I had the same reservation with Krav Maga because if you watch videos on Krav Maga, they start to get like watching Kempo videos where, you know, and then he does his technique. And it's like, okay, wait, at what point is he not controlling that opponent and that this technique would slip away. And so, I start to see that.  I think, I think that would be a factor. So, yeah, it was between the two, but Krav Maga is my third. My third one, and this is, this is where I almost picked Muay Thai and I had to go back and forth between the two. Ultimately, I had to go with the Japanese art of Kyokushin. And yeah, and the reason was I have a massive respect for that art. We did a documentary on it, but just watching them and talking to the practitioners, it's one of the few karate styles where I feel that when you see someone wearing a black belt, they've really earned that black belt. I mean, it takes anywhere from seven to 10 years to earn it, but they've got the conditioning there. I like the, it's got that cultural aspect to it. I do like the Japanese art arts. So, that drew me to it. It's got a little touch of Japanese karate and it's got Okinawan karate and it's a good mixture. And I like their, they've got a very unique style of close quarter fighting those, those body punches, those body strikes are just like bombs. And they've got very similar kicks to Muay Thai, not quite the same, but they've got a very similar chopping kick, but those body shots with those kicks and their leg kicks and then they, they've got those surprise spin kicks that you just don't see coming out of. Right. You just don't see them coming. You watch these tournaments. Yeah, so you watch some of these knockouts in tournaments and I'm blown away by it. Like, well, I mean, not that I would say that's good for South Princeton Street. I wouldn't risk doing a jump spinning, you know, heel kick, whatever. Or the one where you go down and come like that. Exactly. But I just see, I see them when they land and like that's that, that would end the fight quickly, but I like the conditioning to it. I like the cultural aspect to it and I love the close quarter. I'm going to eff you up with these body shots and with these devastating kicks and the similar chopping power that that Muay Thai has. So I had the balance to do for a while and I ultimately went with Kielkeshan just for really more of the cultural aspect. And I like the karate element built into that. Yeah. When we first talked about our first choice, the alternate first choice was Kielkeshan because one, I'm a big fan of all of my early reading was Masayama and, you know, and the reason my Instagram is rock breaker boys is because I learned from his book kind of break rocks. Now he's demoed rock breaking.  So I like that as a choice. I definitely am a believer in that.    So I'm still standing here. Here I come. Okay, so officially, so your list was Sansyu Kung Fu, Muay Thai and Krav Maga, correct? Yes, that's correct. And mine was combat Sambo, Krav Maga and Kielkeshan. If we weren't going to say, okay, that's for self defense. If we were going to alter this list at all for competition, what changes would you make? If your goal was just to compete only, like forget the self defense side of it. If you just wanted to go in the ring or do a tournament circuit, whatever it was for competition, what would your choices be? I think one of my choices, I don't know, I haven't really think about three choices, but I think one of my choices from, you know, what I've seen is just to go straight up Taekwondo because, you know, their tournaments are widely seen, they're global, their organization is global. So they kind of all do it the same way. You know, they're great kickers. And I like that about, you know, they're they're ranging and staying outside and throwing the crazy kicks, which I used to be able to do not so much anymore. But yeah, I think that would probably be a great competition art to study. I didn't even think of Taekwondo until you just mentioned it now. And I think in the back of my mind, I put it out of my mind because I know every time I see them do it, my brain says, that'd be fun to do, but I know I could never do those kind of kicks. So I think I actually kind of forgot about the art. Like I didn't even enter my consideration because I just can't move like that. Right. Exactly. That's interesting. But you're absolutely right. I mean, as far as competitive fighting, they're one of the top for that. I mean, talk about them in those kicks. Yeah.  But in the older days, you know, I might have been able to do some, you know, stuff I did in the Karate Kid. I would do, I wouldn't do them in tournament, but I would do them sparring, you know, just for fun. As far as changes for my list, I made two alterations. One, I think if it was competition only, I'm definitely switching out the Kyokushin for the Muay Thai. I just think that's a little bit more like what you're saying is that's, I think they're better suited for that because I wouldn't need the culture side of it. And a lot of the stuff I liked about Kyokushin, I wouldn't need that for competition. And I think that kind of Muay Thai into that slot. And instead of Krav Maga, I'd probably switch out for boxing. Just like you said, it's one of the best striking arts. I've never done it myself. I've always kind of be curious about it. And I want to do it because that's only going to improve any strikes that I know. So I think, especially in terms of competition, if you don't have boxing, you're at a disadvantage. I agree with that on a couple of fronts. You have to be a good striker, but it depends again where you're competing, right? Because here's a couple of thoughts. One is, if you're competing in the UFC, you got to have the boxing game, right? But Lioro Vachita has shown that the karate range can be effective in the UFC. Karate was like, ah, karate doesn't really work. But I think he certainly has shown that it does. But then if if you're doing straight boxing and you're competing in straight boxing, then that's it's very technical and conditioning is everything. Now, if you were to throw in an art in there that was just for fun, whether you like the way it looked, you thought it might be fun to do as a hobby, whatever reason, what would your bonus art be? Okay, and this was an easy one because I always thought about it and I toyed with the idea. And now with getting older, I probably wouldn't be as good at it. But Capoeira is one that's always fascinated me. And there's some of the stuff that I used to be able to do and from a Karate Kid type of movement, but it's even more drawn out. Yet to tie it into a fighting art, I think it's way out there for me. But that's what I probably, it was my pick for the other art. Very fluid, very fluid. And you do see it pop up in the UFC, so it does have a reality to it, yeah. Absolutely, yeah. So for my art, I wrestled with two of them. My runner-up, which is kind of ironic what I said about Taekwondo. My runner-up might be Vovenam, the Vietnamese Karate style.  I think that, I mean, I would never do that for self-defense, but I think that is fun and it's interesting and I kind of like that they've got their unique flair to the martial arts, but if I were to pick an art, took me a little bit to think of, but I think I would probably try and forgive me anyone out there if I pronounce this wrong, but Bahtariak, the Irish chick fighting? Oh. But I've watched some of their work and I love the way they manipulate the stick. Do they use a Shalely? Yes, I love that one too. Oh, yeah. But I like, it's very fluent. It's very, it can be flashy at times from what I've seen. I like how creative the locks and disarms and the takedowns are with it. And with a weapon like the Shalely, I mean, if I'm not mistaken, you've got the hard end so that's a great striking tool. And I think that can translate it over to everyday objects. You know, if you've got a stick, if you've got a cane, if you've got an umbrella, now you have an object with a hook on it, I think Irish chick fighting would actually be really fun. I love how it's saturated with its culture, its background. I don't know much about the background, but you look at it and you're like, you can see it teaming with culture. And I think it would blend well as a weapon defense or a weapon art with the other art. So if I had to pick one for fun, I think that would be the one. Yeah, the two you came up with are two names I've never heard of. I have seen a Vietnamese martial art because the studio used to come to one of our tournaments and it was like, oh, I've never seen that before. Oh, no. Okay, I've never heard that. And then the Irish one, I mean, I know that there's all kinds of different European fighting arts, but so I haven't heard the name that you use stuff for that one either. I probably butchered it too. I'm going to put the name up on the screen. So those who know, who know the art know what I'm trying to say. They can correct us, yeah. I've heard people say it. I can't repeat it. It sounds a very, very Irish word and it's one of those words you look at. You're like, that's how that's pronounced, but I just find it fascinating. Yeah, sounds great. And the cool thing with the Vietnamese one, their uniforms, their standard uniforms are like a blue, like a light blue, which you don't really, you don't see that very often in traditional martial arts. So yeah, I think that was fun. I just want to say this was just for anyone watching, this is just a drill that we wanted, an exercise we wanted to try. We're not trying to come up with the best arts out there. We're not trying to be authoritative figures on any of these arts. This was kind of like, oh, what if, you know, if we're going to start over, knowing kind of what we know now and we can't choose our arts, what will we start and kind of how would we approach cross training? Like if we were starting from the beginning, how would we cross train from the beginning, choosing three different arts? And I think this list would be completely different for every person watching. I'm sure everyone would have their own. Absolutely. And I think, I think everybody should try the exercise because, you know, you automatically bring your own biases into a whole analysis. And then when you have to stop and say, wait a minute, let's pretend I don't know, you know, that my art doesn't exist. I don't know any of it. And then try this exercise. So, you know, if they want to comment with their three, I'd be interested to see those. Absolutely. So yeah, guys were all officially invited. Paste down below and into the comments section. What would your three yards be?  So, yeah. So thank you guys for watching. Thank you Mr. for joining us today. This was a lot of fun. This was fun. And I think this is actually like you said that everybody should take a part of because it's just it's just taking a step back and because it's too easy to get stuck in what you're doing in the martial arts. And I think it's worth taking a breath, stepping back and just kind of seeing what your neighbors are doing and, you know, what you could learn from that. And, you know, there's nothing saying that we can't try some of these arts today. And, you know, if you're watching pick different arts and just see how it mixes with what you're doing. Sometimes it's surprising what the overlap can be. All right. All right. Well, and there's a final note. I'll send you a Vidal Kemplow Karate shirt if you can send me an Art of One Dojo shirt. You got it. Absolutely. All right. All right. Thank you so much for coming on, sir. Thank you. Thanks for having me. So I do want to reiterate that we're not endorsing anything or not declaring which arts are the best. This was just a thought exercise on looking for attributes on constructing a personal mix of martial arts based on our individual goals and needs. Now, just an exploration in the perspective of knowledge and hopefully that this can provide some inspiration and insight to help some of you construct your own personal mix if that's what you're seeking. Now, I want to thank Master Vidal for spending this time with us today. If you are interested in another art comparison exercise, check out a discussion here in which we talk about and compare our very two different versions of Kemplow, what makes them similar and what makes them different, and the attributes that we feel make it such a great art.


We're here today because metal matters and what that actually means we want people to recycle more. So not only just to recycle your big beans tin or something like that, air us all cans from the bathroom. That's so important. The reason being that we need to up the mountain metal. Metal can be endlessly recycled and that's what we need to do. With regards to these items who knows what they could go into, they could be made a coat hanger, they could make a jumbo jet. But more importantly what we're trying to do is recycle it so it keeps out of the countryside and keeps out of being thrown on the side of the road and made into new products. Wash it all out, put it in there nice and clean, then we can reuse it.


Hi there, product people. This is Adriana here to walk you through Product School's Design Sprint Template. A Design Sprint is an intense brainstorming session that leads you to prototyping and user testing as quickly as possible. To access our template, just click this button here, and you'll see that our template runs over a four-day sprint. Day one is defining the challenge and producing solutions. Day two is voting on solutions and storyboarding. Day three is prototyping, and day four is user testing. But before you get to any of that, you are going to build out your Design Sprint team. So there is the facilitator of the Design Sprint, that's usually you, product manager, the decider, someone who has decision power over the product or feature, and then a stakeholder from the major teams involved, so design, engineering, and marketing are the usual suspects. And now that you have your team, you're ready to get started. So again, day one, super, super intense brainstorming. We have a range of activities to get started. The first one is how might we note taking? You are going to ask your team a series of questions about your product. So what is it? What does it do? Who does it serve? What problem is it solving? And based off of the answers to those questions, you are going to take these notes. Then you're going to compile the group's notes and vote on them. Activity, similar process, but with long-term goals. You're going to define the long-term goals of your product or feature. And again, similar process, but for sprint questions. So come up with potential solutions to the challenge as you've defined it so far.  Your long-term goal, your ultimate sprint question and two sub sprint questions. And this slide is kind of the crux of your Design Sprint. You're going to come back to it over and over again to keep these really big questions front and center. And we're not done with day one. You thought we were, but we still have some more brainstorming to do. You're going to do this quick activity, which is a simple map of user touch points. Then you are going to do a lightning demo. So individual research into existing solutions out there. Really great inspiration for solutions. And then you're going to end with a four-step sketch. And at the end of the four-step sketch, you're going to have a solution sketch. Each team member will have a sketch. And these will serve as the seeds for the final solutions that you'll talk about on day two when you decide what to prototype. Day two. So again, you're going to start with these solutions sketch. They're going to look something like this. And all of the team members are going to vote on the solution sketches with dots. And you'll end up with something that looks like a heat map. And after this process, you will actually vote on the final, final solution and decide what you're going to build. And once you have this defined, each team member will write out the user flow steps. You will compile the user flow steps of each team member, and then you will vote. So the best user flow is the one that you're going to go with. And you will use this to actually create your storyboard.  And the storyboard will serve as your model for the prototype. And yeah, day three prototyping. There isn't so much in the template on this because prototyping is going to vary so much depending on the solution that you've come up with and on your team. And then day four is user testing. So you're going to, in four days, actually serve a prototype to users and see how they react. And you're going to fill out their feedback in this table. And then finally, you're going to end the sprint with a retrospective. Get some key takeaways and see what you can do even better for the next time around. And that's it. And now I want to do these super quickly. In the template, don't worry, there's a really in-depth explanation for all of these exercises. And if you still have more questions, you can head over to our community, ask them there, or to the Part of School website and YouTube channel where we have more resources on this. Thank you.


felly y gallwn y gallwn gwahanol yw'r cyflwyno yn y pryd yn y proam, yn y dyfodol gweithio. Rwy'n gweld yn gweithio, ac mae'n adon o'r cyffreddau o'r gweithio'r bag. Rwy'n gweithio'r stori'r gwahanol sy'n gweithio'r cyffreddau yn y gweithio, ac mae'n gweithio'r cyffreddau yn y gweithio'r gweithio. Yna, gyda'n gofgolwch gyffreddau, rwy'n gweithio'n gweithio. Ond os ydych chi'n gweithio o'i gLEX, o'ch gweithio'r gweithio'r gweithio yn y bach ar y gŵr. Ac mae gennym ni Dreams, erucau eu gwirio, sy'n amser hynny i, byddwn i'ch cael ei gweithio. Efallai, mae'r argynnu'r dynnu'n ddweud gan amslygol iawn, fel y wnaeth eich product o dynnu setel. Mae gwybod i'n gallu gweithio'r gweithio'r gweithio. Mae'r gweithio ein gweithio'r gwell yn y gweithio, felly mae'n gwybodaeth cyflwyr. Ond yn fawr cyffredig yn ei gwybod, sianfodd dydd yn dweud gwych â'r gwirionedd gyda fynd ddech chi a byddwch gyda quotedyn. Yr unig bod y bod i fyddech chi'n gweld gwasgwyr gulf yn dod am ddatblygu gafodd am y f reload fod yn cael ei hun yn ei gweithio ond y gulf. Dyna'r ddechrau ydych chi dim ei gulfain sydd wedi cael ei felch yma, ac mae'n gwybod ddim yn y gaflau gyda'r ffornbyn, mae wedi'u gweithio'n cael ei ddwyf yn ystafell. Mae'n gweithio'n gweithio'n gweithio'n cerddau, byddwn i'n gweithio'n gweithio'n gweld, ac mae'n gweld i'n gweithio i ddweud eich gweithio 24 oes. Mae'n dweud ychydig ddechrau, a fyddech chi'n gweithio i ddweud, ac mae'n dweud eich gweithio'n gweithio. Y gweithio'n gweithio'n gweithio, ddim yn ystafell, yn dweud y gynnig, ddod i rywbeth, ac mae'n amlwg yn fwy o'r gweld. Mae'n gofyn yn gwneud, dwi'n derbyn, ac mae'n dweud gyda'r gwbl, neu rwy'n dweud am lŵn ddod. Felly, mae'n rwyf yn gweithio, fe wnaeth gweithio'n gwahanol yn y bag, ac mae'r gwybod mwy o'r tychomo 201, gan ychydig fideb hefyd, gydwch chi'n mynd yn fwy o'r ffan, ac yn talu, mae'n gwneud 18 olyw o'r hyn o'r cyffredinol. Mae'r hyffredig unig i'i ddweud hynny'n gwneud yn gweithio'r tawdd. Ond oherwydd, yn gweithio'r cwmpetisiwn sy'n ddweud hynny'n gwneud gwaith, ond mae'r ffordd ei wneud. Rwy'n dechrau, rwy'n dechrau'r cyfnod, a'r rydyn ni'n gallu i'n ffrifigio a chael ei sydd yn gwneud rwy'n dechrau'r cwmpetisiwn hwn yma. Rwy'n dechrau'n bobl yn ystod, ac rwy'n dechrau'r ffwrdd i ffwrdd i'r rhaid, mae'r hamdlaid gydaeith amser yn cael ei wneud, rwy'n meddwl hefyd, a gennym sut o'n hyn yn methu, ac mae rhywbeth yn rhaid. Felly, eofon, mae wedi ei feddwl am gyda gyrddol sydd. Nid yw'r clwb yn yr hyn ar watches, fe erbyn ni wedi'i fawr sy'n fawr y pwn, ac efallai yn cael ei foli arno. Gweithio hynny wedi bod fel roedd o'n mewn fwybodaeth oherwydd ymyl ymyl yn y bag arall ei wneud arwyl ac mae'n dweud, uch yn gallu, oherwydd am y cwbl dw i muyl, anywlad gennym i'r comment ar y dyfodol i fyfawr. Mae'n d distinctio ydynt gyda'r ol�esters iawn i'w ddatblyg yw'r ddosig gyda dwi'n dod o'r llwsio'r cyfnod. Maenai felly mae John, a gallwch yn gweithio. Mae'n mynd i'n helpu'r newydd o'r amser yn gynnwys rhai o'r rhwng i'r ffwrdd mewn cyfnodol. Ynno'n dechrau am hynny. Osonwch i'n diwethaf i'n digwydd. Black fragrance! Mae y dych chi'n bwyd yn gweithio iddyn nhw I Can Reporters Ioedd y taelau yn y bach. Rwy'n ganddo i'r wlad fath. A rywbeth i'r ganddo o bobl. Rwy'n ganddo i ddweud yn ffawr, mae'r rhaid i fynd i'r ddweud. Mae'r ddweudio a'r ddweudio. Mae'r ddweudio, rwy'n ganddo i'r ddweudio. Mae'r ddweudio. Mae'r wladio. Rwy'n ganddo i ddweudio mae'r ddweudio am ddweudio. Felly gallwch rwy'n ganddo. Rwy'n ganddo i ddweudio Lwbb's bar in the irons. Am warnle there. If you can name me an easier launching fairway wood, then please let me know. But I mentioned earlier about being a channel regular and what you've seen in terms of the content I've put out in the last few days and yes, I played at Formby. I hope if you did watch that, you'll see that I hold a number of putts. I also did a review 24 hours later of a putter which is from Labgolf, it is the Meswarn. And during the end of that review, I said this, but the question I'm asking myself is, have I made a wise investment and are the things or the positives that I've found going to make me hold more putts in the long term than I think of where I am right now, with the putter choices I have at hand. Go, go, go, go, go! Right, so here we are, just 24 hours later, one more round into the bag and I've got a whole new opinion of that. This putter from Labgolf and it's one that I really feel I need to share with you. Right, so I'm not going to go into great detail about what the Meswarn and the Labgolf theory is. You can watch the initial video if you don't mind to find out that, but trust me, it's really, really interesting. It's a different concept than any other putters in the way that the face is balanced. Let me just say that and I bought into that theory and I bought the putter as I said, I used it for one round. I was super impressed and as you heard me say, I needed a bit of time to work out whether or not just how good it possibly was. Now the other thing I want to mention is that there was one other inclusion in my bag which I don't normally play with and that was a chrome soft triple track. So I did use this as an alignment aid and what I simply did was then use this simple alignment aid that's on the lab putter and that was my putting theory. The rest, I let the putter head do the work and I'll explain how that theory in my head worked out extremely well for me and still is doing. Now the title of this video is This Club is Ridiculous and it is ridiculous in my opinion at least because I bought into that theory like I said. I then went out and used the putter and I could see that it was different than other putters but it still needed a little bit of understanding as to how to make that putter head work for you. Quite simply what I found is that you've just got to let the putter head do its own thing. So the whole theory is about it sort of stays square by itself but then what you've got to make sure is that you allow it to stay square and you don't start trying to manipulate it as your props would with ordinary putters. And that's what I started to do at the end of my round at North of Golf Club and then they continue to do at Formby. So whenever I had a port I stood over it and concentrated on one thing. We've got that forward press position again which you'll have learnt from that full video on the mess. I've got that simple alignment set up. Once I was happy with that I just let the putter head almost swing with its own tempo almost like a sort of pendulum motion. So I tried to really take all the pressure off the putting grip as least as I possibly could and just let the putter head swing. And seriously I have never hauled so many putts in one round of golf. I can honestly say that. Now we can attribute that to a couple of things at a really good day. The greens at Formby were absolutely fantastic. It could be down to the ball and it's alignment aid but I've got a funny feeling that this putter could be in the bag for a long long time. And the other thing I will add is ask one simple question continuously throughout the day. And that question was what is that putter you've got in your hands and because seriously I think people thought I had a little bit of a cheat stick going on. Anyway if we can hold this one I think you'll think I'm cheating. We better miss.  Even hands laughing behind the camera. Right we're going to call it quits there. It was a real strange day. It was an additional video that I didn't expect to make because like I said the bag came into my mitt almost by fluke. It was a major error on my part in being under prepared and somehow I got a set of clubs that really worked for me. I really love my bag set up right now and the irons either way the 201s performed incredibly well. I'm sure my existing irons would have done the same but the real shock and the real surprise is this lab golf putter. It is as I said ridiculous. Right let me know what you thought of today's video in the comments section below. Hit that like button, subscribe if you don't already. All those kind of things. Interesting stat for you. 44% of you are not subscribed to the channel who watch on a regular basis. So I'd really appreciate it if you'd subscribe because it just does help us massively in terms of the YouTube algorithm. Right that's my plea for this video done. Thanks for watching and I'll see you all soon. And who thinks that that was set up and lots I would imagine.


Welcome to All Hands Update. I'm Petty Officer Andrew Johnson. Summer is peak season for permanent change of station or PCS moves. The Relocation Assistance Program or RAP is available to assist you. RAP is designed to make the moving process as smooth as possible. We at the center offer many programs and one of the best ones is the one-on-one assistance. So many sailors have questions when they're moving and they're really not sure of what to do. So the one-on-one counseling is the best way to go because that way we can answer your direct questions. We have workshops that can be attended by the sailor or their family members and they are basically called the smooth move workshops which is done for CONUS or OCONUS moves. RAP has everything you need to make your move easier. You just have to use it. Visit the Military One Source website for more information.