Coming up on DTNS online cow sharing I didn't say car wrong cow the coming AI knitting revolution and why cloud flared doesn't want to have to cut off customers This is the Daily Tech news for Monday August 5th 2019 in Los Angeles. I'm Tom Merritt and from studio feline I'm Sarah Lane and I'm the show's producer Roger Chang We were just talking about Heather Locklear's garlic restaurants On good day internet among with along with my solar installation that I'll be doing You get so much more folks when you subscribe to good day internet as a member at patreon.com Slash DTNS. Let's start with a few tech things you should know Amazon updated its assistant smartphone app to now give users the option to remove their recordings from being eligible for analysis from Amazon Employees and contractors human review of recordings was not previously stated in Amazon's privacy policy The app now includes the language quote with the setting on your voice recordings may be used to develop new features and manually reviewed To help improve our services only an extremely small fraction of voice recordings are manually reviewed Thank you for doing exactly what I suggested these companies should do Amazon well done Chinese ride hailing giant DD Xu Xing announced that it spun off its autonomous driving unit into an independent company The unit was created in 2016 has more than 200 employees in California and China And has the approval to test self-driving vehicles in California. The CEO of the new company is Zhang Bo the CTO of DD He's now the CEO of the new company Fossil announced its gen 5 smartwatches at the Carlisle HR and Juliana HR both 44 millimeter watches with around 1.28 inch OLED displays they run where OS on Qualcomm snapdragon wears 3100 with 1 gigabyte of RAM and 8 gigabytes of storage There's also a speaker for Google assistant responses and phone calls both models start at $295 and are available now, but it's not the only watch announcement today In fact, it isn't Tom Samsung also announced the watch active to it's been six months since Samsung launched the original watch active Okay, we've got another model six months later The watch active to adds a touch strip to simulate software controls that require an actual rotating bezel the active to also adds ECG capability although won't be active at launch But could be activated later on it runs Samsung's ties and OS and works with Android and iOS as well It supports offline play of Spotify playlists and YouTube video playback The active tool will come in 40 and 44 millimeter sizes with LTE versions available as well And it goes on sale September 27th starting at $279. Yeah, so both these stories together Illuminate a couple of trends one is that ties and OS doing well as the Samsung smartwatch And in fact, it's generally a little bit better reviewed than the wear OS wear OS is criticized for being a little slow to add features So ECG coming to the watch active to is a good example of that All these watches seem to be hovering around the $300 price point And they all talk about their heart rate monitoring and heart monitoring We didn't we didn't talk about all the features that fossil and Samsung announced in that that realm But but it seems like fitness and health are the two things that are driving Smartwatch adoption and you're seeing that in both these announcements today. Yeah I mean listen you're wearing something on your body Fitness and health is is going to be a big part of it But besides obviously telling time and being able to set timers for yourself. What's interesting to me is the watch active first gen Got some criticism for for for not having For not having that rotating bezel and for being you know a little lackluster on features The active to solve some of that but the but the original active has not gone away This is now just another product in the same marketplace. Yeah, I wonder about that because It you know the bezel is in the other Samsung watches that run ties in and the ties and OS is kind of built around that bezel So it was a bit awkward trying to do double taps and weird things on the watch active So it's nice that they fixed that by giving you the touch strip even if they didn't build in a bezel I get that the active needs to be a more affordable Version of the watch so you're not gonna get that full-motion bezel like you would in a more expensive watch But Why keep the original watch active around? Inventory is it they just have a probably yeah. Yeah, I mean if you Got a million units left. I don't know see see how much you can drop the price and get rid of them I suppose But it's somewhat unusual because the time frame six months is you know, it's pretty quick that Samsung has has Put together the watch that probably a lot of people who got the watch active in the first place wanted almost feels like They wanted to just do a minor upgrade to the watch active and then realized that they could do a Major upgrade to the watch active right faster than you might normally think and just decided, you know what? Let's do that. We'll just swap it into the supply chain So so maybe maybe the supply chain still kicking out the original watch active Which is why you're keeping it around as a less expensive version You got a couple of skews there All right, let's talk about cows I African notes that an app called my farm book from livestock wealth Which lets users buy shares in cows from a mobile device has grown from 26 cows in 2015 they could buy a share in to more than 2,000 cows livestock wealth reports generating three million dollars in profit 90% of its investors come from within South Africa, so it's very popular there shares cost as little as 576 Rand which works out to around 40 bucks us groups of investors can buy a whole cow So you can get on the app and group up and buy a whole cow or if you're an individual and you're like I just want to buy one or two shares You can buy shares Individually in a pregnant cow or young calf which Roger pointed out in the pre-show is is kind of like buying futures Beef futures livestock wealth plans to expand into produce as well They've got a vegetable growing system that they want to make this isn't new Chicago Board of Trade and hog futures and and and all that sort of stuff has existed for a long time And there's there's equivalence in all all kinds of countries about buying But that's been at the at the magnitude that the individual investor would not be able to afford this democratizes funding of agriculture investments And it plays into something that that according to iAfrican and Reuters both The idea of owning livestock is kind of has some cachet in in places like Africa so, okay, so If I can ask some very obvious questions for anyone who might be like owning a share in a cow What in the heck you're owning a share in the beef that the cow is going to produce for you eventually Right not about cows milk. That's how it pays off, right? That would be amazing if they'd like to get milk dividends. Yeah, no, this is about beef. You're right. You're right Yeah, yeah So so so I so I kind of understand that but it's interesting because if you think of it is like, okay I own a share in something that's going to produce money. Well a share of certain companies is a share a share Is a share is a share cow, you know, cow could get sick a cow could You know be have better meats than another cow. There there are a lot of variables here and I wonder if Owning in something like this again, probably not visiting the farm many miles away Sometimes a continent away type of thing. How much that factors into what kind of a good investment this is? Yeah No, those are those are all the kind of questions that you want to ask before you jump into my farmbook And start dropping around on some cows, right? Because if you're doing an institutional investing you're investing in hundreds of thousands of cows at a time So you're more concerned with the practice of the farm than you are with the individual cow But in in this situation if you're buying a single share in a calf.  So it is risky. It's it's not we it's not without risk like any other investment, right? It's interesting where we live in But yeah, if anyone's investing in cows, let us know Please daily take new show.com China's Global Times reports that Huawei is testing a smartphone Running its in-house Hongmeng OS sources tell the Global Times that the device will sell for 201, which is about 286 US dollars Huawei previously described that want the Hongmeng OS as meant for Internet of Things and the first major device To run it would be Huawei's Honor TVs Not smartphones during its earnings announcement last week Huawei chairman Ling Hua said that the company prefers to use Android on It's mobile devices. So are they changing their tune? Yeah, I think you actually said 200 yawn. It's 2000 if everybody's like that that kind of conversion Yes, thank you 300 bucks or less US is the point interesting this is almost a Kind of a detective story, right because Huawei like you said has made all these noises about no, this isn't for phones We want to use Android and then Global Times, which is a state-owned operation suddenly leaks that Maybe they'll have that smartphone running Hongmeng OS by the end of the year Right when the trade war discussions are heating up again. It feels like maybe that is a well-placed leak That Huawei has not commented on this to Reuters, which is running this story I haven't seen why we commenting on it anywhere else. So curious if this is a real Huawei leak Or if this is just some politics being played Yeah, I don't know I don't think any of us know for the people at the Global Times, but I would find it interesting if Huawei decided to call Bluff and put out a phone with the Hongmeng OS because that's risky if that thing doesn't work up to snuff so well and and Realistically, I mean the company could have been testing and Internet of Things OS You know, it's been talking about the fact that it's building an OS For for what a lot of us didn't know and kind of thought like this thing has legs Maybe, you know, let's test it in some mobile devices. So that you know, could have changed internally as I would I would characterize it more Is they have an OS meant for Internet of Things and when the trade war disputes started to happen Somebody said well, we could put it on a phone, I guess Yeah, trying to figure that out. Why not? Yeah, timing's great You thought we couldn't get through the show without a Facebook story and you were right Facebook confirmed It will rebrand Instagram and WhatsApp to Instagram from Facebook and what's up from Facebook? The move follows similar rebrands for workplace and Oculus The new names will appear on Google Play and in the app store for iOS as well as the bottom of settings pages But we'll keep the previous shorter names on installed app icons according to a Facebook spokesperson We want to be clear about the products and services that are part of Facebook I got two theories on this one is most people are not going to notice this because your icon Still going to say Instagram when you go to the app store You're not going to read Instagram from Facebook and freak out or anything You're going to see the word Instagram if you're trying to install it and you're going to install it but if they are fighting some kind of antitrust situation and they One of their defenses is we haven't been trying to hide that these these are all part of one company This could be the kind of maneuver you make to be like we try to be very clear In fact recently we just added Facebook to all these apps So it was clear to people Right my other thought is a little less solid ground Which is what if they want to improve the perception of Facebook by attaching the name to Instagram and WhatsApp Which are generously thought of or generally thought of I guess generously to more positively than Facebook itself Well and Part of me is like oh come on everybody knows that you know Instagram is owned by Facebook, but that's not true In fact, we've talked about on on recent episodes Many people polled have no idea what the parent company of some of their favorite apps are whether it be Facebook brand adapts Or or other companies so there is definitely by Facebook doing this there There's going to be some overall understanding by the public that didn't really understand who owned what That Facebook owns these products. I just don't I just don't see I don't know Facebook is Facebook has such an image issue these days And it's not the only company that does but it but it and it gets thrown in under the bus You know as kind of the poster child for image issues, but but it does and to attach yourself to Some of your really really successful Brands I just it just looks Look bad to me I mean if this were an effective campaign then yes Maybe my theory of they're trying to improve themselves by association or maybe you're worried that this could actually Cause damage to the brands of Instagram and WhatsApp would be valid But they're not putting this up front and center They're bearing the ratings page and they're putting in the app store Which makes me go back to my original thought which is this is some kind of legal defense or something They can point out later that they did it because it's not done in a way That's really most people are gonna notice. I don't know Computer scientists from MIT's computer science and artificial intelligence laboratory aka sea sail led by Alexander Casper Released two new papers describing software to create knitting patterns and designs to be used by a knitting machine Inverse knit uses a deep neural network trained on knitting patterns to create patterns from photos You show it a photo it creates a knitting pattern based on that photo It's 94 accurate when being shown actual knitting But can only use acrylic yarn it can only make designs with acrylic yarn So they want to work on that to expand it to other kinds of yarn The other one is called CAD knit CAD KNIT Promising to let people with no previous experience Customized templates to create knitting patterns Casper imagines knitting as a service Where consumers could use CAD knit to order customized garments And then somebody who has a bunch of these knitting machines have them make the garments and send them out It could also make the prototyping and manufacturing process for knitted items more efficient And of course existing knitters may want to hack the system to do a bunch of crazy new things that they couldn't If they didn't have these new tools So i'll be interested to see what the knitting fans in the audience think about this and what they might use it for But a revolution in knitting coming thanks to knitting machines like 3d printers for knitting And some pretty cool sounding software You know, I I am not a knitter I know how to knit but not well enough to make anybody anything my grandmother was a great knitter And what what you know, she would say is okay I'm going to make a new sweater a new blanket or whatever You know, it would be like a birthday present or something And I would get a book and I would look through the knitting book and I would choose a pattern Because there are only so many patterns that you know that that was the way that she knew how to knit what I wanted her to knit So it was a finite kind of you know book of of of of knitting patterns The fact that I could be like oh cool that Lovely person on instagram looks great in her sweater I'm going to go ahead and take a photo of that and be able to replicate it with a knitting machine is awesome But that also introduces some Issues yeah, I think right now you can't copyright certain things in in the in the design world for clothing And and so it doesn't have the same problem that that that say patterns right? Yeah, unless it was like a picture of somebody But you're certainly not going to have any shortage of people getting up getting their nose bent out of shape out of it If they create an amazing pattern and then suddenly that pattern can be turned into a script Because of cad knit or because of inverse knit The there will be that side of this too There's also the folks like your grandmother who would be able to say like I've always wondered if I could make a design Do this, but I never had the time to really work it out So they got this tool that they could be like oh boom boom boom Because I know what I'm doing and make something really cool. I'm I don't know I'm loving the idea that we will change knit one purl two to knit one purl script Um, there's yeah, there's you know, there's the acrylic yarn That's gonna that that fine with me, but some people would be like now. I wouldn't want to you know Wear my sock that acrylic yarn not me, but uh, but yeah In the way the 3d printing There are certain uses for 3d printing where I'm like, well, that would be cool If I had to you know, 3d print a part for my broken washing machine or you know, that sort of thing that always uh spoke to me a little bit more than The artistic nature of it. This is perfect. I mean, this is you know, you uh, especially in colder climates This is this is clothing that could be that could be made in mass Yeah Hey folks, if you want to get all the tech headlines each day in about five minutes, don't forget you can subscribe to daily tech headlines dot com Let's get back into it with some context on Cloudflare and 8chan cloudflare decided yesterday After originally thinking they wouldn't do this to stop Providing its services to the message board 8chan as of midnight Sunday night monday morning that left 8chan open to denial of service attacks If you don't know what cloudflare is it's a service that does a lot of things but among its main Claim to fame is prevent sites from going down due to denial of service attacks. So They withdrew that and 8chan went down If you don't know what 8chan is 8chan was created in 2013 by frederick brennan as an alternative to 4chan with less moderation In 2015 brennan gave up ownership and 8chan is now owned and run by jim watkins a former u.s. Army veteran Cloudflare previously terminated support for the daily stormer in 2017 Which also moved to a different cloudflare like service, which is what 8chan did as well We'll get into why 8chan is being banned by cloudflare in a second if you don't already know but The daily stormer and 8chan to You know, sum it up are problematic because of some content posted there now 8chan moved to bitmitigate Bitmitigate promises it will not stop service to any of its clients unless by final court order however Infrastructure as a service provider voxility which rented the machines that bitmitigate used to provide its service Shut off its service to bitmitigate After after bitmitigate brought 8chan back online So 8chan went back down as did the daily stormer and a few other sites that mitigate bitmitigate provided services to Now let's get into the rationalization of why cloudflare would remove the service in the first place Cloudflare CEO Matthew Prince initially said cloudflare would remain neutral Sticking to only removing protections from sites as it is required to do so by law prince removed protection for the daily stormer Because after a lot of thinking about it and posted that he didn't want to do this again He didn't think that cloudflare should be in the position to decide What sites get to be on the internet or not and it's not like cloudflare is hosting the sites cloudflare Is just protecting them from denial of service. But when that protection is removed It essentially causes controversial sites in particular to go down until they find another way to protect themselves In this case, it was going to be bitmitigate, but now bitmitigate lost its ability to host its service CEO Matthew Prince cited postings by shooters in El Paso And previously Christchurch, New Zealand and Poe, California on 8chan as the reasons for doing this again I'm going to read a couple of quotes from his blog We reluctantly tolerate content that we find reprehensible But we draw the line of platforms that have demonstrated they directly inspire tragic events and are lawless by design So he's calling 8chan lawless by design He says even if 8chan may not have violated the letter of the law and refusing to moderate their hate filled community They have created an environment that revels in violating its spirit So he thinks 8chan is full of hate and he thinks that it is violating the law in spirit He did also say it does nothing to address why hateful sites fester online It does nothing to address why mass shootings occur It does nothing to address why portions of the population feel so disenchanted They turn to hate in taking this action. We've solved our own problem But we haven't solved the internets and this is the interesting thing about prince prince Doesn't wait into this saying well, we have to do this Because it's bad for pr if we don't or because We feel it is it is our job to do it prince wades into this saying Yeah, we've got a problem because we're hosting the site and we don't feel comfortable doing that because of what the site is So we're he's very thoughtful in his explanation and says we're going to remove that protection But I want to make a point of saying this doesn't solve the problem and I think he's he's Much in a much better way saying what I've been saying about facebook for a long time Which is you need to understand what the problem is to be able to fix it and a lot of times I think maybe what I was missing was a lot of the problems we blame on facebook don't start on facebook They start in other places on the internet And this is one of those places where they oftentimes started now granted han was able to move to bit mitigate Although it does seem like bit mitigate is now not going to be able to provide protection to han If that stays that way the people who want to post a han will go somewhere else and and for example A lot of folks who wanted to post In support of of other kinds of terrorism Like isis for example So I've started posting on telegram where they can't be found as easily and they can't be shut down as easily because telegram says We don't know what the conversations are because they're encrypted So there is always going to be a place on the internet for these Folks to go I'm not saying that that doesn't mean cloud flare isn't right to do this I'm not saying that that doesn't mean there maybe shouldn't be some debate about what should be allowed On on unmoderated sites and what shouldn't but I think it goes to prince's point of There's a much more complex and deeper discussion to be to be had around why this is happening at all Absolutely And to take the the content of of the sites in question out of out of out of the equation just for a second Something like cloud flare saying, okay This is this is not something that we're going to be associated with and han saying, okay We'll go to bit mitigate. They provide a similar service to you and that's what we'll do and and they have They they're going to accept something that you're not accepting But then a company like foxility shouting off at service to bit mitigate, you know, there's a supply chain thing going on here and then, you know Bit mitigate itself, uh, nicolas slim selling bit mitigate to you know, another owner who might have Or owners who who might have their own feelings about this this, you know It's a little bit of a kind of a whack-a-mole situation of okay. Who are we dealing with? What does everybody think? Even if you go to a company that supposedly can keep things rolling They often require another company to agree with that company and that isn't always the case Especially when you get into very very sensitive situations like the one that we're talking about now Yeah, and I think we're where I agree with prince and a bunch of folks are saying in the chat room Just because there will always be a place doesn't mean one company has to provide that place I don't think we want companies like cloud flare or foxility to have to be in the position to do this Unfortunately, they are Because there there isn't any law that applies directly and that's true of so many things on the internet our laws are not appropriate to the task because this is all so new relatively speaking Compared to the long history of human experience. So I think prince is bringing up a big point Which is saying hey, it's not about what I do today at cloud flare. Let's not leave it there Let's come up with a solution that means cloud flare doesn't have to play judge and jury The cloud flare can Reasonably go back to saying we just provide a service to anyone who legally can operate Because what's happening now? We're seeing this a couple times particularly with cloud flare but also with foxility is companies saying yeah, it would be legal But i'm not sure I think it should be legal. In fact, that's exactly what prince is saying So let's have that conversation rather than again two years later have cloud flare have to go through the same thing again I think you know and and again, I don't have all the answers and this is such a sensitive topic in general, but Right now what you're describing would be cloud flare turning a blind eye to content that it finds Objectionable to the point that it it should not exist. Cloud flare should be able to provide a blind eye Right cloud flare should be but that would that would change my denial of service protection I'm not expert in deciding what content should or shouldn't exist online There should be Another situation for that. I should they they shouldn't have to do that Any more than the people who go and string lines for your phone should be like well You should pull the the line down to the Right. Yeah, like I I get that we're in that position where they have to and therefore as of today You can rightly say well, maybe you should But couldn't we have the conversation that gets us to the point where they don't have to be in that position? That's what i'm saying. Well, we're having the conversation now, but what's the solution? Well, it it it's not easy and that's that's the problem I think that's why prince is is found so exasperated in his blog post which is it requires government and and the populace and businesses To come up with something new to decide okay if someone creates a website online What are the parameters that are allowed before the government can come in and shut it down? The reason isis got pushed into telegram wasn't because cloud flare went in and stopped them It's because the federal bureau of investigation and several other government agencies around the world went in and seized their websites and seized their equipment because there were very clear rules about terrorist operations And what you could do to them there aren't clear rules about this kind of situation well, the story will be unfolding and Thanks to everybody who participates in our sub reddit because unsurprisingly it was a big story over the weekend in our subreddit because We're all of like minds Submit stories and vote on others at daily tech news show reddit.com We're also on facebook join our group if you haven't already facebook.com slash groups slash daily tech news show All right, let's check out the mailbag. Let's do it. Jason rodin from he says a seasonable hot and human Williamsport, pennsylvania home of the little league baseball world series Little league baseball world series. Tom. Have you ever been there? No, I want to go someday though. Sounds good. Yeah, I know. Let's let's uh, we'll do a road trip one of these days Jason writes on friday show the talk of netflix blinking out of existence was discussed again I don't think that'll happen anytime soon for quite a few reasons original content international deals, etc But one thing that's not talked about at all is comedy specials When you see interviews done with standard comics They always talk about the early years and what they had to do to get mega stardom back in the 80s and 90s It was getting a comedy special on hbo or cinemax or showtime in the 2000s through about 2013 or 14 It was getting a comedy special on comedy central from 2013 to 2014 to today It's getting a comedy special on netflix the only place to find new and classic stand-up comedy specials Is netflix not necessarily true, but that is the that is the place where a lot of this is going So if anyone is saving grace for netflix for now, it would be comedy. Let's face it anymore We all just need to laugh you'd be surprised how much better you feel afterwards. Keep up the excellent work That's a great point jason and uh, I'll be honest I don't think it's that nobody talks about this. I I definitely see other other outlets talking about it But we didn't bring it up on friday You're right and comedy is another one of those things that netflix is doing to say like, you know We know a chunk of the audience is going to come here for that And so we're going to try to be the best at that They're not trying to be the best at every single thing But they are trying to be the best at a lot of different things to keep a lot of different kinds of people Satisfied so good insight. Thank you jason. Thank you jason and thank you to our patrons Yes, thank you to everybody who supports the show at patreon.com slash dtns We are only able to have these kinds of discussions openly and without any thought To what a sponsor is going to say or what our owner is going to say because you are our boss You are the people we're accountable to so please If you want to keep that going and you haven't already become a member join us at patreon.com slash dtns If you've got feedback for us. Well, we're all ears feedback at daily tech news show.com is our email address We are also live monday through friday 4 30 p.m. Eastern 20 30 utc And you can find out more at daily tech news show.com slash live tomorrow with shannon morse Talk to you then This show is part of the frog pants network Get more at frogpants.com Diamond club hopes you have enjoyed this program


This study examined the adoption of social networking sites, SNS, by older adults in Chile. It found that there are three distinct segments of older adults based on their technology readiness levels. These segments included independent elders, technological apathetic elders, and technological eager elders. The study also showed that the elderly's technology readiness level was related to their intention to use SNS. This suggests that tailored interventions should be developed for each segment to increase the adoption of SNS by the elderly. This article was authored by Patricio E. Ramirez Korea, Jorge Arenas Gaitan, F Javier Rondin Catalona, and others.


Live from the Austin Convention Center in Austin, Texas, it's theCUBE at Dell World 2014. Here are your hosts, Dave Vellante and Stu Miniman. Hi, we're back to Wrap Up Dell World. Stu Miniman and I have been here all day. We'll be here tomorrow as well. We're starting at 8.30 local time, 9.30 East Coast time tomorrow. Getting started early. Michael Dell will be on tomorrow. We'll have the keynotes again. We'll be back tomorrow. We'll have the keynotes again. We're only broadcasting for a half day, but so today, Stu, I want to get your take on this. A lot of talk, of course, initiated by me and others about Dell as a private company. I think it's a two-edged sword, frankly, because I think that when things are really good and you've got a lot of momentum behind you, you've got transparent confirmation or quasi-transparent confirmation and that creates a lot of buzz and buzz begets buzz and some good things, some flywheel effects can occur from being public at the same time when things aren't so great and the headlines are bad and the earnings aren't great, you can go into this vortex, this abyss, which Dell was kind of there. As we were talking about with Matt Eastwood, the timing of Dell going private couldn't have been better from a valuation standpoint for Michael Dell and Silver Lake. I mean, I think they got a fantastic deal, even though there's a lot of risk in it that they're taking, but the fact that Michael Dell's willing to step up and do that now owns 75% of the company, yes, they have debt service, what is it, $18 billion in debt, I think was the number, but they'll pay that off over time because of the cash flow machine and they're going to be in a really good position when that happens. Yeah, David's real interesting. There's been a lot of change at Dell. There's been a lot of new faces here and some of the ones that we knew for many years are gone and you really are having that transformation inside. I heard one person kind of the over-heard in the hallway type thing is, there were certain antibodies in Dell and they're kind of sweeping through making changes and if there's some that aren't on board with where it's going, well maybe they'll need to take, I guess it was the voluntary exit type solution. But they're hiring aggressively in other spaces because IT is changing and for me, the real striking thing, Dave, is Dell talked a lot about choice and we say there's so many different markets out there. There's VMware in their ecosystem. That's what Microsoft's doing. There's the public cloud and there's all of these little sub-climates inside IT and Dell's playing a lot of bets which we talked about is how many bets can you place and actually make enough margin and win at what you're doing. So since Dell doesn't have to answer to Wall Street, they can do what they think is best for the company and really for the customers. It kept coming back to Michael and all the executives saying we're focused on what the customers are asking us to do. We can move really fast. We've definitely seen examples of Dell moving faster to deliver some of these solutions than they had when they were a public company. Things like the cloud marketplace, things like the Nutanix OEM. A lot of interesting technologies here and there's still lots of hardware, Dave. I'm looking through the Twitter stream and everybody's snapping pictures of the new FX2. Kind of the next generation Vertex. Vertex really being that remote office box to the FX2 really being a data center, nice hardware platform that you can build for a more scalable environment. Interesting stuff happening. Always a good vibe here in Austin. I think that one of the other things that's interesting to me, in a way, I think of, I'm reminded of Lou Gershner's, who says elephants can't dance. In a way, Michael Dell is orchestrating a different version, clear differences of that playbook. And here's what I mean by that. He took a company that was 100% essentially PCs and began a multi-billion dollar buying spree and transformed his company into what is now the only end to end enterprise company. Now, HP used to talk about that as a big deal. They've given up on that now that they're going to split up. What is the value to a customer of end to end? One is supply chain. Why does a customer care about supply chain? Because it gives Dell pricing power. So Dell's got potentially one of the biggest supply chains now in the industry. HP had a supply chain that was enormous. But now when they split it up, I don't know how they're going to continue to leverage that. Maybe they will, maybe they won't. It sounds like they won't be able to have that same leverage. IBM, when it sold its PC division to Lenovo, lost a lot of leverage. Dell is now able to claim number one in storage. Terabyte shipped. Why? Because it shipped so many PCs. It's not because of the server business. It's because every PC goes out with a half a terabyte disk drive in it. So add it up and Dell kicks butt. All of a sudden, boom, number one. So that's interesting. But from a customer standpoint, you can buy virtually anything from the company. Now, I talked about sort of an elephant stance. You're seeing that transformation being led by a number of factors. Certainly servers is a big part of that and networking and storage with the big acquisitions that they've made and networking with the acquisitions that they've made. But also Perot. Dell's got a big services organization that's very sticky. And then the other thing which not a lot of people talk about is Dell software. In fact, I got a tweet earlier from somebody saying, well, I presume, Dave, I presume when you talk about Dell having one of everything, you're not including software. Well, as we know, Dell's got almost a $2 billion software business. Now that's not ridiculously enormous, but it's substantial. How many multi-billion-dollar software companies are out there? So what I see is this big portfolio. I wouldn't say it's services-led. It's not. It's Dell-led. But there's a sticky services component with an increasing software component in growth areas like security, like systems management, like what Dell calls information management, which is a lot of the analytics and big data. So Dell can continue, if Dell can continue to make those acquisitions do the integrations, it's got a pretty good story for customers, don't you think? Yeah, absolutely, Dave. And it's that PC business and that server business that's generating the cash and allowing them to get into a lot of environments and try out a lot of pieces. The cloud broker model is really interesting because we talked about it a couple of years ago and clouds are not homogenous and until recently, moving from one environment to another was going to be difficult. Enter things like Docker and management tools like the Instratius acquisition that Dell made are enabling some of these multi-cloud environments. So we're seeing customers, from what we see, aren't going all in with one environment. We've got a survey going on right now and some of the data we've seen so far is that it's not like they're saying, oh, I've got Amazon and I'm only doing Amazon. Most customers, they're doing Amazon. They've got VMware inside. They might be doing something with Azure because everybody's got Office 365 and of course, they've got lots of SaaS applications. So where does Dell fit into this environment and can they be a broker, a supplier, an arms dealer for a lot of these pieces and how do they tie them all together? How do they grow those services? How do they add their software? You said there's pieces of software they don't have. They don't have 200 SaaS applications like IBM does. They don't have the breadth of the Amazon marketplace today but Dell is in a lot of customer environments especially in that kind of sub-5,000 user marketplace. So there's a lot of opportunity for Dell to add onto that. And like you said before, they can craft a story because they're not a public company that is very positive. Every CEO of a public company when he or she comes on the earnings call even if they have a miss, even if they have a quarter that they're disappointed in they spin a story and the street then starts opening up the books and parsing the numbers and doing the analysis and the street either buys it or they don't. And so what Dell can do is they can craft any story that they want and make it sound great and create their own momentum. Now it sounds like they're growing but even today in the keynotes you got a little mix of units and dollars and terabytes and geographies and different segments and so forth but Michael Dell was able to very effectively put together a story of growth that's been mirrored by his executive management team and I have no doubt that there's growth segments but think about it if IBM were a private company they could talk about cloud they could talk about their software defined stuff they could talk about the security businesses those businesses that are growing and not talk about their shrinking and not talk about the top line that's flat to down or whatever it is so Dell has that advantage in that they can craft a story and use that in their marketing to be relevant and I think that's really what customers want to know they want to know that the company I'm doing business with is relevant so they got PCs as the tip of the spear everybody knows Dell PCs easy to do business with no problem they've got the services piece that's sticky and they've got everything else in between which is this end-to-end strategy for mid-sized and smaller enterprises which really everybody else kind of poo-poo, not poo-poo's they give it live service this is where Dell really shines and so I don't know, Stu, it's going to be interesting to see David's interesting I was just ruminating on the fact that when you think about the early PC days Dell just made it so easy to buy first with the catalog and then with the website it could go in and click and choose the environments that I wanted if we look at converged infrastructure and cloud which is where the growth really is can Dell take those same type of experiences and move those to the environments and make those choices the cloud market place reminds me a lot of the Dell S&P which was really the offering that I could buy almost anything from Dell and Dell would take a cut even if it's a small one and they didn't necessarily have to support it huge success fall drove a ton of revenue for Dell so lots of things that they can take advantage of well and like I say when when Dell was public they were roughly $60 billion company with trading at 50 to 60 cents on the dollar Michael Dell and Silver Lake having taken that private the ultimate measure yes customer value et cetera et cetera but the real leaderboard is going to be if and when Dell decides to have another exit whether that's public offering or whatever the thing to watch is will Dell have been able to shift its business mix toward the enterprise so that it can even trade let's say it one to one if so it could create $30 billion of value that Michael Dell 75% of so to me it was just a brilliant move this company is still a cash flow machine these big companies that aren't growing that Wall Street seems to hate for some reason even core EMC these are cash flow machines oracle cash flow machine IBM HP cash flow machines that if they have good leadership they can transform their businesses into a success story alright we're getting kicked out here Stu look tomorrow we start at 8 30 a.m. the Cube will be live siliconangle.tv check out wikibon.org check out siliconangle.com for all the news we'll see you tomorrow this is the Cube Stu Miniman, Dave Vellante we're out see you tomorrow


All right, let's proceed with our discussion of musical style. And this is going to be mostly a comparison of musical style in different style periods, and we put the titles of those style periods up on the board there. Once again, this is a typically Western exercise that we are dealing with here. We love to organize material so that we can simplify it and we can deal with it, whether it's attributing to a single individual, what a large number of people do, whether it's grouping random units of pulses into meter, or whether it's taking a highly complex group of phenomenon and putting them in particular style periods. We like to do that because it allows us to deal with the material in some kind of organized fashion. So we've got our various periods up here, as mentioned though we won't be going into the postmodernist in any significant way here. Now what you'll be asked to do is identify the period in which a particular piece is written. And if it turns out that on our final test we happen to play for you a piece that's on the list of pieces that we give you, then you're responsible for identifying the name of the composer and the name of the piece. If the piece we play is not on your list then all you would be asked to do is identify the style period. However, you're asked to do something even more important than that and that's to tell us why it's in this particular style period. It does no good, I don't think just to say romantic and then we're going to walk away from it. What I would ask you to do is give us three or four specific points that you hear in the music that corroborates your decision with regard to the style period. Now you may wish to take a look at your textbook there around page 67, 68, 69 where there's an introduction to musical style and a checklist, as I call it, checklist of musical style by period. And that'll kind of get you thinking in these sorts of ways. The baroque music for example tends to have rather long asymmetrical themes but very driving sorts of rhythm. So you could learn that checklist for each of these periods. But the important thing is that when we play the music you have got to hear in that music that particular phenomenon or characteristic that you list on your group of three or four factors that lead you to your conclusion. For example, you may recognize the piece as being of the romantic period and say that it has lots of low brass in it. It may not have any low brass in the music we're playing at all. So that wouldn't be doing very much for us there. So we want to hear the music and we want to take things out of the music that we're actually hearing. So maybe we'll start with a piece here. Now what we've got is a series of six, seven, depends on how many you want this morning. A particular piece is chosen to exemplify these various style periods. So I think let's go right to my track. Let's see. Let's go to CD2 there. And I want track ten, if I may please Linda. And then Linda later on is going to talk about some of this too. She's got a surprise piece for us. So let's start with track ten. And let's go to at four minutes and thirty seconds there of track ten. Now what are you going to be listening for here? I was thinking about that this morning. What's the most important thing when trying to identify style? What will allow you to get to the answer quickest? What do you think it is? What are you going to be listening for? Let's go back to the radio in the car business, or you suddenly turn on some sort of streaming FM, middle of a piece. What is it that's going to give you the most information? Roger? Instruments. Right, absolutely. Okay, it's the instruments because if you hear lots of percussion and xylophones and things such as that banging away in a distant fashion, those instruments just weren't there in the time of Mozart, for example. So you know it's got to be probably late nineteenth century and on. So instruments is the single most important factor. But some instruments are common to many different periods. The piano operated roughly from when to when. If you hear a piano, what does that tell you about the time period of the music, that you're classical music that you're listening to? It's got to be roughly after what? After or after who? When did the piano really become the principal keyboard instrument in Western culture? Roughly 1770 or so. It was 1760, 1770 as I've said. Mozart was the first to really use the piano exclusively. So if you hear a piano it can't be Renaissance or medieval. It can't be Baroque. It could be classical, romantic, impressionist, modern. And then on the basis of other things you would come to a conclusion about the style period. What might something else be? Roger with the help of Caroline there was able to tell us that instrumentation was very important here. After instrumentation what is it that we might be listening to for? Marcus? Okay. Yeah, the volume, the size of it. That in some way, so specifically speaking it's not just the instrumentation, it could be volume as well. And the later, what's the pinnacle in terms of volume? What would you say? Is it all just a straight line, a scent to present day in terms of volume? When's the biggest orchestra around? We talked about that. Marcus? Okay. Romantic. Can you refine it any further than that? Late romantic, Mahler, Strauss, that kind of thing. Mahler wrote a symphony of a thousand he called it. He had a thousand performers in it. So it's late 19th, early 20th century. And then it sort of in an odd way kind of declines thereafter. So volume is important. Just to move things along here, I think the harmony is important too. And you can pick out sometimes chords, not necessarily the specific chords, but does it kind of sound plain, vanilla harmony, or does it sound a little bit surprising or not shocking, but bracing unexpected? Well, the more unexpected it becomes, probably the later you are, the more into the romantic period you are. And most importantly, I think maybe even more important than that, is the element of consonance versus dissonance. When do we begin to get a heavy component of dissonance in high art music in the West? Classical period? Romantic period? Impressionist period? A little bit. Yeah, I see Kristen. Maybe. Okay. Yeah. So a little bit in the Impressionist period and then a little bit in the Modernist period. And then it kind of actually backs down in the Postmodern period, but we're not going yet. Roger? Good point. Good point. It can be present in medieval music. So in an odd way, the notion of consonant harmonies really didn't get formed until the fifteenth century. So if you're listening to things before the fifteenth century, sometimes you can find rather bracing and biting dissonance in medieval music. And then it sort of smoothed itself out for 500 years. Okay. So I think we have our first selection queued now. So let's just listen to this. And these are going to be rather long as they will be in the test. So we've heard that much. Right off the bat, some things should be ruled out. So what do we want to rule out here? Douglas in the back. We're cold-call people today. Yes, Doug? What would we rule out there? Okay. Classical. Mozart, Haydn, even Beethoven. We would rule out classical. And we're ruling out classical. That sort of wipes out what? Basically everything else before. So it can't be anything after, excuse me, before, well, it can't be anything really before 1800. So we'll start with Romantic. So still in the game here, Romantic, Impressionist, and Modernist. Any thoughts about that? Romantic, Impressionist, Modern. Caroline, just tell me what you think the answer is. Just tell me what you heard there. Louder, please. Okay. So maybe possibly some strange sounding scales and some bells you said. What did you hear? What else did you hear? A big orchestra, a little orchestra? A big, pardon? Huge orchestra? Huge orchestra and huge sound, okay? So where does that put us in the spectrum here, 1800 to 2000? Well, we talked about that, probably around 1900 or so with an orchestra that big. And you heard voices in it, which is interesting to comment on also. So then you might ask yourself, well, is this Beethoven? No, it's too big for Beethoven. It's too much of it. It's too rich for Beethoven. Is it Wagner? It's probably even too rich for Wagner. It's just bigger. So we're pushing on here after 1850. Let's listen to a bit more, and because the excerpts that we will have on next Wednesday will be longer, let's listen to a bit more and see if we can gather some more information here. Let's stop right there. What are we hearing there? A very important piece of information there. What was that? What instrument was playing? Oboe was playing Daniel. Okay, they had the melody. And what about that melody? And then they had to go... What's that? Yes. Kristen's got it out there nice and loud, please. It's an ostinato. So what does that tell us if we're trying? Which one of the three of these style periods does that knock out of the box? Romantic, impressionist, or modern? We talked about that in a lecture on impressionism, but by the same token you were listening Exercise 42 on Stravinsky foregrounded precisely this phenomenon of ostinato. So there we have romantic being taken out of the mix here. This idea of stasis is not part of the aesthetic of romanticism. It flows, it grows, it expands, it contracts, but it doesn't constantly reiterate one phenomenon. So we're down to impressionist or modern here. Let's go on and listen to just a little bit more. We're going to stop it there. So what did we hear there? Anything more that we could add to our list of identifiers? Oscar? Good. Parallel motion. Yeah, dee-dee-dee-dee. Those woodwinds were all going up and down in the same direction. Parallel motion. Excellent. There's one other thing here. At the very end we heard what played by a harp? Caroline? A glissando. That kind of walk. So based on that obviously we are dealing with a piece of impressionist music. This is Ravel's Daphnis and Chloé, ballet music for one of those diagola ballets that we were talking about in section last time. So what would we say here? Well, we would say large colorful orchestra. Actually there was also the use of the human voice here, which we heard in Debussy as well. We would say also that it's essentially a consonant and not a dissonant, essentially a consonant environment. We would say that we have parallel motion, as Oscar pointed out. We would say that we have, possibly if you wanted to throw this in, scales that are not traditional, although that's a little bit hard to hear, but certainly we had the glissando. So if you're looking for four sound bites here, or four bullet points to put on your paper, large colorful orchestra, consonant backdrop, parallelism, and what did we say? The glissando at the very end.  Okay. So that's piece number one, and that's sort of the thought process that I hope you would use while working through this particular exercise. Let's go on to piece number two, which I think, yeah, let's do my track, just track one. Let's see what we got there. No, let's go to, on that particular, well let's play track one and see what happens. Okay. Play track, I believe it's track five. I wrote it, I wrote it, I don't have the right sheet. Fui. Excuse me, yeah, it's on my list here. Yeah, track five, track five. What about this one? Oh, did we switch on to the next CD? Okay, we're going to go to the next CD now for another piece. Sorry, my fault. Let's go to track one. No, let's play track five. What was that? Play what you just played, track five. Okay, let's stop there. What's a good example of what? Chant. Just Gregorian chant.  Chant and keep it there. Let's go on to track one. That's the setting of, well, you tell me what period it comes from. Let's skip around a little bit. Let me go to Emily, please, behind medieval and Renaissance. We had chant there and on the same CD we have an example of this. This is actually sort of right between the two. It's written by Thomas Tallis in England, but England was sort of slow to catch up to the Renaissance, so it's late medieval early Renaissance. What specifically did we hear here that leads you to that conclusion? Jennifer? Jesse? No. Sorry. What? Angela. Sorry. Okay. We heard multiple unaccompanied voices. What kind of texture was being employed there? Mostly polyphonic. And we said when we were dealing with textures we had imitative and non-imitative polyphonic textures. Was this imitative or non-imitative? Everybody agree with that? Anyone disagree with it? Some people are shaking their head. It was non-imitative. No, excuse me. It was imitative. If I had time to play it again you could hear one voice would come in. Incipit lamentatio. And then somebody else would come in. Incipit lamentatio. And then the third voice and the fourth voice. But you're right to say multiple voices unaccompanied. So you sort of get two points for that. And what do we call that unaccompanied style? Yeah. So but you don't get a separate point for acapella. Unaccompanied acapella style would be one marker there. The idea of imitative voices would be another. You might even pick up on the text, I suppose, that it's in what language? Latin, yeah. What else there? That it's not particularly rhythmic. No strong rhythms or meters. It sort of flows gently like Gregorian chant. And as mentioned we have this texture that's not only polyphonic but highly imitative. And those are all hallmarks of late medieval Renaissance music. That particular piece was written by an English composer, Thomas Tallis, but more interesting in a way. It's a setting of the old lamentations of Jeremiah out of the Old Testament that laments the fall of Jerusalem. So it's a particularly dark heartfelt text and exquisitely set there in that Renaissance vocal style. Let's go on to another one now, the next CD. It's probably CD3. And for this we do have track five, I believe, times. You can figure this out in about three seconds. It doesn't take much more than that. So with just that, and we'll be playing a lot more than three seconds, many minutes depending upon the particular piece, probably more than once. So what did you hear there? And we may go back and hear just that much. What did you hear there? Let's talk about what you heard and then we'll conclude about the period in question. So someone get us started. Nicole. A lot of percussion, okay? Very definitely particularly the tip in Marcos. A lot of dissonance. That was very prominent. It started out okay. It could have been a kind of John Williams Star Wars type sound up until about the third iteration of one particular figure. But the level of the pitches at which it was brought in produced a very dissonant moment there. So initially it's maybe John Williams romanticism knockoff kind of thing. But when that dissonant enters, then that takes you into a slightly different realm. Daniel. Okay. A lot of brass. And even if they were not percussion instruments, those instruments were being used in a kind of percussive, in your face, way. Yeah. So those are three good things. Roger, you got another one? A big, pardon? Yes, there were lots of ostinato right at the beginning. I almost forgot about that. I may have only been just two notes going back and forth. So already we've got our four and maybe that's all we need. Let's listen to just the beginning. It's not a long excerpt. Let's listen to the beginning of this again. When that entry right there, very dissonant. And the ostinato, of course. Percussion, dissonance, more dissonance. Brasses as percussion instruments. More percussion, pounding, dissonance. A lot of modern music has a kind of intensity to it. You know, stop, I give up, okay? I surrender. It's got that element to it. So that could be even a fifth component in our thinking. So all of this leads us to the conclusion that this is a piece of twentieth century music by the woman composer, Ellen's Vilek. And you have Ellen's Vilek, of course, as the basis of your listening exercise 45 that you've done. This is simply another piece called Celebration. It's a pretty, so far, pretty intense celebration by Ellen's Vilek written in 1984. So it's a fairly recent piece of music in the modernist style, not post-modernist, but modernist. Okay. Well, I'm going to, I think, a variety is always useful in life. I'm going to, and I asked Linda yesterday, Linda, you prepare a piece. But don't tell me what it is, because I want to go through the same thought processes that other people have. So Linda has prepared a piece, and I don't know whether she's going to use the piano or whether she's going to use the audio player. Audio player? You want me to play it for you? You're okay? Okay. So this means we have probably an orchestra before we get there. Okay, strings in the foreground of this particular ensemble. Could anybody tell what the solo instrument was? All right, see you soon. So we've had regular meters, strings in the foreground, a solo instrument. What might you say about the relationship between the solo instrument and the bigger ensemble? I guess that may be pretty obvious, but that's true. They seem to be at about a similar level. It doesn't seem like the ensemble is very big. And we have them playing one after the other, which is a characteristic of something that we learned about. Rhythmically, this goes with meter. Was it regular, irregular? Pretty regular. You could tap your foot to it. You could hear a melody. I'll just play a couple more. A little bit of virtuosic and impressive. It should be impressive. You hear lots of little trills. It's leaping all over the place. It's showing off. And this is a feature of something we learned about. So who would like to guess what period we're in? Michael.  Why would you say a romantic? It makes you realize... Which makes you realize that you can't always tell by the size of the orchestra. Sometimes it's better to listen for some of the more abstract features such as what the orchestra is doing. The harmonies. How about the harmonic language? Was it pretty surprising or a little more expected? I mean, this may be something that's going to help you zero in a little bit more. Yeah, pretty expected. Not very surprising harmony. Does anybody else have another? Or do you want to correct yourself? A little bow. Tie it on a sequential phrase. What does that suggest to you? Very good. Which is very strong in what period? Classical. Yeah, I mean, these things do happen in other periods. But this is sort of a quintessential, classical, very particular genre. Does anybody know what genre we're in? Concerto. Concerto, exactly. So this was the Mozart bassoon concerto. Who knew that Mozart wrote a bassoon concerto? It's one of the bassoon's biggest pieces in the repertoire. And he thought the bassoon was a sort of amusing instrument, so that's why there are lots of leaps. And it sounds a bit like a clown anyway. So that's a concerto example for you, which is not a piano. Yeah, that is a great question. I wonder if I ought to defer to Professor Wright. Well, let's work through this together. One, we've been all over this morning. That is the size of the orchestra. We had the lecture on nineteenth-century orchestral music, how all of these instruments come in. So the orchestra has many more and many more varied instruments in it, ranging from top piccolo down to middle, English horn down to bottom, contra-based bassoon tuba and things like that. So it was the orchestra particularly, low brasses and that kind of sound that typifies the sound generally for orchestral music in the nineteenth century. Then, whereas Daniel was talking about bowtide, or tied together, what he was animating there perhaps was that we have this kind of paired phrasing, or neat little units of phrasing that can be tied together. That's a component of classical music. As you go into the romantic period, the themes, the melodies, become much more expansive. And someone I think said earlier on here, has pretty, maybe the first point, was this pretty regular meter in this particular piece of classical music by Mozart. The Mozart bassoon concerto, K-193. So the regularity of the themes and the balance and symmetry is part and parcel of the classical period. You move into the romantic, you have expansive themes, but by way of contradistinction there, then the rhythm becomes not necessarily more flexed, but more loose. And we talked about this phenomenon of rubato, for example. So flexible rhythms, flexible tempos, less clear meters in the romantic period. And not to overdo it, but it may be this idea of just beautiful melody. And it is, of course, in this nineteenth century that we get the whole idea of the Belcanto sound. If anybody read Rothstein's, no, Andrew Thomas Cini's article that I pointed you to about Belcanto, he said actually the beginning of that starts back with the composers of piano music, of that same period, and then the opera composers begin to go into it. So who wrote this? Beautiful? Well, the whole idea of beautiful melody. Yeah, Mozart wrote a lot of beautiful melodies too, so did Bach. But somehow beautiful melody, just warm, rich melody, is very important in romantic music. So this is a good example of kind of rich harmonies, a broader palette, and then the classical period. I could play one other piece here just to differentiate romantic piano music from this sound. So that's a piece by Mozart. You could say that the melody is just as beautiful. That's a gorgeous melody too. That's lovely. You could use that as film music just as well as you could the other piece. So the first piece that I played is by any takers on that, piano music of the nineteenth century. Anybody, if you peek through the textbook, that is? Good. Yeah, Chopin and Frederick Chopin. So that's a classic, quintessential moment of Chopin, quintessential moment of Chopin that's become a classic. Indeed, it became a kind of – Judy Garland used to sing this. I'm forever chasing rainbows. It got turned into a pop song in the twentieth century because it's such a drop dead beautiful melody. But the difference here is in the pianos the terms of expansion. Here's the Chopin sound. Here's the – and the chords sometime ago. Interesting harmonic shifts, but the Mozart by comparison is very plain harmonically and very limited in terms of the range and limited somewhat in terms of the texture. What kind of bass is this? You're talking about how we identify style. All you really have to do is listen to about one second of this. I know what that is. That has to be what? Emily? That's an Alberti bass. An Alberti bass is used only in what period of music history? Classical. Okay? So you hear that? It's got to be in a forty-year period roughly 1770 to 1810 or so, and then they stopped using it. How do we know that this is specifically Mozart? This is above and beyond the pale. If you put down Beethoven for this it would be great. If you put down Haydn for this it would be great. Schubert for this would be great. Mozart for this it would be great. How do we know it's Mozart? There's one little moment here that when he takes that line and nobody else would have wanted it. He loves to do that. What did he do there? He inserted what? What kind of scale is that? Yeah. Emily says chromatic. So he inserted just a little bit of chromaticism there, and that's a finger print of Mozart. So we're parsing this out a little bit more fine than we need due, but that's the kind of the next step on this. Okay. Where are we? Let's do one more piece. Let's do one more piece. Let's put this one in and go to track 18, I believe. Anybody want to ask a question while we're queuing this up, Oscar? Beethoven wouldn't really use so much of an ostinato as he would just sit there. I see your point on one chord and kind of hammer you over the head with that. But that's an idios, it's a good point. It's more sophisticated in a way that we need to get into in here. But I wouldn't say Beethoven uses ostinato so much as iteration, and admittedly it's a fine line between ostinato and iteration, but kind of sitting on something and just kind of repeating maybe that chord over and over and over again in a way that Mozart or Schubert being fundamentally constructors of melody wouldn't necessarily do Okay. That's true. That's true. You could look upon that famous de-de-de-deem, pa-pa-pa-pa, as an ostinato. People don't normally do that, but that's just fine and dandy. It may be something particular to Beethoven rather than the era generally, but yes, you're right about that. So good for you. Oscar I, Craig nothing at this point. Any other question? All right. Let's go on. We'll hear one last piece and I'll let you go, although it's a fairly long one. Eighteen, sorry. Yeah. Long way to go. Is that playing? It's odd. There's nothing about the CD. I just played that in my office a few minutes ago. Yeah. Let me check the track number here. Yep, eighteen. Sorry for the delay. Any other questions as we vamp? Maybe I'll just dance up here. Angela, go ahead. Well, you could use him as a swing player. In other words, if you hear a piece that you think is Beethoven, you put that down as classical, that's fine. You put that down as romantic, that's fine too. So we're sort of set? All right. Let's just go ahead and listen to this then we can go. Let's stop it here. Time is short. Go up to about 135 on that CD. Something else is going to happen. Let's just stop here. Now, there should be one thing there that's a dead giveaway in terms of period. And what would that be, Zach? The harpsichord, okay? Because we've said before that really the harpsichord doesn't get much in the way of legs in the history of music until the baroque period. And then it disappears as it's replaced by the piano, for the most part, in the classical period. The baroque period can be readily identified here simply by the presence of the harpsichord. But what else did we hear in these admittedly very short excerpts? Well, let's go back to the beginning then and listen to the rhythm. Could you dance or march to this?  You can see the king coming into court or something. So highly regular rhythm here. And this rhythm and this particular sound goes on and goes unchanged for about a minute and thirty-five seconds or so, and that's another aspect of this. Not only regular rhythm but a regular ethos in the music of the baroque period. Now let's listen to this last component here and then we'll stop with this. Let's go back to 135 one more time, please. So what are we hearing here and why is this further important of music coming from the baroque period? Mary Pat? It's a fugue, okay? And we studied the fugue and we said the fugue came into being in the baroque period principally under the aegis of J.S. Bach. So there we've got our four bullet points or four pieces of supporting evidence for the conclusion that we came to rather early on, as Zach pointed out, by the presence of the harpsichord there. Any final questions before we stop? If not, I have a request. You may have heard that unfortunately our good friend, Richard Lawley, has had a serious medical issue that he is dealing with, and he's always such a wonderful guy and this was going to be the highlight of his career. He's going to take over the Master's of Jonathan Edwards College and unfortunately this happened. So I'd be very grateful to you. We've got a couple of Get Well cards out there and Richard is always very much interested in our Yale students and it'd be great if on the way out you would be good enough to sign your name there on those cards and we'll be sure that they get over to Richard. Okay, thanks very much and I'll see you next Wednesday, six days from now.


A fiery horse with a speed of light, a cloud of dust and a hearty high old silver, the lone ranger. Whenever men gathered around the campfire in the early days of the western United States, stories were told of the masked ratted the plains. His strength and courage, his daring and resourcefulness, made it possible for him to bring criminal after criminal to justice, even when all the forces of the law had failed. It was he more than any other man who made possible the winning of the West. Return with us now to those thrilling days of yesteryear. From out of the past come the thundering hoofbeats of the Great Horse Silver. The lone ranger rides again. The little town of San Salvo laid the foot of one of the natural wonders in the West. A great mass of brilliant red sandstone streaked with yellow rose from the plains. The men and women of the surrounding country had come to accept the bluff as a matter of course. And as old Shep Harper wrote along the main street of San Salvo, he raised his voice and song, but he never lifted his eyes toward the towering rock. Go down! You'll be still too? Sure. Yep. I got a right to feel so. My grand-owner is doing here on the morning stage. No. Is that so? It ain't just so. See, there's Lawyer Lake in his office there. I got business with him. He's there? But Shep, listen. Huh? Lawyer Lake's a mighty shrewd cuss. I wouldn't go trust him none too far. He ain't but Lake in town. Couldn't see no other lawyer because he ain't none. Besides, he can't swindle me none. All I'm having him do is make out my will. Will? What do you want of a will?  Me? God! Only I want to make sure Molly gets my ranch and livestock if something happens. I don't want no dog-gone relatives. They ain't never seen come pokin' in here. Molly's comin' to live with me. And I aim to make sure she's well-to-care of. The lake's inside, Shep. But remember this. Keep your spectacles good and clean while you're dealin' with his kind. Don't you worry. Watch my dog and horse, will you? Mm-hmm. And horn, Mr. Lake? Well, Shep, glad to see you. I fixed up your will and testament the way you outlined it. Good enough. I'm here to sign her up and have it all set legal. Sit right down here and look it over. Make sure it's the way you want it. I'll win the other room and ask some friends to come and witness your signature. All right. Just make yourself comfortable, Shep. I won't be long. And take your time. I read slow and dog-gone careful. Branigan, he's out there now. Oh, Shep? Yeah. Now get this straight, Branigan. If we play it right, we'll be the new owners of Shep Harper's big ranch. There ain't nothin' I'd like better. It'll be a tough lot of luck for that granddaughter of Shep's to come here and find the old man dead and her left without a dime. But she'll have to make the best of it. Maybe you'll feel real generous and find her job in your law office. Well, she's a handsome girl. Maybe I will. What's my part? I can't use you as a witness because you're the one that's inherent the property. I'll call lefty from outside to witness the will. I'm to inherit the spread, eh? We'll fix some sort of sort of story about Shep Harper owning you a lot of cash. You can tell that around a couple of places between now and the time that old Shep dies. Tell it that he owes me money, eh? Yeah. But what about that?  Then I switch papers and he signs this one. It won't work late. Why? That girl comes tomorrow and the first thing she hears from Shep is that he's made a will. You know how important that'll seem to an old coot like him? You'll tell everyone about it. No, he won't. You don't figure on killing him right off, do you? That won't do either. It'll raise too many questions, Brandigan. Shep Harper is going to starve to death and you're going to help him. Go on. We'll go further after I get his name on the will. Now remember, eye glasses. He can't read without them. Right. Come on. Can you make it out all right, Shep? Oh, sure, sure thing. Ain't much to it just that I leave all I got tomorrow. This is Brandigan. You know him, don't you? I reckon so. Glad to see you again, Harper. I, uh, I gotta be leaving. Hey, look out! My specs! Oh, confounded. I tripped right over that chair. Say, I'm sorry about your spectacles. Dad read it all. Why don't you watch where you're going? Oh, unfortunate. Unfortunate, Shep. I'm sorry, Shep. Look, I'll buy you a new pair. Oh, I got extra ones to hum. But I hang it. I had to send all the way to see Joe for them. You send for some more and I'll pay for them. I'll see you later, Mr. Lake. You're right. Ain't he the witness, my Simon or something? Well, um, Brandigan was in a hurry, Shep. Lefty's out in front. I'll call him in. Oh, Lefty. Yeah? Come in here with you. I want you to witness the signature. At dusk that evening, the Lone Ranger and Tato made camp near San's Hollow. While they ate, they studied the poteau that reared high above the surrounding ranches and Grogan's Bluff, they call it, had her. Named after the man who built the bridge to reach the top, Bill Grogan. Why him go there? For the same reason men have always gone to places that were hard to reach. He thought there must be something worthwhile when he got there. There have been a lot of rumors about an ancient tribe of Indians who buried a treasure on that plateau. Oh, that's not true. No. I don't know how the story started, but Grogan believed it and he made a pretty thorough search. There have been a lot of guesses at how he managed to build the bridge. Goes across a canyon fully 200 feet deep. What happened? An explosion. It's all right, so let's take it easy, boy. Here. You can see it, Tato. Down the canyon? Yes. Just as we were speaking about that bridge.  Why has that happened? I suppose the man in town did it. I've been talked about before. The bridge wasn't safe anymore and there was always the risk that someone would cross to the plateau and cave in the bridge or be caught in the plateau and the heavy wind destroyed the only way to get back to safe ground. No. The bridge gone. It's probably a good thing. It's all right, Silver. That little scared, isn't it, old boy? Well, it's all right now. Come to wonder. You wonder what, Kimusabe? If it all right, why then blow up the bridge? Acts do same work. Cost plenty less. Well, we'll ask about that one. We get to town tomorrow. I'll count on you to learn all about it, Tato. San Salvo isn't the town I care to visit wearing a mask. The next day, the stage arrived in San Salvo. Hold on, hold on, hold on. Hold on, hold on, hold on. There's the mail sack. Let's send some water for them horses. Wee! You're looking to passenger! The only passenger was a girl of 18. The guard helped her to the ground. There's your baggage, miss. And lawyer Lake stepped forward two meters. How do you do? You must be Molly Harper. Oh, yes. My name is Lake, miss Harper. At your service. I expected my grandfather to meet me. I thought he'd be here, too, but I haven't seen him since yesterday. I'm his lawyer, though, so perhaps you'll allow me to serve you. I haven't the slightest idea where his ranch is. Do you know? Do I know? Well, I should say so. I guess everyone around here knows Chef Harper's ranch. It's one of the finest in the county. Really? Yes, indeed. Well, I'll take your bag and find a rig to drive you out there. I don't like to put you to trouble, Mr. Lake. I don't like to put you to trouble at all, not a bit. In fact, it'll be a pleasure. Wow, nice. I thought the Western men were, uh, well, not like the Easterners. Well, we'll try to make you like the country, miss Harper. Get up, man.  Let's go again. Oh, Leslie, get that team and rig out. We'll drive miss Harper to Chef's place. Right. There's a couple of visitors at the house. I don't recognize those horses. Do you, Lefty? Me? No. Never seen me in one of them before. Say, that white one sure looks powerful, though. Look. That man is mad. What entranation? Hey, here, stranger, what's the idea? How are you? Well, of all the cusset nerve. Who are you, is the question. Quiet, Lefty. I'll handle this. Just who are you, stranger? I came to learn who owns this ranch. I haven't seen any of the hands around the place yet. This is Chef Harper's property. And with the robbery you're planning, you might as well... Do you know your link? I am. Well, that's what I thought. I've heard descriptions of you. Is this a holdout? No. Please don't be frightened by my mask. Is Harper owned a dog? Sure. What about it? Dog about the size of a collie? That's it. Grub steak, he calls the critter. Where is Grandpa? Have you seen him? Grandpa? You raised granddaughter? Yes. From the East? Yes. We don't propose to stand here and answer your questions. We're all the men. I don't know. And I have no further questions. Come, Thunder. Oh, he comes. Savage. Oh, Mr. Layman, are they down to Grandpa? I don't know. Where is he? Have you murdered him? Come, Kimosubby. Hey, the lady asked you a question. Oh, still. I don't want to ask any more questions right now, Thunder. No, what we do? We're going back and have another look at the ground near that bridge. Come on, Silver. We know several things. The back trail led to old Chef Harper's home. Must have been Chef who crossed the bridge with his dog. Not right. And before he came back, the bridge was blown away. That means that he either was on the bridge when it was destroyed, which would have meant certain death. Or he's on the plateau, which means equally certain death, but not as quick. Ah, him starve on plateau. There isn't any way on earth for him to get off of there. Maybe build no bridge. It would take weeks, Taddo. And he'd be dead long before anyone could cross. I wonder if we can't make him hear us.  I will. And not answer. Nothing but the echo. I wonder if this is murder. Maybe a girl wants ranch. It doesn't seem that she'd plot the murder of an old man. There's no answer, Kimosabi. How can we get to Grogan's bluff? I don't know. Hello. Where did you come from? How about her, old boy? Looks as if you've had a hard time with it. Dog, I'm pretty tired here. Let me pull some of those brambles off. What do you want? Taddo, any answers if you wanted me to follow him? Wait. You look, what? She tracked a dog. Well, this is the same dog. The one that crossed the bridge. Is there another way to get back from that plateau? There is. I've never heard about it. We pull a dog. See where him go. All right, boy. Leave the way. We'll see where you go. We go and put. Leave the horses, Taddo. Come on. Dog, go along top canyon. Look at where that dog's going. He's gone over the edge of the canyon. Come on. It might be a trail that we know nothing about. Here's where he went down. Now we'll... Oh, no use, Taddo. There is a trail to the bottom, but it's less than four inches wide. Only a dog could make it. But now we sure are man. There's no question about it. That's Shep Harper's dog, and Shep is on the other side. He's heard or helpless, or he'd have answered our cries. We've got to find some way to help him. The curtain falls on the first act of our Lone Ranger story. Before the next exciting scenes, please permit us to pause for just a few moments to continue our story. Shep Harper's dog barked at the Lone Ranger and Taddo from the opposite rim of the canyon. He seemed to be begging them to help his master, but only a dog could descend the narrow ledge to the canyon floor and scale the other side. Well, that dog can't understand why we don't go and help his master. You got rope. Maybe let Taddo down to the bottom. Well, that wouldn't help, Kimus Abbey. You still couldn't get up the other side. And what do we do? The dog can cross. How can we use that dog? Maybe rope reach over canyon. The rope would be too heavy. The dog couldn't possibly climb that wall with the rope tied to him. Wait, have a scheme. Taddo, get your bow in a good arrow. There's some fishing cord in my saddlebag. Here's over. This cord is light but strong. Tie one end to your arrow. Then what do I do? Shoot the arrow past that big rock on the right-hand side. Shoot now? Yes, and look out for the dog. Dog, watch what we do. If only that dog will do what we want. Go ahead, let the arrow loose. And go. Looks like a good shot. Perfect. Fetch it back, boy. Fetch it back. Dog, look at the arrow. He's picking up the arrow. Here, hold the cord. Pay it out as the dog carries the arrow. I'm calling the dog from down this way. If he'll just go around the back of the big rock over there. Here, boy. Here, boy. Come on. That's it, fellow. Bring it here. Pay out the cord, Taddo. The dog followed a natural impulse to retrieve. With the arrow in his mouth, he descended to the canyon floor once more. Then with the Lone Ranger encouraging him every inch of the way, he crawled along the narrow shelf on the near side of the cliff. Progress was slow, but finally he reached the top and... Good boy, good for you. Now we've get here, Master. Taddo, Taddo Larry, it's both of them to the cord. We'll pull them around that rock and fasten them on the side. Then we go over, huh? With two strong ropes across that chasm, we can reach the other side. Molly Harper stayed at Shep's Ranch, but in spite of the efforts of everyone around the place to make her feel at home, she became more and more worried about her grandfather's absence. Mom Megs, who handled the housework and cooking, found it almost impossible to reassure her. Oh, now, Miss Molly, I can recollect a time when Shep was gone from here for over six weeks. We never know where he was at, but he'd come back surprise, ever. But it's been a week now, and he knew I'd be here. He wouldn't stay this long and not leave somewhere for me. He can't tell. He's pretty absent-minded sometimes. Now, don't you fret, nun. He's all right. No news is good news, I will say. Oh, I hope so. Um, one thing I wanted to make a mention of, Miss Molly, and I hope you won't think I'm an old fool for bringing it up. What is it, Mrs. Megs? It's about that lawyer, Gent, Mr. Lake. Oh, yes. He's been calling frequent. Now, I wouldn't get too friendly with him if you not hit your grandpa gets back. He seems very gentlemanly. Well, seems sometimes ain't. He's always been friendly with Lefty Horner and Beth Brannigan, and they ain't a more worthless couple alive than them two. Judge a man by his company, I always say. Brannigan. Mr. Lake mentioned him. Didn't he loan Grandpa a lot of money? Oh, not I know of. That's funny. Mr. Lake said he did. Well, I never got into your grandpa's personal affairs. In fact, Mr. Lake hinted that if something happened to Grandpa, I-I mightn't have the ranch here. Oh, that's loco. Why, your grandpa always stayed leaving her to you. That's why he wanted you here. I don't know. I just wish he'd come back. Another week elapsed. Then one afternoon, as Molly was sitting on the front porch, three men rode up to the ranch house. Mrs. Megs, who are those men with Mr. Lake? A big one is Brannigan. The other one is Lefty that I made mention of. Fine pair of sidewinders. I'm going into the house. Good afternoon, Miss Molly. How do you do, Mr. Lake? I'm afraid I come to bring her news that won't be pleasant. About Grandpa? Indirectly. Oh, this is Mr. Brannigan. Howdy, Miss. I'm downright glad to know you. Brannigan just returned to town. He's been away for two weeks. In fact, he left the same day your grandfather came to my office. Well... Well, that was the day I signed my name to Grand Papi's will, Miss Molly. I'll do the talking. Miss Molly, that afternoon your grandfather met Brannigan and told him he was going to Grogan's bluff. Grogan's bluff? You've heard about the bluff, of course. Yes, but why should Grandpa go there? He had some secret reason, but he didn't tell Brannigan what it was. Brannigan left town, and when he came back and told me where Shepard started for, I realized an awful truth. What? Well, you know, there had been a meeting of the town board, and it was decided to destroy the bridge to the bluff. It was a safety measure, you see. There had been a hand-bill in town for some time, announcing that the explosion would take place some time after sundown and warning everyone to stay away. And... and Grandpa went there? That's what I'm afraid is the case. That he might still be there? If he went there, Miss Molly, he would be starved to death long before this. Well, that's what happened then. I can't begin to tell you how sorry I am. Oh, I knew something had happened to him. Poor Grandpa. Why didn't someone tell him? Why wouldn't he warn? I didn't know about the blast and plans of my own self when he told me he was going there. Dad read it all, Lake Yafoni. I'd come back to town ten days ago. There still would have been time to send a rescue party to get him. Even that would be almost impossible. As it stands, though, he's dead for sure. Oh! Better go into the house and cry it out. Then she'll be better able to listen to the rest of what we have to tell her. Right.   Remember, it's out of your hands now. I know. You've got that wheel of ships with your league right here in my pocket. As soon as we've given her time to cry it out, we'll go and talk to her. Look, what's coming? I saw him before. Who is he? I don't know, Branigan. I saw him right here once before. I had no idea you'd be here, Lake. I heard that Branigan had returned to town. You can't go in there. My one authority, do you plan to stop me? I'll tell you why I plan to stop you. This year, Branigan is mine. We'll go inside. Perhaps, if you tell me your business, I'd be more willing to talk to you. There now, honey. If you have a good cry, you'll feel the sight better. Who are you? A friend of Chef Harper. Your new grandpa? Yes. The lake just told me he's dead. He went to Grogan's bluff. No one except Branigan knew he was going there. The day the bridge was destroyed. Didn't he return from Grogan's bluff? Obviously not. He hasn't been seen. By this time, he starved to death there. You brought that news to Miss Harper? I thought she should know. Just how did he happen to go to Grogan's bluff that day? I don't know. He didn't tell me why he went there. He didn't? Now what are you asking all these here questions for? Ain't none of your business? Is there any reason why Chef might have gone to Grogan's bluff? No, I can't.  No use now. He'd have died long before this. What was nearly two weeks ago, he went there. I see. We better get out of here and leave Miss Harper with more mages. It's been quite a shock to her. There are a few details to settle first, Lake. Well, please be quick. You told Miss Harper, of course, the terms of her grandfather's will? How do you know what them terms are? Chef made a will, didn't he? Yes, you told me he did, Mr. Lake. Have I denied the fact? Of course he made a will. And his ransom property goes to his granddaughter? Well, um, it's a matter of fact. Hasn't it? No, it don't. It goes to the... How do you know about it, Branigan? The fact is Branigan was promised this ranch to pay off a large debt hopper owed. Is that true? Yes. Chef Harper's will gives everything he owned to his dear friend and benefactor, Mr. Branigan. I can't believe that, Grandpa. I'm sorry, I'm not going to discuss the point. I have the will here. It's there in writing, and it's witness. I witnessed the signing of it by Chef Harper Moon, so... Miss Marley, if you know your grandfather's signature, I'm sure you'll recognize this. Then it looks like Grandpa's writing. I don't believe it. May I see that? Here. I'm afraid, Miss Harper, that this is perfectly legal. Then Chef didn't know what he was signing. I know for sure he never owed Branigan no cash. I'm in no position to discuss that matter more. There's the will, and it's not for me to argue. The law will have to decide. If Chef is dead, Miss Harper, there isn't a thing that you can do about this. You'll just have to move off this ranch. I tried to prepare you for this, Marley, without repaying any confidences. You remember I hinted you might need employment. Yes, Mr. Link. You fight that there, will, Marley. Fight a tooth and nail. That ain't the way Chef planned things at all. It will do no good to fight it, will it, Link? No, not a bit. The only way that will could be made void would be for Chef himself to make a new one. And he can't do that. Why? Why? Why can't Chef make a new will? Because he's dead. Oh, that was merely your idea, Branigan. He couldn't get off Grogan's bluff with the bridge gone? He could. In fact, Branigan, he did. You're not born right at the age of two. Mate, you warned me double-crossing crook. I ought it really away you stand. You're covered. The sheriff has come along with Chef just to make sure that you don't get too hard to handle. Link, what's going wrong? I'll tell you what went wrong. My dog, old grub steak, got off in the bluff and found that mask man. We managed with the dog's help to reach the bluff, you see. And that pitfall you fixed for me to fall into worked just right, Branigan. I had been done for if the mask man hadn't got to me and fixed me where I was hurt and took care of me while we seen what your scheme was. Why did you go to the bluff? I went there because Branigan says you'd come in early and seen the bluff and wanted to look her over and that you was waiting there for me.  I see the whole thing now. I see why you smashed my glasses, Branigan, so as I wouldn't know a different will was stuck before me by that crooked lawyer. Thank goodness you're back, Grandpa, and all right. I'm as bright as rain now. The mask gent in his engine part are better than any saw-booms I ever know by patching up an old glute like me. Oh, Chef, why, and Tonka didn't you let us know you was back? I wanted to, but the gent there figured it was best to set tight and see what game was being played. Well, we seen. And now we can jail them critters so as it won't be played again. You've heard all you need to, Lake. Outside. I demand to be heard. Make your demands in court. The judge is paid to listen to you. All of you, out with the sheriff is waiting. Go on, I gotta do something for you. If you're old dog that did it, Chef, go on in, Grubsteak. You're home, too. Oh, wow! You have just heard of the copyrighted feature of the Lone Ranger Incorporated.


I think co-working has created the most amazing impact on start-ups because just imagine when we used to start-up in my first start-up, I spent almost 35% of my seed capital going out there giving a security deposit to the landlord, giving fees to an architecture firm then building my office and I realized one thing that for start-ups, the team goes through crests and troughs very, very quickly. We have expansion, we have contraction and we have long-term leases. Just imagine I paid a nine-year lease. I don't need to do that with an innovate or a co-working operator. What you need to do is just go plug and play. You have an opportunity to take a one-hour meeting room to a nine-year lease, whatever you want. The idea is why do we need to give commitment up front and without capital investing. You convert all your capital expenditures into operating expenditures and that at our focus is you focus only on your product. Do not give capital into capital X into furniture which is a depreciating asset and this also provides just a massive opportunity to actually tap the start-up ecosystem. As we speak, we have a pass called the Flexipass. Across India, you can access any innovate at a starting price of two-triple-nine.  The idea is have your own space. That is very important. I think huge innovations. We have not even scratched the surface of the industry. We are not even at one or 1.2% of the entire office uptake. I think eventually this is my personal guess that this is not innovate or any or OEO speaking. This will be at least 90% by 20-40% because this makes sense. People are and we have large companies like BBC, we have companies like RBL Bank, who never even talked about co-working. Everyone has started adopting co-working because it makes business sense. Every large company, Fortune 500 company has realized that they need to be agile, they need to be thinking like a start-up and they need to make sure they do not have large assets which are depreciating on their balance sheets. I always say there is no competition. We have just 450 players. Look at the hotel. It is still open day-to-day hotel brands. The idea is this is and the good part is that all the players will open and this is the only industry which is a truly collaborative industry. We have a WhatsApp group of all the founders together and we make sure that we meet very frequently because we are the torch bearers of this industry and these 450 operators have only 13 or 14 co-working centers. If we all come together, the more centers that start, everyone of them is educating everyone about co-working. In 2015 when we started, no one even thought that co-working is possible. Today everyone knows that co-working is one of the things. But in 2025 you will see massive adoption by large old corporations of India and even SMEs which start happening to co-working. So my only advice is be frugal. Do not and understand the market and do not spend money unnecessarily. Be as frugal as possible. Be mindful and leverage technology. This is not a real estate game alone. This is community-led, technology-led and make sure this makes business sense. A lot happens that entrepreneurs they enter create amazingly lavish spaces but there are no takers. India has a nine-triple line market and I would say it's a six-triple line market where this is the base of the pyramid and there the demand is infinite.