The look of the GM C10 square body truck is classic, but what if you're wanting to combine the classic look with the stance and handling of a modern vehicle? I'm Dan Otti and welcome to another edition of Detroit Speed's Tech Talk. Speed's new front and rear speed kits for the 1973 to 87 GM square body truck is designed to lower your ride height as well as give you a more modern look and feel. Our front speed kit improves the performance and handling of your truck while lowering your ride height by up to four and a half inches.  The DSC aluminum upright comes with a dual pattern of 5x5 or 5x4 3 quarter for your wheel selection. Now keep in mind you need to at least run a 17 inch wheel which requires a minimum of a 16 and a quarter inch inner wheel diameter. New front brakes are required with this kit and you can see a list of recommended brake packages in the description below. Now Detroit Speed does offer 13 inch dual pattern rotors part number 050403. Detroit Speed also offers the 100% bolt on Speedmax front suspension system. Check out our Speedmax Tech video here at this link to learn more. There are three variations available for your Detroit Speed's rear speed kit, speed kit one, two and three. Now speed kit one is going to replace your old drop hangers and shackles providing you with a three to four inch drop from the factory ride height. Our Lee Spring drop front hanger kit part number 040113 and drop shackle kit part number 040114 can be purchased individually from one another. Now using either of these kits will give you a one to two inch drop and ride height. Our Detroit Speed speed kit two features our Lee Spring flip kit with relocation shock brackets as well as our C-notch bracket kit. The flip kit axle pad and plate are manufactured from high quality quarter inch thick steel and powder coated black for durability. Detroit Speed has designed this kit with two Lee Spring pinhole locations in the axle pad to have adjustability in centering up your rear axle. The Lee Spring frame notch bracket kit is designed to give your rear axle more clearance under the frame rail allowing for a five to six inch drop. Our Detroit Speed speed kit three will combine all the components of speed kit one and two offering a rear drop of six to eight inches. If you have any questions on Detroit Speed's front and rear speed kits please call us at<PHONE_NUMBER> or send us an email at salesatdetroitspeed.com and don't forget to like and follow all of our social media as well as visit our website at detroitspeed.com. Thanks for watching our Detroit Speed Tech Talk and see you next time.


Hello and welcome to the session. My name is Mansi and I am going to help you with the following question. The question says, find the following integral. That is, x cube plus 5x square minus 4 divided by x square dx. So let us start with the solution to this question. Now we are given integral of x cube plus 5x square minus 4 divided by x square dx. This can be written as integral of x cube by x square plus 5x square by x square minus 4 by x square dx because we have taken x square in the denominator with each term in the numerator. Now this can be separated and written as integral. Now x cube divided by x square is x. So it is x dx plus x square gets cancelled with x square. So 5 integral of dx minus 4 into integral of 1 by x square dx. Now this can be written as x square by 2 plus 5 into x minus 4 into x raise to power minus 2 plus 1 divided by minus 2 plus 1 plus a constant c that is equal to x square by 2 plus 5x plus 4 by x plus c. Now this we get because we know that integral of x raise to power n dx is equal to x raise to power n plus 1 divided by n plus 1 plus c where n is not equal to minus 1. So in the first integral we see that n is equal to 1. So we will get x raise to power n plus 1 that is 2 divided by n plus 1 that is 2. In the second integral we see that it is equivalent to say that we have a 1 here. 1 is written as x raise to power 0. So n becomes 0 in this case and we get x raise to power 1 divided by 1 minus 4 into x raise to power minus 2 plus 1 because n in this case is minus 2. So we get this on simplification. So our answer to this question is x square by 2 plus 5x plus 4 by x plus c. So I hope that you understood the question and enjoyed the session. Have a good day.


Thank you. We'd like to thank the Brain Foundation for their generous support of this research project in migraine. Migraine is not a trivial or inconsequential issue. Migraine is common. It affects 16% of the population, which is more common than diabetes and asthma combined. In the Global Burden of Disease Survey of 2013, migraine was ranked as the seventh highest cause of disability worldwide. Migraine can be disabling. By definition, the headache associated with migraine is severe and is often associated with nausea and vomiting and sensitivity to light. In addition to the pain experienced by the migraineur, the disability from migraine stems from the loss of productivity, work absenteeism, long-term need for medications and recurrent visits to health professionals. Nearly 9% of patients with migraine are classified as chronic migraine experiencing headaches on 15 or more days per month, and these patients are ranked as having moderate to severe disability because of their migraine. Despite it being a common condition with high levels of morbidity, migraine is often overlooked as a health priority on the health care agenda. A recent study showed that less than 5% of patients with chronic migraine are able to access appropriate care and receive effective management. It might not be a terminal illness or a life-threatening illness, but the impact on quality of life is significant. If you're not a believer, then let me ask you, are you a taxpayer? Consider the health economics. It's estimated that the American economy last year lost more than $13 billion due to work absenteeism due to migraine alone, and that doesn't take into account the expense of health care visits and medications. Migraine can be difficult to treat. There is no one drug suits all. There is no consensus on the assessment of the condition, and there's no test to aid the diagnosis or management. Our study focuses on patients with chronic migraine, these patients that experience 15 or more headache days per month. New and effective treatments are critically needed to help these people to arrest the headache cycle and make life more manageable. We aim to establish the effectiveness of a new treatment for chronic migraine and also to develop a tool to aid the diagnosis and management. We hypothesise that patients with chronic migraine have complex physiology and that the chronicity of the headache is perpetuated by sensitised, newly driven pathways. We hypothesise that inpatient management with the subcutaneous infusion of lignocaine and ketamine lasting 7 to 10 days will provide adequate analgesia and stabilisation of these entrenched pathways to enable us to break the cycle of pain. And we also aim to develop a clinical tool and hypothesise that nerve excitability studies will be able to detect changes in peripheral nerve in patients while they receive this infusion and may also document differences in nerve excitability before and after treatment. We anticipate that the project will provide pilot data to support the use of the subcutaneous infusion of lignocaine and ketamine in patients with chronic migraine, and this should translate into a statistically significant improvement in objective headache scores and translate to improve quality of life and improve productivity and also decrease the economic burden of disease.


So thank you again very much Amber for making time for speaking to us about you of you on the Universal Code of Conduct and The first thing I would like to know is how did you become aware that there is work going on by the foundation around a Universal Code of Conduct? And my colleague Melissa Tamani was made aware through the user group that she's part of in Peru and They were they were reached out to in Spanish to participate in a preliminary survey And at that point she brought that information to Art and Feminism because she was confused why we hadn't heard of it. We later found out it's because Non-dominant languages were contacted first. So at that point we had developed a safety tab. We had a document going We were taking in cases and guiding people through all the materials coming from trust and safety It's not new material, but it's just it's an easier pathway for folks so at that point we reached out to Patrick and We met with Patrick and Mervette and also with Maggie Nelson to discuss possibly being involved So just for anyone who's viewing this who might not be familiar with Patrick and Mervette They are also on the trust and safety team Patrick is my manager Mervette is a facilitator who was doing some of those initial outreach things Yeah What do you think if such a Universal Code of Conduct indeed comes into being what impact would it have especially on those Communities that you work mostly with with those it's not really communities, but it's parts of communities Yeah, so I mean we work with many different types of communities a big one that we work with our new editors because part of our mandate Is to train new people and I think that the biggest hurdle that people have when there's any perceived harassment or even just like conflict So downgrading it from harassment to any kind of conflict or uncertainty They don't know how to access information that can help guide them through the process. It's all there on wiki But in West you have a certain amount of expertise Using that kind of platform and the interface of it, which you don't if you're a new editor It will be very hard to find and the language of experienced editors can often Be more confusing and frustrating and intimidating Even when it's not meant to be so we assume good faith We assume that anybody interacting is operating in good faith But we know how intimidating it can seem even in the nicest moment So we hope that a universal code of conduct and it's hard to say because we don't know how it will be implemented but we hope that it will be something that would make access to this information easier and And more consistent So that's a big thing but then there's also folks who are active editors and have been involved for a long time and Many of whom do experience some form of bad behavior and that could be Something that I've experienced is any time I post around International Women's Day everything I post is immediately flagged for deletion Just across the board everything I Don't think it's because I'm a consistently bad editor. I think it's Just something that happens and of course these articles aren't deleted and it's fine in the end But it's an extra layer of work And so I think that a universal code of conduct will potentially help to limit those types of interactions We do have conduct codes there are policies in place but they're not familiar to everyone and they're not always accessible and I would add to that that some of the policies are policies that like Have weight to them and some of them are just things that people have written because they feel like it You know, they're they're driven by personal interest, but they're not backed by any kind of committee or or any kind of power so While they are great and there's lots of good information and then they're not followed So it will help make it more consistent as well what the pathways are Do you also think that? With comedians if they go outside their home wiki often they start with one wiki But then they discover there's also other places to edit either in another language if they're not English speakers they might start with a small local wiki and go to English wiki pdl later Or they will go through the other projects Commons wiki data whatever do you think it will change something for people if they go to? those Projects around their home wiki. I think it definitely can because yeah, there's lots of inconsistencies between what's tolerated in one Wiki verses another I work in English and French and I've seen very very big differences in what is permitted and also in how things are engaged I think it also could potentially allow For the the privilege that you have generally as a wiki pd user to carry over that's something that could happen so That could be a benefit if you're new to a new to another language But you've had a lot of experience you're going to be able to demonstrate some of that experience elsewhere Because so much of the way that we work is experience based and how long you've been involved and we obviously love to diminish that I think that would be a good thing overall But I think there's lots of benefits to being able to demonstrate that you have been there for a long time And you do know what you're doing Definitely, yes That was already a lot of insights, but is there anything else you wanted to share about the concept of a universal code of conduct? right now, it's very hard for me To see Exactly how it will work because we don't have the code in front of us and we don't know how it will be implemented the information that we've been given You know, it's very hopeful and we are entering into this process With a hundred percent the belief that this is only a good thing That's that it's only positive for the community and I should say that we've Engaged a survey of users of art and feminism so that we're providing you with a written statement from all those users but so that you have Not just the like six people or seven people that we work with regularly But a wide community view and we also held on like an office hour around it as well And not everybody thought that it was a good thing some people thought it was a bad thing because it could not be implemented It would never happen So there we do have, you know Some pushback around that and we want to see how I will be put into place You know, we're going into it with a lot of hope But we But I would I would add to that that some of the pushback is not so much around the concept of a universal code of conduct But the way that it's being organized. So there is a lot of as I'm sure you're aware mistrust of trust and safety for a variety of reasons and It's hard to imagine how a Project that's guided by the foundation but that is meant to Affect the community and the movement is going to be received by the movement when there's so little trust between them and Something has I think something has to change in that trust relationship and that like what seems to me like a real fight for power constantly How we can overcome that in order to make the community healthier for everyone But that seems like separate from the universal code of conduct. It's putting the cart before the horse It has to happen now, but I'm not sure and I also hope that the universal code of conduct will be One step. Yeah, that will help create trust This is at least the way we try to go about it. We know that it's there's a lot of Very different things going on and it's a very complex question this question of trust We are trying to engage with community and To not make this a top-down thing, but to make it really a joint effort And we and we see that at art and feminism. We see that work happening just so that you know Like it's visible to us and we acknowledge it. I'm just I'm also noting what we're getting from our community, which is And something that we've experienced ourselves We've reached out to trust and safety in the past and we haven't always had follow-through with with the process Yes, I think we have to acknowledge that those things did not always go the way they were Intended to and the way people hope they would work in the past And I think yeah, we all operate with good faith. We're all doing it because nobody's here because they you know hate This movement they're here because they love it and they want to see it work and Yeah, perhaps it's good to go back to that part of where you said you have hope Yeah, we have so much and With this hope I think there is a good chance of this indeed becoming something that will move forward with trust and Make the movement What did you say before improve community health across the movement? Yeah, I mean, I think that's true And I hope that this Can shift some of this fight for power Because what I see it as is a real constant fight for who's in charge of this project and who's responsible for it Is it the foundation or is it the movement members? Is it the users? and I think that once we equalize that power a little bit more and clarify it We can overcome the stage of constant justly. Yes. Yeah. Yeah Thank you very much for those insights You're welcome


So, can we talk about a release date for a book? No. I mean, you can ask me, I don't know what I'll say. Hello, intelligent beings of this marvellous planet. Welcome to the 42 Courses podcast and thanks for listening. Dan Nelkin is an award-winning freelance creative director for Canada's top creative ad agencies, the world's largest brands and rising startups around the world. And he's the author of the soon-to-be-released A Self-Help Guide for Copywriters due out in October 2021. He has a quickly growing newsletter entitled A Self-Help Guide for Creatives where he helps marketing professionals build their creative craft and confidence. You can join over 3,000 people by subscribing at nelkincreative.com. As Dan says, it's free, short and dead easy to unsubscribe. I always look forward to his next post on LinkedIn and the latest newsletter because I'm a huge fan of his humor, wordplay and fantastic creativity. So I'm really happy to say hello to Dan Nelkin. Hi. Well, that makes one of us, friend. I'm kidding. Actually, I watched, you sent me an example of someone you've interviewed and he was amazing. I'm forgetting his name, but the body language. Mark Bowden. He's actually in Canada where you are. Oh, really? But I watched his TED Talk and he said something about public speaking and that really resonated with me and I hope helps me through this, but he talked about being more inauthentic. And so, because I think when we do these things, like if I was being completely authentic and embracing my anxiety, I would be way more awkward. I think the thing is to say, oh, I'm so excited to be here. It's not that I'm not, but you know what I mean? I think that was just such a wonderful piece of feedback, I think, for anyone, especially me where I try, when I write to have an authentic tone of voice, especially when I'm sharing. And if I am awkward or anxious, I often will write that. But for these kind of things to be curled up at a ball interviewing me probably wouldn't be the best for the people watching.  Yeah. I mean, I think I'm a bit of both. Like I think a lot of people are in whatever setting. But I think as a writer, especially in the ad agency world, you're just, we have often lots of time. There's lots of people looking at things. They're thought through, they're overthought and overanalyzed. So I'm quite comfortable in writing when I'll write a piece. If I don't feel like it's ready to share, I'll wait a week or two weeks. But with something like this, I need a response right away.  What's a fun way of saying X? I'm always like, I did think of a hack though yesterday for this call. I can just, you've asked a question that I don't have an answer to. Yeah. I'll just pause and you'll think my screen is frozen. Reframe classic. Yes. Anyway. So we jumped in and I didn't even say thank you for your time, but I'm really excited to speak to you because I'm a new fanboy, let's say. And I know your audience is growing so quickly on LinkedIn and Twitter and just to explain to people that might be experiencing you for the first time, what it is that you're the kind of content that you're putting out on those channels? Yeah. So I have written a book that I've been working on for way too long. Maybe it's normal for a book, probably is. And so I was really kind of alone in that process. I also had never embraced social media. And so it's kind of just before the pandemic kicked off, I thought, you know what? I'm just going to start posting content from this book because I'd already been working on it for a while and I said, it will help me see if it resonates with anyone and also help me kind of refine the content. And so I just made a commitment to post something once a week on LinkedIn. So that was it. And what I've done is I always felt like in ad agencies, they tell you how important it is to work on your craft.  I was like, OK, I get it. Art directors, it was often said about them. And I thought, oh, they know lots of colors or whatever that meant for an art director. But for a writer, which was actually a title I never embraced and probably rebelled against early in my career. And so I think what happened was I became an insecure copywriter, insecure only about my ability to write to strategy wise. Coming up with ideas, I was confident, but actual writing. Yeah, it wasn't my strong suit. Or if I did have any skill in it in the beginning, it kind of faded. And, you know, I felt like I have gone too far in my career to still be insecure about writing headlines. So that's what the book is about. I feel like it's a foundational skill. And I feel like I've dumbed it down. I think it's probably the dumbest book on copywriting ever written. It's what I needed.  I'm shocked that very senior people in this industry around the world are reaching out to me to say thank you. And I had a suspicion that would be the case because I was, you know, quite senior, as you can tell by my hair. And there was a creative director at Lululemon at the time. He was writer background, met him for lunch. And I told him kind of about what I was working on. This is probably five years ago. And I told him about my insecurity in writing headlines. And he said, I feel the same way. And I was like, eh, I started to ask more people, more of my peers. And yeah, it wasn't everyone, but there was a lot felt that way. And so I felt like there was something missing. Obviously this industry for 30 years is shifting more and more visual. And so I think I felt pressure to think more visually, which I really enjoyed. But, you know, my skills as a writer weren't developing. So I'm working on them now and sharing that. Well, I disagree about the dumbing down because I've had the honor of reading through the preview. And, you know, I've been a copywriter for many years and I found really great stuff in there. And, you know, the the frameworks, the tools that you're using for for banging out the headlines. And the I want to come to that in a bit about the the processes that you go through. It's really, really, really interesting for for new. And as you say, senior copywriters, I think, anyway, thank you. You're sticking with the the newsletter for a moment, which is absolutely fabulous. The there's an electricity as an electricity in your sentences. So you must be really proud of that. And but what I wanted to say about it is I heard I think another podcast where I was listening to you and, you know, when you're starting out a new thing that there's there's all the stuff you can find on LinkedIn and everywhere, business advice is just start right when you're starting something new. But I think you're starting with the newslets, the the origins of it, the history of it was don't start. Was that the thing? Don't start. Because you took ages to get it going and you were doing a course, right? Yeah, well, you book it was supposed to be started out as a potential course that may be one day. It's funny now, and I don't know why, but just last week was something I shared. And I guess the audience is growing and you can see how, you know, it amplifies when you get to a certain level and it grows grows quicker. But I don't know if there was like a hotline for universities around the world. But for the first time since I started doing it, probably four or five messes last week to ask me to speak to graduating classes coming in the fall. So I'll be doing I'll be doing that. But yeah, don't don't start. Well, when I was sharing articles on LinkedIn, I used to tag them because someone said, oh, I missed these, I enjoy your articles, but I don't always get them. I said, you should start a newsletter, which sounds like I never thought of starting it never wanted to start. I don't like them. And so I just would tag the articles. Just said, hey, if you want to subscribe to the newsletter, I'll probably never start and to your email address here. And people seem to like that. And I'm like, are they signing up because they like the content or like that I maybe won't actually start it. And then I thought, well, it got to, I don't know what it was at that time, like 500. I thought, OK, I guess I should do this. And I'm so glad I did. I think because I don't like what I don't like about newsletters. I think, honestly, it makes me good at it, but I. I want to provide value and I don't want to take up too much time. And sometimes I think if I can provide more value. But it make it would make it longer, I still don't do it. Um, because I think over time, it's just like, well, I can't not talk like this now because I'm sharing this content about being a good creative. So many, um, iconic creatives would say, don't work yourself to exhaustion in any one session, like leave something in the tank for the next. Even if you're going good, in fact, some say, stop when you're going good. So you know where to pick up the next day. And I just feel like I could write the most amazing newsletter one week. But if it was too long, um, yeah, I think I would exhaust people. So I don't, I don't have the time either to, to write too long. And I don't want to, it's just something short at the beginning of your week to hopefully get you thinking a bit differently about creativity. OK, and actually, we haven't mentioned about like your actual history before the newsletters and everything.  Yeah, yeah. Um, so I went to, I'm in Canada, by the way, which I think you may have mentioned. I'm in Vancouver. I went to Toronto for at that time, the only ad school in Canada. And then after that, I got a job driving a forklift back here in Vancouver. And then I got my first agency job in Canada. And then I got my first agency job after about six months. And I was working at Costet, the biggest Canadian agency in Vancouver, which was not, not very creative at the time. And then I moved on to TBWA, Shiet Day, Vancouver. And then I was there for a little while, starting to do well, you know, the whole whatever advertising awards thing and winning a bunch. And but that's kind of when I burnt out. And from there, it's been kind of, I don't know, I left in this like decent sized client fellow, my lap. I didn't want to start an agency, but at that time I didn't want to work for one. So whatever, I gave it a name and hired some people. And I never grew beyond that one client. I never wanted to. I didn't have, you know, a new business partner or anything. And then once, once that ended, I was ready for change and actually worked for an animation studio for four years as a creative director and a partner in that. And then that's when it was funny, because I was out of the ad scene for about probably 10 years, because I had my own little agency and I wasn't entering things in award shows. That's why I didn't care. It was like my quality of life was was most important and happiness because I had burnt out and I was happy. So once that ended the animation thing, that was amazing too. And kind of business dried up and slowed.  And someone called me a good agency and we're like, hey, we want you. Do you still do this? Can you? I'm like, I'm not sure. And I went in and did a job and I don't think I was very good. But I was partnered with one of the top creatives. He's one of the top in the world. His name is Rob Sweetman. And I felt like an advertising caveman who had just been thawed. And man, he was so sharp. And so I worked with them on and off for a bit. That's 123 West. They're an amazing agency, great people. And yeah, people just started to hurt. I was I was back and I think thought maybe I had passed away or something. I don't know. And everyone started calling and then I got it back. And I think the breakout had me just thinking very differently about creativity, that's what I wasn't doing. And I was still creative. I wasn't doing this exactly. And I think I brought a different perspective and I could also see what I felt was maybe wrong and inefficient about the process. Yeah, it was very cool because I felt like I kind of got out of it and came back and loved it in a different way. And then it just started to get calls from agencies and brands. And while working on this content, kind of at the start of that, I felt like there was a room for something like this. So that sounds like return the Jedi.  Yeah, yeah, the Dagobah system. Yeah, exactly. Hey, but just jumping back to the start there. This is this is a really interesting thing because you were doing manual work and and then you then you say you just jumped into the agency world. And this is really interesting for people starting out their careers. I wanted to change careers. Lots of people want to get into marketing. How did you do that jump? That's a big jump. How did you manage that? You know, I don't know why there was always something inside of me that. I thought I worked in a blue collar town, but yeah, I guess I did. You know, that was just what you did. I remember when I was doing I was quitting my job in the warehouse. And at the time, my girlfriend at the time, her was her grandma. It's like, you know, that's a really good job. Or maybe you should consider driving a bus. Like there wasn't there's a low ceiling. I was like, I just knew that wasn't a good job for me that I wouldn't be happy. So, you know, I drove a forklift before I worked in advertising. And I left to go. I was making decent money. It probably was a 50 percent pay cut. You know, I think the biggest lesson in that, the pay cut when I went and started in advertising, I went to an ad school. I left this this warehouse. You know, I thought for sure I would make it and this would be my career. And I didn't I think I was the only one of almost 60 students that didn't get an internship with an agency. So I had to start paying back my student loans and came back to Vancouver and table between my legs went back to the warehouse on the Canada. And yeah, they they punished me. It was Union. They didn't want me back.  But I did it every day about seven hours for probably three months. I didn't complain. I just kind of I knew I knew it wasn't my future. I knew enough in the ad school that I could do it. So I think that's maybe the lesson for people who want to get into it. Like, there's just something about it. I knew I could do it and I just believed in it and kept going.  And walked into an ad agency and it's DDB. And they didn't have anyone set me down the road. And I was on a week to week contract making peanuts.  But that that's a really interesting bit because you weren't working in it, but you you said you were working on your portfolio.  Yeah, yeah, no, I think so to get a job in an ad agency as a copywriter or director, you know, any on the creative side, you need a portfolio of your work. And back then it was like five print campaigns. So one idea executed three different ways and you needed five of those. So I worked on it. Obviously I had a book coming out of school that some agencies liked. Yeah, I didn't get an internship because I think the school think they maybe thought I had an attitude. Maybe I did. I don't know. I would just say what I do now. I think my content works. I say what other people are thinking sometimes, but not saying. And I said it then. I didn't mean a fence by it. And I think maybe they're worried about me making the school look bad. I don't know. OK, all right. But jumping forward. So you eventually award winning. So I'm interested to know as an award winner, would you say that those are your proudest bits of work? Or is it that's just not involved in it? Like, what are the the highlights of your copy or creative directive career?  I can't even. Even the biggest awards that I won. It's that it's not that work doesn't stand out. That's not always the case. I'm not saying this across the board. Some creatives have done amazing, better work than I have. And I'm sure it's deserved of the wards. And that's what they're most proud of. But I guess for me. Yeah, it's the human kind of struggle or the wonderful people that stand out for me or the things I had to overcome like that. And there was a McDonald's brief very early on in my career. I didn't it was when I was on this week to week contract was a creative team beside me working on McDonald's new thick cut McDonald's wedge fries are back. But for a limited time only, the brief that that was the brief that was the payoff line in the TV spot. Anyway, they said, here's a brief. Our director said, you can think on it if you want, thinking, whatever, he just give me like whatever, something to chew on. But I wouldn't come back with anything. But I was competitive and also I knew when I get my shot, I'm going to do it. And there was TV on that brief, billboards, radio. And now within two days, I walked over and I go, here's something. It was like full sketchbook, hundreds of ideas, put them all on the wall with theirs. Yeah, I'm making like eight cents an hour. Creative director comes, looks at all the work, picks eight things to present that were all from my sketchbook. But he didn't know because our director sketched him up. I knew, I knew they knew. And that was early in my career. That campaign was so successful and I actually changed the brief because the brief they want to focus on limited time only. And I thought they should focus on these being a bigger fry. But there was all these low carb diets at the time. That's right. It was that guy. I don't know if he had it out there, Subway. And there was that guy, Jared. He's a fireman and a Subway fan. He's Jared. And he apparently lost all this weight from eating footlong subs. That was their thing. And so they were afraid to embrace these big high carb products. And I was like, I didn't get to present because I said, I mean, they just left me at my desk. But anyway, that that went through the campaign was so successful that to pull it because they had sold so many of these wedge fries and they only budgeted to buy a certain amount. So that was like a huge, huge thing for me. I remember that the I was told after the creative director said to the team, well, how was working with Dan? Nope, they didn't say anything, even though it was mine. And I think the art director had told me years later that he was leaving it for the writer to say something because he didn't, you know, want to like overstep and when this person didn't, he said he went back and told the creative director that he'd love to work with me. And that, I think, kept me off a forklift that because he had no idea I'm not the type and never will be to say I did that. And, you know, I think I probably would have made it still because I knew I did that. And that was enough to probably that was a key key moment for you. Huge. Yeah, I had a few of them for sure. But at this stage, you weren't, I imagine you weren't doing the kind of processes that you have in your book about like the banging out the headlines, 100 headlines, 50 headlines in 30 minutes, you hadn't reached this. No, no, no. You know, yeah, I was a bull in the beginning with my brain, I think. And I just I loved I did love it, though. But I came the ideas came easy. The writing never never did. I could come up with ideas for days and I did way too much. What I said earlier about, you know, stop while you're going good, like I go to bed with a sketchbook and there's like ink marks. I remember my bedsheets and stuff like it wasn't good. I think that came from insecurity, though. And this, you know, people have gone through way worse struggles than I have. I'm quite privileged. But this my own struggle to get the job to whatever my own doubts and other people who doubted me, you know, even my dad saying, you know, he couldn't take my losses and was like, you know, maybe you should maybe you're not good enough is actually what he said, which is like he can do that to I think it's to shock me to be like, geez, you know, if he's not and he keeps pushing, I'm just going to present this option to him. You should probably consider it. I knew, though, you didn't know what I was doing in the sketchbook. I knew. But no, I didn't have I had a lot of anxiety, which I didn't realize.  And all of a sudden there we go. Well, yeah, I have to say you're flying now because the the the wordplay in the book in your in your LinkedIn stuff, your Twitter. Yeah, I just look so much forward to reading your sentences. Let me give an example. One from the book. OK. If you've been in the advertising business for more than three hours, you'll be familiar with this question, but it's a good one to revisit, even if your name rhymes with David Bogleby. Love it, love it, love it.  Fantastic. But I wanted to ask you about this because obviously, you know, it's a book on copyright in this day with Ogilvy, this burn back, et cetera, et cetera. Do you think that these legends are like, you know, just from a time aspect and from a sociological aspect for are they too far removed for people that are getting into copyrighting now to have them as their heroes? Or do you think it's like you have to respect the classics, respect the masters and yes and no. I think, you know, when I read a lot of times, like if it's their books or quotes, where they help me now, it's like bigger picture. I think that has really stood the test of time. I don't have any top of mind, but they're like thoughts on working with clients on the industry, on creativity.  It's it's got like three first names, but Webster is one of his psychist middle name. The old school ad man who wrote the like five steps to coming up with ideas. Bill Burnback, I believe, wrote the forward in his book. He did. That is incredible. I just reread that not long ago. It's like a five step technique to produce producing ideas. I think you can find it like a PDF somewhere online. That stood the test of time. I think the big picture, things from them, absolutely. Little picture and craft. I never worked with them. And I'm sure back then, craft and writing. Was the dominant part of this. You would just send it to the. I weren't called art directors then, whatever they were, guys in the studio. Very beginning, you would just. Bill Burnback was the first to put them together. Yeah, but the writers led the way. They would like write the copy and say picture kind of goes here and send it up to the to the puppets. And then this still bugs me. But the giving art director is such a way better title than copywriter. You always see like job boasting. They want art directors and like copywriters. Just like I saw a brief once. I won't name the company. Or maybe I will now. On the brief, it said creative. Plus the copywriting was required. I was like, yeah, not happy with that. Yeah, you mentioned about working on your craft. And it's it's it's a thing in the book, of course, as well.  So what do you think it means now? Yeah, it's a good question. I thought about it. Obviously, I think it just means to learn and grow. And I think we can be so I had a guy message me the other day. He just started working in advertising. First job decent agency. He's he's 20. And he's like, you know, I feel like I don't know anything. I was like, you don't like that's because you don't that's OK.  I think it might be harder even for people. I started I was 27 going on 28 when I started. So I some people and I had gray hair since I was like eight, I feel like. But so I think they assumed that this guy's been doing it a while. And I was like, well, I better pretend that I have. And then I think with that approach, it took me a lot longer to learn things. You just assume that confidence will develop over time. But it actually it really doesn't. You have to be deliberate with working on your craft. Often like related to basketball players. You hear about these guys, all athletes, I'm sure. But I was surprised the first time I heard an athlete who's LeBron James or Kobe Bryant, someone say. Reference their sport as a craft, working on their craft. And when you look at what these guys do and girls, you know, if they're good with their left hand, they'll work on their right hand. They obviously have their dominant skills, but they're working on their craft and their weaknesses. And I what I did was just I just focused on my strengths. And the longer my career is gone, the demand for those other things has like increased or to be able to teach them and help people. And when there's a bit of a hole there, I don't know, got me thinking. And, you know, one thing I've learned from sharing content are the things that we experienced the strongest. In agencies, our greatest insecurity or anywhere is usually when we feel most alone and want to hide and run through a wall or a window, but I've realized that when I share those things, those are when you have the most company. They're the most relatable things. And that's helped me sharing content is when I come across one of those thoughts, I'm pretty sure I've got one and I share. And most of the time I'm right or people say thank you. And it's good to know that other people are going through the same way and feel the same way. It lessens it. OK, this is normal. It was like a Jerry Seinfeld who said I heard him recently on a podcast that he said he once heard that depression was like part of a kit that kind of comes with creativity. And he said, and when I learned that, I kind of accepted it because, you know, without that, I wouldn't have this. And he talked a lot on this podcast about creative people and by creative people, I mean people. But I think people who are drawn are more to creativity, professional creatives. I think they're more sensitive people. I think you're sensitive to observations and humanity and things. And so. Probably because you have to be you have to put yourself in the customer shoes. You have to be empathetic to be a copywriter in particular. Right. Yeah, yeah. I had a podcast with a guy called Derek Walker in the States, a copywriter, and he's got his own agency and really Brown Brown Brown. Yeah. Yeah. And he's he was doing some really fantastic insights like respect the craft of copywriting. And I said, what do you mean by that? And he said, like, you know, there's no company in the world that has released a product overnight. They take three years to do R&D and then, hey, you want us to write something, the copyright is you want us to write something that will change people's minds and all the things that are required for someone to purchase and you want us to do that in 48 hours. No. Yeah. And and he was saying that I said, what advice have you got for young copywriters? And he said that you have to you have to respect the craft in the fact of saying no to unmeasurable deadlines because you're saving yourself from the burnout and like you were saying. Yeah. He said, if you keep saying yes, you'll never be able to say no. Yeah. Yes. It's difficult, though, when you're when you're young and you're new at the game, right, you know, saying, yeah, well, I think the hardest thing when you're young is like that you don't know what you don't know. I think that's why more experienced people have to look out for those timelines, have to look out for those people on those timelines also feels good to say yes. Recently, an agency a few weeks ago said, can you just help us on this little thing? They had a writer who was away and wanted me to take over. And I said, it's only five hours. But I've never done a job in the history in the last 20 years. That took five hours. And I looked at the schedule and there was about three hours of meetings. I was like, I don't know how this is possible. And it wasn't super tiny thing, but it took, you know, 12 hours. Next week, an agency called me and said, hey, we have a really small thing. I just finished. I've been doing longer stints. So I've not been like, and I had a month off. So I was like, well, I'll take a little little job here and there. Just a couple. And anyway, there's another agency who phoned and said, five hours. I was like, what is going on? I'm like, I'm friendly with someone else. That agency did the same thing. And I'll tell you this one job is probably 15 hours, but I can do it. And if I'm not in any meetings, I'm like, I can probably do it in 12. But I think going back to your point and your chat with Derek if you're not aware of your process, you don't even know how long it takes for you to come up with things. If you don't have a process, it gets even harder. If you're going to have a meeting in there and you're going to stress and spend some time telling yourself you're not good enough and your career is over, you know, you need to dive for that. So, yeah, I think the short timelines are I had a I'm talking so much, I guess that's the point a little bit. But I had a very unique contract recently for the startup based out of Spain. And it was three months, but it started out as one month. And the first month was really rare. He said, I said, I'd like to do we had a conversation and his brand's business is just doing well, we just never brand. And I said, give me a month. I'm just going to come up with ideas on every platform. He didn't know what his brand was. I didn't know what it could be. And normally, you know, you start with a strategy and then you develop creative. But I always feel like they should be developed together. Like strategy should be creative, creative, strategic, but separating them is I find they're too separated. And anyway, so I just came up with a ton of ideas, which really, when you have a ton of ideas and different avenues to explore, each one is kind of a strategy. So that was the first month. And I feel like this is it. And we nailed it down to one thing. And then he's like, well, I actually have some specific things coming out that we need to create ads for and need messaging around. And he wanted me to create something. Another document was I was really happy with it was rules for the company. He's kind of like a modern guy. It's like work for four days a week, very much aligned with kind of my approach to things. And so I wrote this document and then I decided the one thing was wrong from that we got out of that month. And I said, I want to redo it all. I think it's wrong and I think it's this. Let me write it up. And he said, yeah, OK, actually, I didn't tell him what I thought it was, but I just said I thought it was wrong. And I spent another month creating two different documents. And I feel like I nailed it and he was so happy. And we both were never get that chance. It was three months to figure it out. And I work for companies where you get two weeks or agencies will call me because I still freelance for agencies or brands. I prefer I prefer brands, especially smaller ones. But the agencies, I think clients are more demanding. They need more content on more platforms faster than ever before. And agencies are going just like to Derek's point. Hopefully he sounds like he's saying no, which is awesome. And sometimes you got to turn things around quickly. But some agencies I've worked for five years ago versus now the change is ridiculous in timelines. Yeah, so so what advice would you have for for any level of copywriter who's like who's in that like that whirlpool or the the washing machine of it all?  What what advice would you have for them for like to avoid burnout if if if any at all possible? You know, honestly, it can be hard because you are working for a company. And a lot of these agencies, Shai Day used to be nicknamed Shai Night and Day. A lot of them had nicknames like that, the one in LA. It kind of became the culture. So I think it's once you're in it and you buy in and it's not fair to blame agencies. You know, I think it's to blame. I think if there's one takeaway from like what I'm doing is that we're doing creativity wrong. Way wrong in agencies. And I think it's going to be exposed. It is being exposed by burnout. There was a survey done recently. I don't have it in front of me, but I forget the company who did it. But it's former ad guys who started like it's like they assemble freelancers and freelancers can get work through this like hub and they're massive. But they did a survey amongst thousands of agency creatives, the amounts that have left to freelance that are experiencing burnout and different like questions around burnout was like really, really high. So I think creatives need to push up against the system. I think we need to educate. I'm trying to do that. I think that's where I want to move things from like helping copywriters. What should you really all this is just I thought about helping myself. So what I wish I had earlier and I can't change that, but I can help other people do it. So but my advice to people, my best advice and a lot of creatives don't like this, that you know, you're kind of structuring creativity, adding a process you can't, you know, it's an art man, like there is some like whatever I call them orthodox creatives that would fight against that. But I think that's the key, you know, something called or what's it called lateral integration, like left brain, right brain. And I think what happens in the creative world, it's separate. Even you got a count side creative, like it's not different. And by identifying with this no process process and just winging it and I remember even saying, you know, you can wear whatever you want to work. Oh, yeah, I love my job.  Oh, I can take my sketchbook and go, you know, we're on the coast here, hang my feet in the water and come up with ideas. Well, I can show up whenever I want, leave whenever I want. There was something like all those things are true. But there was something about it that never felt right for me. I was lying to myself because I knew it was really hard. And I think the key is making creativity way more boring. I think thinking of it as magic is killing people. Creatives is not. I think if we can make creativity way more boring and unsexy and add more structure, I think that's how you can kind of we can start. We'd be way better creatives, I think. You have to leave room, obviously, for it to be like what it could be anything.  And there's these cards that I always show these guys ad house in New York City, Tom Christmas, someone I'm like a big fan of and listen to his podcast and he's one of the deans with Paul Fix of Ad House. And they've put out these cards. It's a deck of cards. I think it's just called Ad House of Cards. There's 35 cards. And it's based on like science shows. There was a crazy study done not by them that said all advertising was like 90 percent can be traced to these six techniques. And then then what these cards are are 35 different approaches inspired from those six techniques. So you can use them, you know, they're meant to just be like just like fuel or inspiration when you're concepting it. I think they're really onto something with that. It's now become a course. And that really resonates with me. And I think it just proves that mostly you look at movies, like they're all the same, different characters, different, whatever, scary person. Well, there's some great frameworks and processes in your book. So it's highly recommended. When can people get hold of this? Then when is your book coming out? I think they have to have me on their podcast so I can send them an unfinished version. They can get it sooner. No, you know what? I. I think within a month I having some issues. There is a strong learning curve I'm self publishing on my eye line. I bet has been so weird through this whole time. I keep noticing I'm looking at you and then the camera. I'm hoping within a month. And so I've hired, I told you earlier, a publishing consultant. Finally, I needed the help to get this thing done quickly. And this person is currently ghosting me. I hope she's OK. I hope to hear from her soon. I bet she's the best at being here while we're doing this, hopefully. But if not, you know what?  So let's say, what's the date? September 17th, you can buy a self-help guide for copywriters October 17th. I'll make it October 19th. That's my number. I like the number. Or a nice Christmas gift for somebody. There you go. Yes. Yeah, exactly. I'll say sometime, sometime. Hey, just last question. You've spoken a lot about ideas and you've got tons of ideas. Where where are they coming from? Where do you get your inspiration? Is it from your I don't know, your socialization when you grow up? We living with funny people. Where do you go now for inspiration? Well, yeah, I think there's I mean, my head goes to places. There's what shaped me. And then there's now, which I don't know. Yeah, what shaped me? I'll do this quickly. I think naturally I'm a rule follower. I just wanted to be a good boy as a kid. But my life was kind of chaotic. Rules were broken all around me, my older brothers. It wasn't a ton of structure, which is interesting, which that's what I'm. Oh, that's funny. This has been a whole therapy session. I didn't realize this book is all about structure. I didn't have it growing up. So I miss school a lot. I barely graduated high school. But my because the rules were broken around me. Like curfews. So I was watching things I shouldn't have been watching at night. And my older brothers, they were really funny. They were taught me how to break rules. And so I think I had this kind of duality. I think that's what kind of makes me a decent strategist and and creative as well. So that's, I think, what shaped me. And I think now where I get inspired, man, you know, I wasn't inspired at all for years. I always wanted to do something other than, you know, writing for brands, something for myself, which I want everyone in the world, especially advertising creatives to do.  Because I think once you start, that's when you get ideas. Something to think about. I shared a post, I don't know what it was a few days ago on LinkedIn. About Norm MacDonald, a Canadian comedian. It was a tribute to him. I just had this thought that, hey, you know what?  And I did it in one night. That next morning, I thought, ah, this is not very good. I'm not going to share it. I actually messaged a friend and he said, yeah, I think it's good. It makes sense and it's important to us to do it. And I was like, yeah, whatever. It's all about learning. It's gone like the most popular post I've ever shared. It's got a lot of looks. It was over a hundred thousand something views, which is a lot for LinkedIn. And my point is if I hadn't been sharing content or started doing this, I wouldn't have had that idea. I had also had the idea a while ago to do the same thing with like rap lyrics and tie them to like a copywriting tip. And so for you. Oh, yeah. About your burnout, what you were talking about before. Check yourself before you wreck yourself ice cube. There you go. There you go. Nice. That's the first one. What would that be? That's the. Check yourself before you wreck yourself. The opposite. No, I know what it means. I'm thinking of the copywriting tip. Yeah, that's like avoid burnout. Oh, yeah. OK, there you go. I stop. OK. Oh, I got it. I got it. I'm thinking of like I have these headline techniques. So I'm like anyway. Yes. OK, I got it. I will give you credit. So so anyway, my point is, you know, because I'll get people when I write something like that.  But it's you get momentum. You just got to start and it's hard to start. It's hard to kind of keep going. It's hard to always don't do it. No, I'm kidding. It's not hard to always keep going. It's hard to start.  But it gets easy. It gets hard to not do it after a while. You just have to get past that threshold of whatever you're doing for yourself. You can do it. You just have to do it. And it took me a long, long, long time. And I encourage everyone to to create something for yourself. Like, I don't know. You have this podcast. Like how I know it's for a company, but it's you doing it. Like, I don't know how does it feel for you to do it? It's a lot of work because I do a lot of research for each guest and everything. You have to read books. Yeah, tons. And but yeah, you get into that momentum. And and if you're enjoying it, it's it's it's not really. Too taxing. Yeah. Yeah, it's good. Hey, I know that you said in your book that you don't like being put on the spot because you have all these frameworks and stuff and the processes that you go through and you need the time and everything. But I want to ask you, oh, here comes the freeze frame. I want to ask you a question I normally end with and actually Trevor Noah stole it. And I saw him asking Anthony Fauci this question the other night. So this might be the last time I ever asked it. So you have to choose to fight between a horse sized duck or 100 duck sized horses. Rest of you choose to fight and why? Oh, wow. I've been asked this many times. All right, I'm going to go. Straight, Dan, this is me, my left brain. I'll see if I can do a right brain with my left brain. I'm going to do some math for, I'm going to say duck weighs about five pounds and there's a hundred of them. That's a hundred horse, a hundred duck sized, duck sized horses. So I'm going to call one horse sized duck. So they're five pounds each times a hundred. That's five hundred pounds. And a horse is probably like, what, 1500 pounds? So I would take the little guys. I think I could squash them in the actual, like if I'm really in a fight for my life. I think it might be more impressive to like if I lost to the duck, it wouldn't be as embarrassing. I think the picture of the newspaper. But now if I use my right brain and take this into the marketing world, I think if you want something done, never, never give it to a committee. I think the the hundred might be disorganized. You'd have a bunch of people who didn't know what to do. I think you'd have a bunch of people probably work paying attention. It didn't want to be there. You'd have just layers of decision making. You'd have people asking, is this the right thing to do? I think they'd be too disorganized. So if I'm answering from that side, yeah, I think either way, I'm going to take the hundred little ones. I could I could I could smoke them. Yeah. Nice. And I've never I've asked that question thousands of times in my corporate career and stuff. I've never had that that analysis at the front of that brilliant stuff. Fantastic. Oh, yeah. OK, Dan, just tell everyone where they can find you for your newsletter and LinkedIn. OK. Yeah. Yeah, newsletter is nelkincreative.com or you can just buy me Dan Nelkin on LinkedIn. Add me as a contact. You can follow me or send an invite. I don't need a message. You don't have to if you can't think of anything. Just I'll accept it. Don't try and sell me anything. But yeah, fire away with any questions. I will always get back to you, whatever your question is. Great. And I will put those links in the show notes as well. Dan, thank you so much for your time. I know everyone's time is so precious and I'm really, really grateful and I'm a huge, huge fan of your words. So long may it succeed the newsletter and the book as well. Thank you so much. Thank you so much. That really means a lot to still. Yeah, I'm just I'm just taking it back always that people are having a positive experience and liking it and yeah, hopefully I get used to it. But I'm not yes yet. So thank you very much. I appreciate it. And great to meet you and thanks for asking. I really enjoyed this.


Here we go For all your energy innovation product needs make sure you check out drive energy comm that's DRI ve energy comm What's up everybody welcome back to the channel?  I prefer energy myself, but grip royale is definitely a good company as well Some people may discreet so people say you know energy isn't as good as grip royale But you know it's personal preference on wheel So we are here today because a big update came out in Forza Motorsports 7 one of which the reason we're staring at this workstalling is because The Hoonigan car pack is now available to everybody to download purchase or if you have a car pack It's free for you Because if you guys downloaded the ultimate edition and pre-ordered it you guys got the Hoonigan car pack I Personally when I pre-ordered my ultimate edition Got it from the store because I wanted the a limited edition metal cased disc set so I wanted to get that instead of Just a digital download. I wanted the hard copy. I wanted the metal case with the Porsche on the cover So that didn't come with the Hoonigan pack. So it's kind of really upset about that I did get the past various pack for which everybody did but unfortunately, I didn't get the Hoonigan pack So now the fact that I have my car pack past and the Hoonigan cars are in my garage now for free Definitely super excited definitely gonna be ripping this workstalling here for today and getting it sideways and see what we can Do with it will probably mess around with the other Hoonigan cars I know, you know, there's a lot of Hoonigan videos out there and stuff like that with the Hoonigan pack But I just got it today because it wasn't available for me because I wanted a disc So it was kind of I got a disc, but I didn't get the Hoonigan pack So but the other reason we are here today is for another feature that got implemented here in Forza Motorsports 7 That I am super excited about and other sim racers or sim drifters will be excited about as well And that is under HUD this option right here the data out So Forza Motorsports 7 on the Xbox one now has the ability to run data out to a External device such as a tablet to have gauges and clusters so that we can now use an external HUD or dash cluster customizable and Not use the one on the screen. So today we are gonna be messing with the data out feature So we're going to switch right here to this camera view It's a zoomed in camera view. You can see my Logitech G920 with my energy innovations wheel buttons on the side You can see my Elgato screen over there recording And my other screen here because I do have a triple screen setup I have two different computers running my Mac my normal theater and the gaming so but We are going to be running right here as you can see I have my tablet on the side for today We're gonna be running it here, but I will be putting it closer to Behind my dash when we get into it. So I did download this app right here. It is called sim dashboard I did get the Pro version I believe it's like 1299 or whatever as you can see you have the ability to have different Gages and stuff like that all customizable which is really cool. So we're gonna go ahead and open our app I already have some pre-made as you can see I already have this I have a couple clusters pre-made into the game So we're gonna be messing with these this one's got the evil rabbit or seven on the side So for start we're gonna start with this one We're gonna put this right here make sure that you guys can actually see that cluster So the biggest thing that you have to do for the data out feature to work Is you have to go into the game. We're gonna minimize this a little bit You got to go into the game right here And you have to go into the actual app Under setting and you have to go to do not that one you have to go To this button right here. We're gonna switch it up work says for the UPC configuration The app helps you out explains to you on the app what you need to type in for your ip address and your port number It's very simple to do you basically implement that I'm gonna make sure that stays because I wouldn't want that to fall So you basically implement that into here make it match and your data output will work So you gotta make as long as it on top of the screen. It says running on the app You're good to go. You are running and everything is working correctly how it should so today We're gonna be running the closer camera Trying to get that so you guys can see that I had this one set up with rpms sweep um Miles per hour shift lights g4s and the actual screen flashes at high rpms as well so we're gonna hop into some free play with this twerk stallion and uh relapse maple valley Sure, why not? Let's just do it. So like I said, I'm super excited for this data out feature to be implemented in this game It's been on a set. Oh and stuff for the pc, but it's now here in the xbox one So if you have an xbox one and you have a tablet go to the google play store and download that sim Um sim dashboard is definitely a very good fully customizable. You can put widgets and everything And however thing you want on it. So we're gonna test it right now test it today So we got that we got our tablet set up We got our twerk stallion ready to go So it should it should just automatically queue in once the data stream starts going once the race is on Then again, maybe I have to actually oh there it goes. So we are active as you can see we have rpms going We have a sweep going And we have my cluster going red at rpms You can also adjust when the shift lights come on and stuff. So we're gonna use this one first You see the other ones as well. They also work The data lights on that one are not exact. We just have a single attack Now I believe if I go into this and edit this I will be able to Get the shift light which is up here Edit shift light and we're gonna set that for 80 percent hit okay Checkmark that and then well no no don't delete page Checkmark it has done Go full screen again And now we just have a shift we have a red shift light at high rpm Simper simple and then we have this one as well which is a sweep and It goes as you can see the screen flashes when I get to full rpms So I think we're gonna run with this one for right now It's a little bit easier for you guys to see so but the one thing that the data out does not have is it does not have gearing into fours and modes for seven so Data's out does not implement everything yet. I'm assuming there will be more to come but as you can see it's working perfectly fine I don't need to Dash on the screen unless I want to because I don't even know like I have a shifter so I can tell what gear I'm in So we're just going to rip this work stallion I'm going to send it in and uh See how this goes And this is a bone stock twist down just off the market as you can see the data out is working perfectly well There's really no lag in it whatsoever Which is what I was worried about there's no lag when it comes to the rpm band or anything on those lines So it's actually really awesome to see this and uh have this so a lot of sim racers We'll definitely enjoy this And this work stallion is uh Definitely getting it It's uh really sweet to have this so we're just having a little fun here testing out this Data out feature that is now in xbox ones was the most worth seven I think we just pulled a heart We just pulled a heart So The wheel cam is a lot closer this time. Um, then normal normally I have for the back so you can see the handbrake and stuff But for today's aspect we are running it so you guys can see the tablet screen A lot better I do like all I see is this like teal flash When I'm when I'm at red lines, so If you guys do have a tablet and do have 7 on the xbox one and you have the ability to have a wheel set up See I've been on fours horizon three for too long. I'm uh Screwed on my time here, but like I said these apps are fully customizable. It's really awesome This is not a page, you know paid episode by you know sim dashboard by any means that'd be pretty sweet Though, you know some dash would say yo, hey do a video about our dashboard, you know for the new data out system You know that'd be so sweet But you know no this is not i'm just It's the app that I that I know is a very good app because it handles other games on pc Such as like a set of course, so but it also handles like dirt and stuff like that in the xbox community, so It's really cool that for the you know more sports seven decided to do and set the data out feature Hopefully they'll have more stuff coming as well So you can have like your gear selection and stuff like that, so you can see your gear On that rather than you know having to memorize where you are But since I have a shifter it's really not that big of a deal for me and this torque torque styling is just It's just getting it My draft my drafting my drifting is pretty laxed right now because I've been you know, you know all on the Forza horizon 3 but We're definitely going to see if we can uh Get this nasty. Oh wrong button Get a nasty lap here. Whoa a little bit first person The animal style pizza slice Wins window try to stay there we go I mean, I feel like I shouldn't have a cluster because I don't think there's actually a cluster on the inside of this car but uh Hurts car is definitely a lot of fun the grip royale in front of me though. It's definitely contradicting my energy That's a lot better until we hit the grass. I wish he would go and pull the handbrake but you know, maybe it does it in the uh Hoonicorn because I think it does it in the Hoonicorn in the uh horizon 3 but I'm not entirely sure See me not having a gear is not really bothering me because of the fact that I know what gear I'm in because I run a shifter now if you were in sequential Or running paddles not knowing what gear you were in would be kind of a A different thing so it may take the HUD off of my game and just run it on my app Because it'd be a lot more fun and a lot cooler to mount this right behind my wheel and uh Just you know have it as a dashboard and you know do that Definitely having a lot of fun in this twerk stallion I'm gonna have to play around with other cars in the Hoonigan pack Because like I said, I didn't have it when the game came out. So I haven't had a chance to drive any of them this car feels so So good. It's got a lot of steering angle And I think they brought the steering angle in the car to the game and there's a lot more steering angle than A lot of the other cars So definitely gonna probably take that Hoonicorn on Dubai and do a full Dubai run in that Hoonicorn I think we're gonna finish this last lap off here in this twerk stallion though and see if we can't Make something of this except for that We're gonna we're gonna rewind that you didn't see that We're just gonna back it up real quick and uh back it up further So the data out is definitely very cool. It's uh It's not laggy at all, which is nice. I was worried that it was gonna be laggy Um, but it doesn't lag at all Like I said, I do have the pro version so I can have multiple Widgets on there. I think the non pro you can only have three widgets So you can only have three things going on at once But I have decided, you know told 9 9 not a big deal For the pro version and that gives you access to a lot more games and stuff like that So definitely a sweet thing to come here into the Forza Motorsports game Definitely be using this a lot more I'm gonna get it mounted up behind my steering wheel so that we can Have it where it actually should be I was trying to get just a tap, but that tap was way more than just a tap I don't think we'll be able to save it. We're gonna try it Nope, I did the same thing. So we're gonna have to back up Back up right there. That's good. That'll work and it's it works really well on rewind So the data out is not laggy at all So a big thing to hit Forza 7 So if you guys are sim drivers and you have a setup and you want to use this data out feature Just download sim dashboard on the google play store I haven't found an app for like iPhones or anything yet that I really like So I will definitely probably look into that here in the near future But because I have this extra tablet, I'll probably be using sim dashboard Because I could also make and there's a bunch of presets on there. So I hope you guys enjoyed this little episode about the data out feature Definitely going to be updating my wheel setup with that as well probably modifying the wheel camera so that It can be seen So as you guys know, you guys can follow me on facebook, twitch, twitter and instagram Make sure you guys check out my instagram for a lot of updates for the channel as well as the competition On Forza horizon 3 the evl drift imitations I will be posting stuff about that on instagram as well So make sure you follow me on instagram make sure you tap and subscribe to the channel I do appreciate the support if you want the videos right as they come out make sure you uh Tap that bell for post notifications So you guys can be one of the first people to see the videos when I post them And or be one of the first people to get into one of my open lobbies and such when I go live on The channel so until next time guys. I like thank you guys for watching. I'm evil rabbit I'm out


Hi Aowyn. Hi Julie. Do you think we're here by ourselves again? It's just us. Might be. Do you have any big plans tonight? Yeah, I think that my date for tonight is right here. Oh Well that should be very exciting. I mean, I don't know if exciting is the word I would use. I bet your husband will love to see you curled up with a good book tonight. The book is bigger than my head. He's working tonight, so. Oh, okay. What about you? Well, hi, June. We got seven people here. We were just, you guys are late. I'm sorry, but I'm just talking about our big plans this Friday night. I don't have any big plans. I'm going to probably be working on the wiki tree admin category because it's a little little chock. I haven't had time to work on it. What do you make for dinner? We always have pizza on Friday, like always. I make sure. Like you're making pizza? You're gonna get pizza. I didn't make any. Usually if I make it, I have to start the dough in the morning and I didn't. Like you're ordering pizza? Probably. Do you guys have my pizza? We did in Utah. They're very good. Oh, they're awesome. So I might, I might be campaigning for that tonight. Nice. Yeah, they don't have one of those here yet, but. They have that delicious barbecue. And I like to get it on the cauliflower crust. It's really good. The cauliflower crust was good. Yeah. Now I want pizza. Oh, June's having pizza tonight. Tuesday is pizza night. Oh, Tuesday is pizza night. I know. Margaret Allison from New Zealand. It's morning for you. Isn't it, Margaret? It's like six in the morning there. I am not good with those time zones. I think. I think they're 16. Oh, she's 16. Is it 13 or no, it wouldn't be 13 because that would be four o'clock in the morning. Hi, Susan. Thanks for joining us. If I'm butchering anybody's names, I'm very sorry. I care my hardest. Hey, look, it's dear Myrtle. Hi, dear Myrtle. Welcome. And Emma. Hi, Emma. I know Emma's busy today. She is the team captain for Dr. Gates on our wiki tree challenge this week. So she is a busy, busy person. We're going to have dear Myrtle in a couple weeks. Oh, well, fantastic. I don't think I had seen them on the schedule yet. Yeah, or about a month. Yeah, it's in our mark. Yeah, it's exciting. Who else is, wow, we've got a bunch of people popping in. We're, it's usually just a few of us here for Friday date night. I'm happy to see everybody. We've got Nick, Nicolene is back. I remember Nicolene being here before. Canada. And Stephen, Tomaszewitz. Stephen is here. I think he's always here. We have a very international group. We do. I love that. Newfoundland, Philadelphia. That's awesome. New Zealand. Amazon, the East Coast. Well, I put together a really pretty chart for tonight. Let's see it. Should I share it? Share it. I got it. I'm terrible at sharing my screen here. That's usually. Can do it. Let's see. I can't fold it. Hi, Candice. I think this is it. This is usually Sarah's job. Can you see that? I'm gonna keep it here, but I'm sure they cannot there. Oh, okay. Well, you should. Okay. Which one is our progress? The progress is the darker line. So we've gained some. And that has been happening for a couple of reasons. I wanted to explain that a little bit. We sometimes, if there's a whole batch of profiles that go private and they were opened up for one reason or another, if somebody, you know, closed their account or there was an unresponsive profile manager batch that went through and there were profiles that needed to be open, then those might be getting thrown into the bucket and they are going to make it look like we didn't make any progress. So that's where you see the dips. We also have a little bit of an issue with the date fields. And I hesitate to describe this because I don't want anybody doing this on purpose. Nobody here would do that, but there's a bug with the date fields where you can put in all zeros. And it allows you to create the profile. Well, of course, we don't want that to happen. So every once in a while, somebody will load up a JEDCOM and that will happen with some of their profiles. So we do lose a little ground now and then. But the cool thing is, you'll notice that there's a thin blue, light blue line going through the curve there. And that's our trend line. So we are making progress. We're on an upward trend for clearing out these profiles. It's tiny, isn't it? Can anybody even see that? It's bigger out there than this. Oh, good. It looks tiny here. Well, anyway, that's, I can probably make it bigger by doing that. But there we go. We're making progress. Slow, but sure. That's good, though. I mean, that's kind of what Ricky's all about. It's just slow, steady progress. Yep. What is that? There's a, I think it's a Japanese principle. I can't remember what it's called right now, but where you just make a little bit of improvement every day. And then before you know it, you've improved a lot. Exactly. Ties in. That's how we roll. I can't remember. If anybody remembers, please put it in the chat. So what else are we doing? I was looking at, I've got my stats, you know, my table, but the chart's so much cleaner, so we already did that. I see that we have a number of people that have not done Friday date night before and they're here visiting. And is anybody here from the Data Doctor challenge this week? It's kind of overlapped. Yeah. So say hello if you're here from the Data Doctor project. And if you want instructions, actually I could do that now that I have my screen sharing talents down.  I'm not. This is terrible. Let me try this again. Share screen. Chrome tab. I think this is the right one. That look right? Let me see. Yeah. Cool. Okay, so this is our free space page that I have set up for instructions, resources. Go in here how to find profiles without dates. Yep. Of course, we're using the Data Doctor reports or the Wiki Tree Plus reports that Alessia put together for these particular four error messages, 131, 132, 33, and 34, because those are all the profiles that don't have any dates at all. They're really hard to reserve sometimes. So basically, what you do when you get up there, when you find a date, you're going to add a partition for it, of course, because that's what we do at Wiki Tree. And then you're going to add the date. So if that date ends up making the person, said that in a really awkward way, if that date ends up making the person alive, if the date indicates the person might still be living, add the source, add the date, and then we have a category that we're using right here called Wiki Tree Admin. You can use the category search on the profile to look for that and add that to the profile. And then when you go to save it, if it's still living, it's going to give you a warning and say, oh, you're about to save this, it's going to go unlisted and you won't be able to adopt it, but that's okay because we can still get in there and take a look at it. And as long as it's in that category, I will know or anyone will know if that it needs to be taken care of. So just make sure you add the category. Let's see, can't find a date, which you think you can make a good guess about how to estimate dates page, the estimated dates page rather. And there are some suggestions there on how to come up with a date that should fit. The most important thing is after you add a date, as long as it's not a living person, go out and look for some duplicates because there's not a date and it's especially it's like a real common surname. Good chances are you're going to find some duplicates out there that somebody else created with a date. So anything else? Any questions on any of that, anybody? Because that's why we're here. Let's see. Margaret, I can see fine. Good. Problem is people joining wiki-train, adding people without sourcing or writing biographies. Yep. That is always a problem, Margaret, and it's a hard one to solve. But we do have rangers that are watching. The way I look at that, and this isn't always true, that we try to assume good intentions, is that people come out and some people will create profiles and they'll do like a skeleton three kind of, and they'll come back and add information later.  So, you know, at some point going along, somebody will come back and be interested in that profile and they will flush it out and add sources. But it is a problem and we're not, it's not a problem that we're going to be able to make go away anytime soon. We have, we have some checks on creating profiles that ask you to make a choice about, you know, are you creating this from an unsourced family tree or... What are the other options on there? Anyone? I'm drawing a blank. Well, add a source that is by tomorrow. That's from an unsourced tree. Yeah. So, we just all need to be patient. If you think back to when you first joined, it was also new and overwhelming and so many people work in isolation when they do genealogy, that when they come here, they're just shocked because we all talk to each other. Or it just takes a while to understand what it is. Yeah. And it's a learning process. I remember when I first came here, well, when I first came here, it was a baby tree and there was really nobody to talk to. So, I went away for a while. When I came back, there were all these people. I did the same thing. I joined, I think it was 2012. I had no idea what to do. I uploaded to JetCom and it wasn't awesome and it still floated out there. But I started working for a key tree and so my time to actually do my own profiles like non-existent a lot of the time. So, I apologize because some of those are probably mine. But yeah, I didn't know what to do after that because this is just, I had no idea. So, I left about a year later before I found it again. But then it was, you know, different and there were more people and I was like, whoa, there's two game points for things. Like, there's a forum and there's people. Oh, I know that was so weird, wasn't it? Okay, got it. When I found people here, I just dove right in and we just had a blast. So, it just takes people a while to get into the swing of things. Some people never will. Some people are just here to look around and see how they're connected to King Henry VIII. And that's what they're going to do and that's okay because they're still adding value. They're adding profiles. They might not be perfect. Well, I mean, in a way, isn't that who we're doing this for? Just for the people who just want to be able to come and look and see? Sure. Yeah. You know. Yeah. So, it's sometimes we just have to adjust our our mindset, I think, and remember that, A, we were all new ones. Yep. And being not everybody's going to be able to devote the amount of time that we have. I'm here all day. Aowyn and I have parallel wiki tree lives apparently because we both did the same thing and now we're both on the team. So, anyway, so what are you guys? We're the same person. Huh? Because we're the same person. Yeah. We were joking about that earlier. I said, I wonder how many people think we're actually the same person if they haven't seen us in these videos. Oh, gosh. We're very similar. We're either exactly the same on something or completely opposite. That's true. But we never argue. No. Not ever. No. Oh, gosh. Okay. So, what's going on out here? Did you see anything interesting go by? Something about Steven identified a photo that was taken and had a street post and a street name who's able to figure that out. That's cool. Oh, that's awesome. That had a street post industry and doesn't exist now. Margaret heard from two cousins who made contact after reading profile shoot written. Oh, awesome. That is the most fun. I have met so many cousins because of wiki tree. One of my cousins is actually she's no, she is actually a cousin. We're like 10th cousins. She lives out in New Jersey and you may have seen her around. It's Nancy Wilson and she's on the challenge this week. I think she's been working every week that she's able. So she and I have gotten to know each other because we happen to run into each other on a profile and it turns out we're both related. Hi, Sarah. Sarah. Sarah never comes to Friday date night. I'm so glad she's here. Oh, Sherry says we sound like sisters. Kind of. Yeah. A whole lot older than A1. Sisters that actually get along with each other. Yeah. Yeah. But that's awesome about the cousins. I get that a lot too. I have a lot of, there's a book that was published about my dad's side of the family and I think a lot of people use that. And so I've put quite a bit of that out onto wiki tree and seems like I get a lot of hits on those lines. Very cool. No, tiger burning. I don't know who this is, but they said thank you for thinking about the time experience issue. Ann Glick. Oh, she's been in the server. Yeah. Yeah. She's on the challenge server. Yeah. Great. I hope you guys are. Those of you who are participating in the challenge have been enjoying that. That's been just unbelievably fun to watch. Yeah. I don't get to participate as much as I want to, but just to go out and read all of the conversations that are going on and all the collaboration and like next level collaboration happening. Yes. Yes. And speaking of that, if you're not on the wiki tree discord server, please come join us. There's a channel for Friday night. I try to stick around for a while on Fridays and answer questions. If anybody needs help with anything would love to have you there. It's just fun to kind of hang out and chat together as we're working. So please come and join us. If you don't know how to get to the wiki tree server, how do we how do we point them to that, Aowyn? Go to it's a help page. It's help discord is the help page. It has a link on there. What is it? It's help discord. Oh, I thought that's what you said. You can pet out on me. It has a link on it. I'm there. Hang on. Let's bring this back up. And this will also tell you what is discord. This is this page is in progress by the way. You won't find all your answers here. Let's see. There's a link right here that you can click under how to access the wiki tree discord server. And when you get there we will verify your profile ID and get you and you'll you'll be able to find the Friday night server from there. So that would be fun. Come and join us. What's this? Everyone is so good and fast and diligent that those of us who have limited time have a hard time finding things to do. Just ask. They'll they'll give you something. I know I go in there and I'm like wow everybody's so busy. I don't know where to dive in. But there's always something they might need in biographies written or categories added or suggestions cleared or you know whatever. And I don't know, I think I think we've caught you on Friday, date night.  I can't reach through. Your cup is glowing on the screen. Hold it up again. Oh, it does. What are you drinking? That's trippy. That is weird. That's bizarre. It's subway. Why does it do that? I don't know. I'm scared what this is made out of. Anyone's having a radioactive drink. That's trippy. Yeah, that's what. Oh, look at what it does. That's bizarre. I don't know why it's doing that. That's different. That you guys is the highlight of our video today. Anyone knows why it does that? Send me an email. Yeah. WikiTree and science. It's very weird. And then it's like it picks up that. Where is it even picking that up from? I don't know because it's not even on the screen. It's not. I don't know. That's so bizarre. Steven has been video chatting with his cousins and sharing his screen and stuff. I do that or have done that in the past or I've made videos for people who are struggling with the concept and I did little instructional videos for them. That always worked out well because sometimes being it is a lot easier than reading about it. True. June says it's reflective decals. She sounds like she means what she's talking about. Candice, the help page is help colon discord. So if you go to WikiTree and go to the help colon discord, you will find the link there to get into the main WikiTree server and we'll get you squared away. It's hoppin. It is just hoppin. That in the Chinese server. So if there's no more questions, we should probably let you guys get to work. Oh, okay. Anyone get to work? I'm gonna get to work. I'm gonna curl up with her genealogy book. Yeah. All right, you guys happy Friday. Thank you for coming and I will see you over on the Friday date night channel. Come chat with us. I'm gonna be working on the category to get a bunch of stuff cleared out of there and we'll see you in two weeks for our next Friday night. Bye. Wait a minute. Oh, I was thinking when we get close to Valentine's Day, but that won't work. Okay, never mind. We'll miss Valentine's Day Friday. I know. I know. After it. Yep. By like two days, two days after. Yeah. All right, you guys have a good night. We'll see you. Five days after. I can do math. Nope. Five days after. I'm trying to get us out of here. No, I'm telling you. Go have pizza.