Hello, welcome everybody. Thanks for coming to this month's very special edition of Kim Shuck's Poem Jam, which will be celebrating Poetry Flash, a poetry resource that is a Bay Area treasure and indeed a national treasure. I'm John Smalley and I'm a librarian here at the main library in the humanities department on the third floor, where we have tens of thousands of poetry books and 41 languages. Before we get started, I wanna take a moment to acknowledge our community and to tell you about a few of this month's programs. On behalf of the public library, we wish to welcome you to the unceded ancestral homeland of the Ramatush Shaloni, who are the original inhabitants of the San Francisco Peninsula. As the indigenous stewards, the Ramatush have never ceded, lost nor forgotten their responsibilities as caretakers of this place. As guests, we who reside in their traditional territory recognize that we benefit from living and working on their homeland. We wish to pay our respects by acknowledging the ancestors, elders and relatives of the Ramatush community and by affirming their sovereign rights as first peoples. As you probably know, April is National Poetry Month and so we'll be having quite a few programs here at the main library. I wanna mention just a few of those to you now. This Sunday, April 14th, we'll have a reading by two South Asian poets, Monica Modi and Sophia Nass. These two poets retell the histories and memories of the sacred and the profane, the oral and the experimental, the liminal and subliminal India and Pakistan. Next Thursday, a week from today, all of these programs are in this very room. Author Morton Paley will be giving a presentation on poet William Blake's songs of innocence and of experience and that will be an illustrated talk. On Sunday, April 21st, we'll be screening two film documentaries, The Poetry Deal about Dan de Prima and The Life and Times of Alan Ginsberg. On Thursday, April 25th, Kim Shuck, poet Lauer Emerito returns to this room and will be introducing Dina Rod, Tanish Kaur and Manaz Badihan to read from their recent works. Lastly, on the final Sunday of the month, which is the 28th, the Haydashbury Literary Journal will be presenting a reading featuring some of San Francisco's finest bards and one of the editors of that journal is in our audience. So that concludes my two, I apologize, both are here at the moment. Thank you for attending. For those, if anyone is here for the first time, I wanna mention that this is a regular, the Poem Jam Poetry Reading Series takes place regularly on the second Thursday of the month and is curated by poet Kim Shuck. You can learn more about these programs and SFPL programs in general by picking up one of the newsletters from our table. There's also a special flyer just listing the poetry events this month. And while you're there at the table, there's a limited edition of the Poem Jam Pin. There's a few of those left. And there's coffee and cookies. So help yourself to all of those things. And that's enough of me talking. I'm going to turn the microphone over to Kim Shuck. Please give a warm welcome to poet Kim Shuck. Hey folks, that's really exciting to see. It's precisely who showed up for this. I think the room is just full of poets. I don't think there are non-poets in the room. Doug is raising his hand. You don't count because you're attached to a poet and cannot avoid coming to readings, Douglas. So that's kind of exciting. What a great audience to have. So when I was a baby poet, I used to have as one of my want to do things to be in poetry flash. Because I was a baby poet here in the Bay Area. And as some of us are all too aware this week in particular, we get to keep what we support. We get to keep what we support, particularly in the poetry world. We get to keep the bookstores we support. We get to keep the journals we support. And we get to keep the poets we support. And if we don't support them, there is always the possibility that they will just not be there when we want them. So it's really important to support institutions like poetry flash that have scope and breadth and historical knowledge as well as contemporary knowledge of the poetry scene. And I'm going to introduce somebody who's something of a hero of mine just now. I was trying to make her laugh, but it's real too. Joyce Jenkins is a treasure. She's a Bay Area treasure and generally a poetry treasure. Please welcome up to the microphone, Joyce Jenkins.  And I'm going to read one poem at the beginning and just about working on poetry flash for me. It's my signature poem about working on poetry flash. And then talk to you about some stories and history. Piano man, Friday night, beautiful jazz piano at the Contes, two people in the room, three grubby skateboarders and several ticket holders waiting for their food in the next. The music, simple, yet impossibly lovely, impossibly complicated, pours out of the shiny black spinet. The piano player notices me listening. He can hear me listening. He turns his head slightly to look. I look away to avoid eye contact because the music is impossibly intimate. How can I tell him that it's okay that no one but me hears that I will walk out and down Sixth Street and he will be alone but that he must not stop playing, that he is not alone as long as he sounds, that he means as long as he sounds, that he cannot stop playing, he must not. So that's just a little taste of contrary to popular opinion, I am a poet and that's how I got into this racket in the first place but then I continue to be and that's the only way I can think. So this event is a celebration of poetry flashes, 50th anniversary, it's now our 52nd anniversary but as you know it's been hard to celebrate things lately. Poetry flash, literary review and calendar poetryflash.org publishes book reviews, interviews, essays, poems, events for California. Right now we are featuring a review of An Ordinary Life by LA poet BH Fairchild and another on Alicia Osterker by associate editor Richard Silberg. Who you'll hear shortly and a review of the Linda Ravenswood book. A poem is a house by contributing editor Lee Rossi. We also present the poetry flash reading series in Berkeley. We have a YouTube channel of our readings, produced the annual Northern California Book Awards at this very library and the annual Watershed Environmental Poetry Festival in Berkeley that MK Chavez has read at beautifully several times. Poetry flash also manages the California poets in the schools, John Oliver Simon project in Berkeley in Oakland and we sponsor many emerging literary projects. Our mission is to build community through the literary presenting and publishing. Poetry flash was founded in 1972. The idea for poetry flash came from John Ford then a creative writing grad student at San Jose State and Anne Headley who was British. They got the idea from Time Out, a London publication for theater listings. They named it poetry flash and put in $10 each to publish the first issue in fall 1972. They divided the first print run of single sheets with four events listed and ran them all over town. Poetry flash was born. Early editors and writers included poet Alan Sadovsky, now director of the MFA program at San Jose State, poet Yana Harris who taught at University of Washington, many, many, many nonfiction writer, Joe Flowers, many other people. The San Francisco International Poetry Festival got me into poetry flash. I did two, 1978 and 1980. Kenneth Rexroth read at the 1980 festival. He'd been ill and his reading was downplayed because I felt he might not make it. He called me at 7 a.m. to howl, San Francisco, I am San Francisco. Then escaped from the hospital in Santa Barbara to get here. Poets came to that festival from all over the world. Michael Andace from Canada who at that time wasn't writing fiction yet. Kazako Shirai-shi from Tokyo. Isaac Peschevis Singer who knew he wrote poetry and more. I came to San Francisco crazy for poetry in about 1975. I went to every reading I could, ended up writing one of the first grants to the California Arts Council, then being put together by Peter Coyote and Gary Snyder and got 20,000 to fly poets in from all over the world. The idea was for Linguettis. He wanted to make a Carnegie Hall for poets in this great city that had always had a special relationship to poetry, like painting is to New York. I wrote poems about being the only woman in North Beach, carried my office around in a basket, co-directed the 1978 festival and directed the 1980. I was a young poet from Detroit. I had studied poetry in an experimental college in Michigan, worked on the National Poetry Festival and organized the Michigan Poetry Conference. One memory sticks out from when I got here, standing in line behind Lawrence at the old spaghetti factory in North Beach to hear a reading by Ginsburg. Lawrence waved me on and I tucked my finger into his belt loop. He towed me past the ticket takers. I remember stepping over or falling over Jerry Brown, who was sitting on the floor with his legs out. Just after the 78th festival of the Palace of Fine Arts, featuring Frillingetti, Corso, Ann Waldman, Entezakishange, Erica Jong, Audrey Lord, Michael McClure, William Burroughs, Tom Gunn, you get the idea. There was a community meeting by Poetry Flash founding editor, John Ford. He owed $75 to the printer and he didn't think he should have to pay. He was mad, he wasn't gonna take it anymore. I was there and watched him hand over the flash to Steve Abbott. You might remember the late Steve, so amazing. He was an amazing San Francisco poet and writer. And you might know him from Fairyland, a memoir of my father written by his daughter, Alicia Abbott. The Poetry Flash's mom and pop printer, Hoover Printing, in a basement in downtown Oakland, agreed to be publisher for the debt. Steve's first act was to knock on my door and ask for my help. I said yes. And poet and sometime actor, Richard Silberg, who was known for his writing for the now defunct East Bay Review of the Arts, joined us shortly after that. The Flash was then 11 by 17, folded bookstock, hand stuffed and collated. The first photo that ever ran in the Flash was a car door, spray painted. Poetry is the heart at liberty. They claimed it was Andre Breton, but I'm not sure. At first, Steve was editor and I was co-editor. I did all the production. Steve became and learned on the job training. Steve became co-editor in October, 1979, then contributing editor as he concentrated more attention on his own writing, readings and his literary magazine, Soup. I became Poetry Flash publisher with Steve's support in 1980. Richard Hoover, the printer, doubted that a woman could do the job. He lectured us about it dramatically, but finally relented after a poet's stage to sit in at his print office. Hand collating the Flash in the basement of Hoover printing became overwhelming, even with a big stuffing party. There were just too many pages when I got grew and grew. When I got pregnant, I knew I had to be clever. With topographer Alistair Johnston's help, I took it to tabloid in April, 1983, so a machine could do the folding and stuffing like a real newspaper. Artist Frances Butler did calligraphy for the logo. She often said, if I'd known you were gonna hang around, I'd done a better job. My daughter was born May 1st, 1983, hours after I mailed the May issue subscriptions. I gave up the San Francisco International Poetry Festival to edit and then publish Poetry Flash as a free newspaper. Over 300 print editions were published from 1972 to 2010. We started an online Poetry Flash in 1999, and for 10 years published both online and in print with different content. Now we are exclusively online at poetryflash.org. The print mag was a tabloid that grew to 22,000 circulation at the time, one of the, if not the, largest circulation literary magazine in this country. My motto, my God in Light, was always the quote from Lawrence, if you would be a poet, write living newspapers. Don't ever believe poetry is irrelevant. What strikes me after 46 years of doing this is how much love has gone into pain, so much attention. Poetry Flash has kept archaic punctuation, the semicolon and commas alive. Staying up all night, laying out the pages, driving to a printer in San Jose or San Francisco in the wee hours was a kind of radical practice. I remember working so intently on the memorial issue for the San Francisco poet Robert Duncan. He always said that typos could never be erased, that they went straight up to heaven. Every letter in that issue was polished and held up for scrutiny as if he were there. You might remember the 1980s language wars starring poet Tom Clark and George Lakoff and many others. I wanted to explore both sides of the issue and allow poets to vent their passions to dialogue, but in so doing, we managed to start a little culture war in my naivete. I had hoped to celebrate deep avant-garde poetry as a writer on the scene that others should know about, but as writing on the scene that others should know about, but being among the first, if not the first, to write about the experimental and avant-garde poetry from the outside, we started a shockwave, a ripple in the time-space continuum, though I'm proud of what we did facing the transformation of our times. We all learned together. Now we have a hybrid, an evolution, a situation where all of our poetry are influencing all of our poetry, hopefully as diverse as possible. And that was exactly the idea that I was going for in the first place. Our annual Watershed Environmental Poetry Festival was founded in 1996. The 29th annual would be October 5th in Berkeley. We started Watershed when Robert Haas was named the first US poet laureate from the West. The first Watershed was at the bandshell in Golden Gate Park. It was unforgettable. Rebecca Solnit mentions coming across it in her book, Wanderlust, A History of Walking. With Frill and Getty reading Buddha in the woodpile and Bob Haas reading from the stage, which was a flatbed semi-truck with a life-sized humpback whale carved from storm-salvaged redwood by a New Zealand sculptor whose brother became the poet laureate of New Zealand. So our reading series, the Book Awards, the Book Awards on September 7th will be our 43rd. I just wanna thank all of the people who've worked on Poetry Flash, all the wonderful people, all of you included in some way or the other. And as Robert Creeley, the poet, said as I drove him much, much, much too fast from the airport to a waiting crowd at Cody's books, his plane was late, onward. And thank you so much for letting me share the history with you. And just as I sit down, this is in case you weren't around then, this is what the tabloid looked like. And here's a very funny picture of me in the basement of Hoover printing with Steve Abbott. And a letter received spontaneously from Alan Ginsberg in 1988. The Poetry Flash serves national purpose, distributing critique, gossip, and local imagination of Bay Area from West Coast to Boulder to New York, keeping the poetry community in contact. For those of us who live in the Bay Area, it keeps us up to date on the epic of the San Francisco Muse. So there's more poetry. I happen to actually really love Joyce's poetry and I always invite her to do it and sort of try to twist her arm a little bit to make her read a poem or give me a poem. And so I appreciate that somebody said that because I agree, more poetry at all times. So Richard Silver, what do I want to say about Richard? We have had a really sweet friendship over the years that has been at some small distance. But it's really intense nevertheless because we are always working on a show when we see each other, which makes it really electric. And I love his work. And I also know him through other friends who ask me how he's doing periodically, assuming that I've seen him more often than they have, which is not always the case. But Richard had evoked one of Richard's poems for somebody one time and they were like, I don't know who that is. And I was like, what? Of course you do. They knew you as a poetry flash, Richard, rather than Richard Silver, which I suppose is a huge honor really. So please welcome Richard Silver to the microphone. Thank you, Kim. We have to see each other more often. This is very true. My father was a show business agent. And I heard too many Bush circuit comedians. And that feeds into this first poem, which is called Stilts Naomi. I left you on the Charles River Bank, high rain cloud, alternate lives. Take my wife, please. The poem of punchlines walks on high hips, long radii from the pelvis, with the speed of acronyms.   You with me in this poem, because I've said your name, long muscled river. Each joke begins in a sorrow.   A new life life, nano life in endorphin city. We're imaginary people. We're the same names as the real people. Only now we're walking on stilts. You're still there Naomi by the river in my mind. Although I backed out of your life. Although you rose up above me, working like a high rain cloud. That's no ladle, that's my wife. The telephone book walks on stilts. The dictionary, frozen dynamo. All the words laid out on spokes to the heart. What do you think that is?  So Thomas Edison leans in over the test to hello. Everything is a punchline for the right joke. A white, crumbling, cold light face, rain blonde hair. Your features working as though you were going to call to me. Backing out between lives. Tough luck to see long kind of vampire. They both had a beard except the mouse. Some people can tell them and some people can't. But I kept strapping on my head. Kept strapping on my stilts, backing and filling. I wanted the alternate. Naomi Colt, Naomi Cloud. Jokes and jokes, years and years you echo. Become my psychedelic straight woman in our band shell by the Charles. Why are you writing a poem of punchlines? When you love me, I puff on my cigar to get to the other side. Okay, the second poem will also be my last poem. And it's called Back Home. Dreaming into the TV's dead eye or into the living room really, the TV presiding. Plants, pictures, rug and easy chairs. Into time and stillness. Pop gone, a grin around his empty chair. Phantom me sliding down the wall, pounding my fists in adolescent Veltschmerz. Ghosts of hormones pass among my mother's floral knick-knackery. Shape, thread, poem. But no, here she comes herself bustling away all poetry. Mom in her pajamas holding tape and remote and a pair of scissors to do battle with the TV. I've lost my place here. To do battle with the TV, it won't turn off. I'm gonna tape the sensor. Years it's waving. Hidden out, lullingly perfect. And then click, the picture rolls on again. Click, roll on. Click, so she has to rain dance in front of it. War dance, crack the remote like a whip. Again, again to kill it.  They told me the sensor's the key.  This way I can see where it is. She turned on me in rage when I suggested she buy a new one. Take out $300 of the money she's willing to me and get one that works. Enraged as if I were betraying her. She ignores me now when I tell her she can see the sensor perfectly well. It's just not working. Please, I thought this through. I know what I'm doing. Two crooked white streaks of tape beneath the screen. Mona Lisa's mustache. They pull at me, grotesque. A stammer, scribble, stain. But my mother's all high rolling energy. We'll see what's gonna happen here.  Old family tagline. I know how to use my tuchis. Another joke. Mom's aging head of bulb lit from within with Romanian blood. Grandma Stanley, Doddy, Mac, her ancestral's invincibility. The TV though still doesn't work. It rolls back on demonically. Click, back, click until she has to kneel in front of it pressing the power button with the pen tip 20 seconds to drive a stake through its heart. She falls back exhausted in pop's chair staring at the said and furious thought while I try to ignore her, crawl back into my head when, oh look, a flickering of red light at the screen's left edge. She's forward, bird dog on point, interval. Then that ominous red burst flickers again. SOS from the ineffable inside. I'm into it now too. We sit there together, silent, breath held as if the screen were a deep evening sky and we were scanning it for heat lightning, shooting stars. Thank you, thank you. Thank you, Richard. That was excellent. Don't start or I'll start talking about evening in Paris and red lipstick. Lee Rossi. Lee Rossi and I have read together mostly on Zoom because of the era we are in right now and we have had some pretty great conversations over time. One of them was an interview, which was really good and fun to do. And I just read a newish poem by Lee because he sent it to me, which was pretty cool. Actually, you sent it to Caroline Goodwin, but I got it. So, anyway, please welcome Lee to the microphone. Thank you, Kim. I came to poetry rather late in life. I started writing shortly before my 40th birthday, which was a long time ago now. And I remember one of the first things I discovered was flash, the flash, and it's a little living room workshop. And the impresario was handing copies of the flash around. He says, this is the real deal. And ever after that, I was hooked. I even subscribed for several years. But I would always go to do two things with the flash. I would look at the calendar to see if my name were in it. And then I'd look at Richard's reviews because Richard had a kind of secret window into the nature of poetry, especially poetry, being written in California, but throughout the country. And I do a lot of reviews now, but Richard's always been my prime model. And I'm really grateful for him to showing me some of the ropes. When I was thinking about reading tonight, I was thinking about the fact that many of the poems in this new book of mine, say anything, have cluster around the theme of taking responsibility for one's life and for the world in general. The only problem is that most of the speakers of my poems are unable to achieve either of those goals. But so you'll find that out. I'll just read a few poems for you. The first thing I'm gonna read though is a duplex. It's a fairly new form invented by Jericho Brown, a kind of mashup of a sonnet, a guzzle and a Delta blues. So this is duplex, it's called, I was awfully young. I was awfully young, not yet a man. Yet they wanted me to know what a man knows. They wanted me to know all that a man knows. And yet the men I knew knew so little. The men I knew knew a little about living, but almost nothing about love or anything else. Nothing about love or tenderness. Or if they did, they kept it carefully hidden. They kept it hidden, what they knew about love or tenderness or how much they cared. How much they cared about things unseen, things they couldn't talk about with other men. They had nothing to talk about with men or women. I knew that, although I was young and still not a man. A little dark. Okay, so this is a next piece, recounts a brief encounter with my dermatologist or a dermatologist, let's say. Not me here, it's called, no, not that. The doctor says to take off my clothes.  They're very particular, they'd be embarrassed for me. And I appreciate their discretion. The doctor wants to look for things on my skin that might be cancer. I might bare my skin to the sun, but not to the doctor. Of course, I don't bare my skin to the sun anymore. I hide inside my clothes. It's better that way for everyone. I'm a tree shrouded in fog. I'm a winter storm that closes the airport, the view from the window like static on your high definition TV. I'm the rock slide locking the coast highway. The doctor tells me not to be embarrassed.  This does not help even after I've removed my shirt and returned it to the snowmelt that used to be a snowman. Even after I've lowered my easy on, easy off gym pants, the ones with the swoosh. Her hands, the only part of her that I can see beside her face are purple. Don't touch that, I want to say. And she touches it, looking right, looking left. And then she's on to the rear. I want to scream, but I don't. I'll be coming back in three to six months. That's what they do to people who've had skin cancer, but she won't be here. She's got lots of good colleagues. And in the meantime, she'll be adding another child to her collection. She's got one, a three year old already. I try not to think about another visit. I try not to think about cancer. I'm a one man golf cart delivering my writer to the dinner table three times a day. All right, that was happy little poem. Okay, here's a poem about wanting love but being unable to find it. It's called Rats and Squirrels. Last night, you might remember this actually. Gale-forced winds buffeted the house. Squirrels clung to the palm trees like shingles to the roof.  Only the wind cares for rats. A squirrel might be nutty, but there's something cheesy about rats. Even if her feather boa is ratty, a squirrel's tail is fluffy, whereas a rat's tail is always naked as a stiletto. Who suffers their hair to the misery of a rat tail comb or their wrought iron to a rat tail file but the poor in spirit and bank book? Who doesn't prefer the hopping vegan, always threatened, ever vulnerable to the slinking nocturnal scavenger, bubonic pet rodent of the apocalypse? Which is less forbidding? The animal world's Uriah heap squirreling away her horde against winter's cruelty are the scrooge-like pat-crat, miserly to no gooder end, a thief at the mercy of his own compulsion. Does your boyfriend belong to a rat pack, rather? Does your boyfriend belong to a rat pack? So much the worse for you. When he couldn't keep a job or his driving license and his buck teeth seemed to glow in the dark, he was just squirrely.  You don't need to say it. Okay, one of the things I've learned about living in a working-class suburb, or from living in a working-class suburb as opposed to a self-selected gated community is that everyone's psychoses are on full display all day in the neighborhood. And so this poem is about a neighbor I had once upon a time. It's called Magnolia. It's got a little epigraph from Yeats. You probably know. Oh, great-rooted blossomer. Oh, great-rooted blossomer. Are you the leaf, the blossom, or the bowl?  The first words from my new neighbor, bending over the ground cover beneath her magnolia, Bella the South, sweet and fresh, subtropical exile to our fertile desert. She was 80 or 85. The tree half her age, and tall is a three-story house, still dropping leaves and seed pods like a teenager with a bad case of dandruff. It killed my lawn, she said, a violation 20 years in the past, which she held on to as if it were last year or last week. It soothed and fueled her anger, I imagined, to pluck the brown papery leaves from their hiding place in ivy and stuff them in a green bin. I wondered if Sisyphus hated his rock as much as she hated that tree. I knew how much I hated my job, eight or nine hours every day, trying to lift the world another inch. And every night more leaves would fall, leaves and pods, those sexual hand grenades, those pregnant cluster bombs, and yet she could no more live without the tree than she could without her anger. They were like an old couple, so deformed by their love that they couldn't want anything else. Every day after work, I'd come home and find her, bowed or kneeling, or toward the end, just sitting in the ivy, city of beetles, city of mice, and see the tree, its orange and ruby lights, lasened with sunsets, guilt, G-I-L-T. All right. Okay, I wanna do one more. This is a poem that is dedicated to one of my very dearest teachers, Tony Hoagland, who passed away several years ago. What did I learn about from Tony? I learned about irony and friendship, and how you need both in any life. The poem's called Not Brave, Not Free. All morning, some virus has been conducting military exercises in my throat, napalm, aerial bombardment, artillery. Bombing the dam was the last straw.  No, I don't, I insist. Struck by the uncharacteristic rumble of my vocal cords, the basso profundo echoing in my ear bones, I sound sexy. I wonder if my penchant for lying to myself is a personal peccadillo, or something hardwired into all of us. I know that, I know that, I know that, says the kid in the back row, face red as a stop sign, hand waving high in the air, I ignore him. After all, I'm the teacher in this little classroom, and even though I too know the answer, I need to pretend I don't. Like those balloon faces floating on my TV, asking if after the latest shooting, the president will finally bring the nation together.  Meanwhile, California redwoods, the few survivors, are in emergency conclave. Where's the fog they wanna know? I know, but have no way of telling them. Thank you. Thank you, Lee. Our last poet is a really good friend of mine, and this time I didn't book her myself. MK Chavez and I have spent a lot of time pre-show together, a lot of time reading at the same microphone, and a certain amount of time at my kitchen table having tea, more of that soon. Please welcome MK up to the microphone. So I, I was thinking, well, I learned about, you know, I first encountered poetry flash as a baby poet, and then I thought, well, was I a baby poet, or was I actually in my late 30s? Could be baby poet in my late 30s. So poetry flash hosted the first readings I ever attended. It's where I saw poets that I read and admired and made this connection between this idea of poetry and the reality of poetry. And so I would go on Sundays to Cody's. It was exciting and it was wonderful and sometimes really breathtaking. And then slowly, and at that point I didn't really, I just felt like I love poetry. I didn't think I want to write poetry. I thought, I love poetry. I'm inspired by it. And then I thought, well, maybe I'll just take this community college course on poetry writing. And that's where I met Lynn Knight, who in the middle of one of the classes, she said, like Richard Silberg says, you have to find the snail meat of the poem. And I thought, wait a minute, I know Richard. I know that name. And I connected it to poetry flash. And I guess the reason I'm sharing this story is because there are all these little connections and they seem like not a big deal at first. But now I'm looking back at over 20 years of being part of the writing community, over 13 years of hosting a reading series, being part of some really exciting and new things happening in the writing community. And I think it's really easy to forget that the sparks that lead to all of these different things are started by someone. And so I just want to appreciate you, Joyce, for you holding that and doing that and being so dedicated. I was at the Sonoma Writers Conference last week, and, or was it this week, no, last week, the days. And it was on a panel for literary citizenship. And we were talking about this particular thing and what we need to do, like what makes you a good literary citizen beyond like the writer's digest has an article that's like six steps to becoming a literary, good literary citizen. I was like, well, you can just check it off. But the more I thought about it, the more I realized that part of what good literary citizenship is, is enduring and staying, even when it's not, when, even when it's hard, even when change is here. So I just, I really want to celebrate poetry flash and give it the credit it's due because you've been here for a long time doing this thing, Joyce. So thank you for everything that you do. Just an admiration of it. And then I had a crisis thinking, oh, it's a celebration. And then I thought, wait, do I read about missing people or do I read about ecological devastation? And I thought, no, I can't do that. That's depressing. I'll read about horror films. That's my cheerful stuff. So what I brought is, I brought a triptych to read you, but I'm gonna start with the process note for this particular project. Process note 60, 666 considerations on horror. The creature emerges as a fragment. In this act, reflections transform, the reflection transforms the intangible into the corporeal. There is a slipperiness to capturing identity. One Sunday afternoon, I found Frankenstein. I knew immediately that I loved him. I grieved him. I was him. I grew up with people who would not say certain things, but the words came, falling out like teeth row after row. I caught them. Like some people catch unsubstantiated fear of the other. Like Goliophobia was to the shark's demise. In a nightmare, I opened endless doors searching for answers. Collections of words are sacred realizations, sometimes glossolalia. The landscape of horror films is fashioned from the details of lost identities. In El Salvador, I'm black, but black in that we don't have black people in El Salvador way. Joan Didion's book, El Salvador, was a slasher film. It offered one way to see the worn-torn self, the walking dead. I shut my eyes as one does during the scary parts of a horror film and closed the book. There was blood everywhere. In conversations about identity, a friend says, I never feel Latinx enough. Says, but at least you speak Spanish. Another friend says, I knew it. When I tell her I recently learned that my father's side of the family is black. He said, oh, sorry. I recently learned that my father's side of the family is black. Another friend says, but you're not really black. Father never said, we are black. He said, try not to look black. Frankenstein is not the name of the monster. The monster has no name. Frankenstein is the name of the father. Horror films help to make sense so that I might love my monster, love your monster, love my father's monster, love the monsters my friends carry, even love that monster Joan Didion. American anxieties find a good home in cellulose. Becoming numb is body horror and an integral part of the pantheon. What I know is I can find myself in horror. Stories lurk, lurch and levitate.  Horror is an allegory, a not so secret secret. Horror has a penchant for mimicry and repetition. Recurring themes include desecrated burial grounds, infrasound that pairs with the spongy tissue of marrow. The company of the haunted. Cherry colored lip gloss, a certain coming of age trope, dioramas of wounds and the tender view of teeth, all that is swallowed. Horror gives trauma an alternate ending. Studies say we don't go to horror films to see violence, we go to witness the unraveling of rage. In The Thing, there is one woman identified character.   Wrath is a meditation, horror is a wish. Consider the monogamy of some monsters, their single focus and the promiscuity of others, how they alter everything they touch. My father would drink and ask, why are you so dark? Monsters once lived on the edges of maps. Art historian Asa Mittman says, monsters do a great deal of cultural work, but they don't do it very nicely. Somewhere inside me lives a wish to incite fear. There are many casual things said about my skin, the tangle of my identities. Deep in the swamp, sunk in the silt, among cypress and tuplo, in brackish water, among Spanish moss and shoebells, lives the forgotten creature from the black lagoon. A good horror film shows us who we are and holds warnings and questionings. What if we are the monstrous thing? What if we are the rescue group that shows up at dawn to shoot the lone survivor of the long night? What if we are every character in a horror film? What if every horror film carries a truth, even the worst of them, emerging out of darkness? I'm shining a light, won't you come and see? So now you know me better, you know what cheerful is for me. No, but really, I do find it cheerful, I love horror films. So this is a triptych. And I think you'll probably know pretty quickly from the title of the first piece, Jaws. The tension goes on for 81 minutes before we actually see the creature. Is it vagina, dentata, or is it Maybelline? Consider fine china, a spiked Venetian chastity belt, shark's lament, not swallowing Richard Dreyfus whole. Smart fish. Some days I want to be a shark, a terror, armed with an ampula that predicts what creatures will cross my path. The magical powers of long breath and fame, to be the star of a mythology so strong that I become a franchise. My very being an opostmatism before tearing flesh with serrated teeth. I will say now you can be afraid of my skin. Every fourth of July, us a shiver of sisters will circle a reminder, a celebration, sharks basking and endless. Thank you. We're about to enter the schmoozing portion of the evening, which we don't film. So thank you all for being here. Thank you to the readers, Joyce, Richard, Lee, MK. Thank you to all of the people who came even though they weren't going to be on the stage and thank you for everybody who does this poetry thing because it's hard to do sometimes and we keep doing it. Take care.


Microscopes stand for a light, but there's nothing in it, and most of it's gone. Huh, okay. Which means most of it's gone. And what's going on here? We're in the basement of the house of Rodney Penbury in Bolton, Vermont, adjacent to the Winooski River, which is separated from the house by a large cornfield, a railroad track, and another field. Water came up to the ceiling just one inch below the floor joist, the subfloor. I mean, it's up on the floor joist. You can see the water line up there. So that's about nine feet of water in here, and it flooded everything. And so we're taking everything out and throwing it away. We have a big dumpster outside that's now full, and we've got another one on order, and we're going to take and put more stuff in it, including basically everything you see on this shelf and the cabinet behind you, and the washer, the dryer, the running machine.  The biggest loss is, if you can see through that doorway there, there was minerals and crystals all stored and packaged and labeled, and the flood caused a rare situation where the sump pump hole blew up from the bottom because of the weight of the water above it, and it blew it up and destroyed the concrete floor, ripped it up and put about two tons of soil from the lawn outside, including the sod, all inside that room. And when it did that, it blew the minerals off shelving and benches and in their containers. Some of them lost their lids. Covered them with silt and mud, as you can see here. There's mud everywhere. And this isn't the room that was first hit by that. This is just stuff that came through the doorway. So that's the biggest loss, is trying to deal with the minerals, which are from rare locations like Mount St. Helaer, where the minerals are fist-sized, whereas in other parts of the world, if they're found at all, are just microscopic. And it's just incalculable loss if we can't recover those. I'm going to try to retrieve them from the mud by soaking the mud in a screen, and whatever gets caught in the screen, I'll pull out and save and evaluate. We'll see how much can be saved. And this was different than, you got flooded during Irene. Yes. But what was the difference there? Irene didn't cause the disruption of the floors. It was just water coming up, water going down. There was a very light silt, and I had washed and cleaned most of the stuff that was affected by that. This is much more catastrophic. Anything else to add? Not at this point.


Howdy all. Welcome. Thank you so much for joining us at MozCon this year.  And I'm pretty excited. This is MozCon number 10. So it's been going for a few years now. I know many of you have been to MozCon before. I just want to say that this year the organizers have gone an extra mile in my opinion to make this an extraordinary event. And I think you're going to experience that today. I think you're going to experience it over the next three days. So let's dive in. I've got some exciting stuff I want to share with you, which you might have taken a sneak peek at on Twitter. This slide deck, at least the data portions of this slide deck are available on Slide Share. And I look at the MozCon hashtag or my Twitter and you'll get the URL there. So let's talk about what Google's been up to this last year. I think they're trying a whole bunch of new stuff sort of interesting. So breaking into job listings, which I'm sure you saw just a couple of months ago, into reservations just a few days ago. So now you can book right through Google. So I think schedule illicity and sort of those folks in that space probably a little freaked out, which I think would be fair. Breaking into cultural content, have you seen this project, Google Arts and Culture project? This is Google essentially breaking into the content world and coming up with some really remarkable amazing stuff. I mean, they obviously have an incredible budget for it. But it spooks me out a little. It spooks me out a little because, well, I'll show you why. I think Google getting into the content game is dangerous for all of us and something that we have to pay real attention to. They've also been doing some, I don't know, I really find this kind of sketchy. So this list of the best accounting software, which I'm sure you've seen many card style formats like this, this comes from the top ranking organic URL. If you go to that page, you'll find an actual list. It'll include all of these. It'll have details about them. But Google's sort of saying, oh, no, I think I'll just take your content and I'll publish it in a format that gives you no clicks and no credit. You don't even see a URL there. There's nothing that you can click on. These will just bring you to searches for these other products. I don't like it. I think that is breaking the fundamental contract between web content producers and website owners and Google.  You give credit. You give some path. They're taking that away. Very frankly, it's troubling. You might have also read AJ Cone's amazing blog post recently on the challenges Google's facing, the challenges all of us are facing, with Google deciding not to penalize link spam, but instead to mostly, mostly ignore it. You might say, well, Rand, why is that a problem? Well, here's the problem. If you are a spammer, you had to pay close attention to the work that you were doing because you could get sites penalized or banned and removed from Google. But now that it's being potentially ignored, you can kind of spam and jam all you want and just see what works and what doesn't. And so I think there's this reemerging ecosystem of link spam out there, and that's a little troubling as well. Google's also facing what I think is their first real threat in years with Amazon's Alexa. I think Google knows that voice search is a huge future, not the only future, but a huge future for search, and Alexa is a real challenge. Google lost their first big case to the EU. I mean big, $2.7 billion that they lost for promoting their own results ahead of other folks' results. And I think this is actually a very good thing. I hope Google does not win this case on appeal because I'd like to see Google get a little more careful about how they display results and a little more fair about that. Of course, that happened in the EU because in the US, this is nearly impossible. In Canada, Google's facing some potential regulation of their results. You can check that out. In the US, Google is just a very smart, savvy political player. So they were, I think, the second largest lobbyist donor to both Republican and Democratic lawmakers over the last few years. They are also this article, great article from the Wall Street Journal, revealing that Google has been paying a lot of professors and academic institutes to produce research saying that everything they're doing is good and fine, and no one should pay any attention to them from a regulatory standpoint. Which I don't know, I know it's legal, but sketchy, man. Is that not doing evil? It's like doing, that's kind of evil. But they are still the unquestionable behemoth. I have some great data to show thanks to, we formed a partnership with Jump Shot and I want to say a big thank you to Sean and Randy from Jump Shot. I think Sean, you are actually here. I don't know if you're in the room.  He's super rocked. Oh my God, look at him back here. You rock. You were, all right. I know I only have a few minutes, but yesterday, yesterday, Sunday morning, I emailed Sean. I'm like, hey, I need this other data for the presentation tomorrow. He's like, sure, I got nothing going on. It's Sunday. If you do that for you, sends it over, phenomenal, phenomenal. So let's ask ourselves, where do people search on the internet? Where do they search? Turns out this is a breakdown from the clickstream level, right, Jump Shot monitors, millions of US web users through their browsers, both mobile and desktop. And you can see that core Google search, I don't think anything on here is hugely surprising, except images. I almost could not believe images, and in fact, I'm going to do a whole blog post with the data that Jump Shot has about Google images. Basically, most of that Google image search is coming from Google core search, but once someone does a Google image search, they do hundreds of Google image searches, right? I think this is mostly people in bars who are like, no, I think he kind of looks like Bradley Cooper. Look at C, Bradley Cooper, no, man, he doesn't look like him, he looks like this other guy. I think that's what it is, that's my suspicion. This is May 2017, so that was October. This is May. You can see it's changed a little bit. I actually have a delta here. We think this is because of Halloween. October has an unusual spike in image search. We believe that's a Halloween related thing. And then this one over here, so Google Maps going down, is actually compensated by Google's local packs getting more of those clicks. So Map Search is not getting the referrals. And then Amazon and Facebook, I'm interested to see that both of those are growing their share of searches. I think that's fascinating. So far, 2017's trending about 10 to 15% higher in search volume, total search volume than 2016 was. There's some seasonality, of course, that you can see in there. And I think that's a good thing for us. That suggests searches still growing even in a very mature market like the United States. That is a very good sign for search marketers, very good sign for Google, certainly. We also had a breakdown, US, UK, Canada, so you can see in there how many searches people are performing on average per month and the percent of searchers with 10-plus sessions. So there are a surprising number, I think, a surprising number of people who performed fewer than 10 searches per month that really, really kind of shocked me. I guess it's because of the world that we live in. I can't imagine only doing nine searches in a month. Someone told me, you only have nine Google searches to do this month. I would be panicking. That would freak me the F out. All right, click through rate breakdown. So many folks, myself included, have been worried that a lot of what Google's doing is cannibalizing the clicks that organic listings, like the ones we all try and optimize for, are getting. And I think this data is suggesting that is not the case. This lid is suggesting I need to work out more. Jeez. SEO, I think, is not actually being cannibalized. You can see, so paid search up there, getting about two and a half, three percent, and then no click searches, getting around 40-ish percent, 45 percent sometimes, and the rest going to organic. And that's been fairly flat over the last year and a half or so. So I wanted to ask, I asked the jump shot guys, like, hey, Sean, can you tell me what are the web's top traffic refers? Great. Now I'm getting myself all wet because I can't. And Sean said that to me. This is basically a breakdown of the share of referral traffic sent by all of these websites. These are the top eight, I think. I don't know. I guess it doesn't surprise me, but Google being ten times bigger than anyone else freaks me out. This is just Google's world and we are living in it. And that is, that is frustrating. That's hard, right? So over here you can see when Reddit stopped using Imgur for their image hosting and that meant Imgur dropped dramatically in terms of their traffic.  That is somewhat surprising to me that Reddit is so big, right? They're bigger than Bing in terms of the referral traffic that they sent. But a lot of that was to Imgur. And in seven months, right from October to May, Google actually gained more share than anyone but the top five had. Insane. Insane. That's frustrating. Not all traffic refers are equal, though. If you're rooting for Facebook here, be warned, take a look there. Facebook sends most of its traffic to the top ten. Google is really evenly distributed, right? I mean, this is, look at that, the 10,000, or the lower 10,000 sites that, beyond the first 10,000 sites that Google refers traffic to, actually get more share than the top ten or the top hundred. That's good news, right? Google is sending traffic everywhere. Facebook really buys to the top Reddit and YouTube even more so, right? They basically send traffic to a few websites, but not the rest of us. So we live in a Google world here. I mean, when it comes to web traffic, Google is just so unbelievably dominant. I don't think most marketers even recognize how dominant Google really is in this space. I think we think of Facebook and Amazon and other players as being potential. But stay tuned on Wednesday. I'm going to talk a lot more about how we can fight back against this, rather than just scaring you. I will have a presentation on that. So we've had ten years of MozCon. It's been an extraordinary journey. And this is the first one. This is the only photo I can find of it, 2007. You can see donuts, the only snack we could afford at the time. We had one presenter, well, a slightly chubbier version of me. And I think it was at like seven hours of presentations. And I was the only presenter. So I did like, here's my keyword research presentation. And now here's my link building presentation. I don't know. I was young and dumb. Was anyone there for that? Does anyone remember that? A couple of books of that? Yeah, yeah, yeah, all right. Crazy. So MozCon 2017, what do we have in store for you? Well, we do have an exceptional lineup of speakers. And then they invited this guy. I don't know who he is. Looks like he has a ridiculous mustache. We've got, we've really worked with our speakers on making sure that the tactics and the takeaways are very actionable. We have lots of snacks. Lots of great snacks. I'm looking forward to that. A giant friendly robot who you can hug and take photos with. And I'm very pleased to say that Charlene, Charlene Ditch is back running MozCon. She's done an amazing job for years. And now she's working as a contractor and runs her own events business. And it has been wonderful working with her. We have one hashtag for you, hashtag MozCon. Don't need to use the year or anything like that. There's two parties. Those are on the ones tonight, the crawl. And then on Wednesday, the garage party. We have three days of flawless weather. Like Seattle is basically like, oh, the rest of the country is really hot or humid or whatever. Just keep it a nice 75 degrees and sunny. We can do that for you. On Tuesday night, MozCon Ignite will be hosted by my wife, Geraldine. I hope you will all join us as an extraordinary event. One of the most special things that we do every year and really a powerful experience to see your fellow marketers outside of a marketing context giving some really interesting talks. As always, I recommend in order to keep hygienic, in order to prevent the spread of germs from many countries and many states, let's all fist bump instead of handshake. I think that will really, really help. Marketers love science and science says the fist bump is the way to go. So let's do that. We have a code of conduct here at MozCon. It is very important to us. I'm gonna tell you a brief story about a project that I'm working on. So last year, sorry, this is hard. Last year, I got an email from a woman who said, Rand, I'm sorry that I need to share this with you, but I don't know where else to go. She had attended an event that I had spoken at and she was assaulted at that event by a speaker. By a speaker in our field and she told the organizers about this event. She told the event organizers and they said, we'll take care of it. And then a few months later, she saw on their website that they had re-invited that speaker to keynote the event. And I was heartbroken. Like I did not think that kind of thing happened to us. I didn't think that's who we were. And so I'm not just gonna tell you about this event. I did talk to the organizers. They uninvited this guy. I've tried to make sure that he doesn't speak at other events as well, but he is not alone. This happens in our field to people that we care about and we can put a stop to it. And that's why I'm starting a project called Project Events Safe. The website is not yet live, but it will be soon. And I've been working with some lawyers here in Seattle who've donated some time to help make this happen, as well as many organizers, dozens of organizers around the world who I've emailed and they've said they'd be excited to participate. Hundreds of speakers who said they'd do the same. And when this launches, I hope you'll all help me. But this is a real issue and we wanna solve it. Oh, thank you.


So guys I am back with another dying light 2 video and today guys I want to talk about the authority pack now the third Piece of the DLC has now arrived for you to download Because there is actually a secret set bonus with this set. So if you equip and use all well seven pieces You get a stat bonus and today we talk about what that is. How's it going guys? My name is D.P. Jane if you do enjoy the video leaving a like really helps out and you feel like what you see and want to see more Be sure to subscribe Okay, so your authority pack as you can see on the screen now You actually have to redeem this via your store. So steam the Xbox store the PlayStation store and then it once you redeem it It goes to your stash You then have to go into your stash tab across redeem it again the weapon which you can see here Because it doesn't have you can't modify it. I can't put the correct charm on it So obviously it's your ability ain't gonna last forever. So it will break But you can redeem this every five hours if you do want to continue on using it now The problem with this gear or players like me and many of you guys who already at the end game It's a lower than the gear we've already got In fact, it's way lower. It doesn't scale with the gear with with the gear we've already got either So it's just it's locked at a level six gear armor, which is pretty Pointless in end game players even using it But that's besides the point anyway, I've made a video discussing this already But yes, when you get this gear and you could put orders actually a hidden Set bonus on this stuff now. Like I said, there's no indication at all in game of where this is It just doesn't tell you but it is when it was confirmed by devs It's gonna be been confirmed by numerous sources and actually went out my way to ask the game's design lead On if there is an actual set bonus for this if it is what is it because we just can't find it in game and He replied with this as you can see by the screenshot on the screen now So I asked hi there is I've redeemed and equipped all the photo back Yeah, any idea what a set bonus is and he replied with yeah, I know it's not visible And we'll make more clear enough today next patch. Okay fair enough But six percent of the main stat but if I would teach human damage resistance if my memory serves me right Okay, so yes, it's six percent of the main stats so we can see here We've got four percent on said piece four percent on said piece Accumulated I'm guessing we get six percent overall total on what it all accumulates to And that's what the set bonus is now when you're at my level and You're fine enough against human enemies. I mean they still hit you real hard as you'll see I let these guys hit me He's a renegade so that obviously look at that Because the gear armor so low anyway, I mean, I'm just getting absolutely blittered and now I'm gonna die So either way yes, I appreciate the food gesture loot DLC. Whatever. I mean, it's all good and dandy Let's hope in the future they make it basically I able to end game players as well because I think it looks quite cool. I think it looks actually pretty cool I do like it. I really do the problem is it just It's useless to me and many other players which is you know a Shame either way, I hope they get it right in the future because we know there's actually another pack coming Another 3dlc pack for armor, which you'll see on screen now. This is a part of the roadmap. It's when they actually announced this So I hope with this we actually get so it scales with with us with our player level Even with the enemy level, I mean we just want it to scale so we can actually use it So it's viable to us because like I said, it's pretty pointless In my opinion. So yes guys for those wondering what this set bonus was Although it doesn't tell you in-game. There's no indication of what it is in-game. It's definitely there whether or not It's actually useful to you for me. It definitely ain't but there we have it guys But guys well short but sweet video today Hope you enjoyed it if you did leaving a like really helps out if you're new around here I'm gonna see more dying light be sure to subscribe and hopefully people I will see you on that Next one Just ain't powerful saying good enough just ain't good enough switch my gear over


Welcome to this first session after the keynote and the pre note that I hopefully all of you were attending this session is about how we pitch Drupal and how we pitch to large enterprises and How basically we create business value by using Drupal? So my name is but the Sonya bright. I've come from Iceland. I have a bachelor in computer science I have a master from Vienna here the technical university in Engineering management. I have two kids that get every year. They're drood droid t-shirts here at the con So if you have kids meet the guys at the droid and get a t-shirt for your kids This is always the Christmas card every year and I also have Husband and I've been doing Drupal since 2007. So since Drupal was version 5 and we basically did everything wrong back then But we've learned a lot since then So I own a Drupal shop in Frankfurt and we also have employees actually around in Reykjavik and As of the 1st of November, we will have office in Coneel in Spain. Yay. We're gonna do bitch code the beach coding We are 18 people at the moment, but as of November, we will be 20 something a very international crowd Speak 13 different languages Or we have 13 different nationalities in our team But most important we use distributions a lot and we contribute to the distributions We use Drupal 8 mainly except that the projects that we are actually Just maintaining but we since two years now. We only create Drupal 8 projects And we are maintaining the de golf distribution for the German government. We have a booth here, too So please come and visit us. We are partnering with image X on open edu. It's a distribution for higher education We are working with the Thunder distribution and the commerce guys We launched the first web shop in 2009 now in April and beginning of April in commerce, too And we have done a couple of them since pretty pretty good I advise you also to go and meet them but most important. I'm really involved in the community and organized camps and organized local events both in Germany and in Iceland and One of my one of the highlights are probably the northern lights camp that was a little bit Where people flew in from the States and flew in from the Europe or where we are now and they met in Iceland And did a lot of sprinting and we had a lot of fun there. So we're gonna do this again but What am I gonna be talking about I'm definitely not gonna be talking about Drupal nor Drupal 7 or 8 Symphony open source license fees or anything like that The session is going to be about how enterprises or large Organizations can create value by using Drupal and how we actually pit pitch this when we go to large Organizations and how we like this is basically our pitch that I'm gonna be presenting So I only have 20 minutes, so it's gonna be a little bit quick But I hope that I will at least be five minutes before I have an end to it so you can ask questions So what do we mean by large organizations or you know, that is like large companies like for example Buddha media in Germany Pfizer Johnson and Johnson. It's also about government Universities, it's about agencies marketing agencies that That are always doing the same thing again and again and again So the bottom line is it's basically for Companies or organizations that have very many web projects and this is Of course happening all over in in large organizations So what are the problems that these companies and organizations? Enterprises are actually having today So I tried to make this slide nice I couldn't because I have to say so much on it So the problems that Enterprises are having is that they have very many websites. So it means they often have very many different technologies So they have like Drupal WordPress site core Joomla core media Adobe homemade solutions. Wow that is in Iceland That is the thing in Iceland or was at least So when you have very many technologies, what do you then need to have you have to have a different experts You have to have different teams different deployment mechanisms different hostings So these are all the problems that you have when you have very many large Web projects or not even largest in general many web projects So basically you will need an expert for every single site that you are maintaining or creating this Causes high risk high cost and burnouts and this we've been seeing again and again and Therefore I want to tell you about the example that As I said before I come from Reykjavik and we are a country of three hundred thousand people and we are really good in football and soccer So the city of Reykjavik we have 120,000 people living there and Of which 10% work for the city of Reykjavik Because the city of Reykjavik basically does everything they take care of the schools and the kindergartens so 10% almost Of the people that live in Reykjavik. They work for the city So let's look at that as an example and see how we can help them to create value for the city This is the status quo. How it is today They have 50 Drupal websites. They have 150 Jumla websites to at the five content access L websites 25 VIX websites 25 WordPress websites and 25 sites made in some kind of our other system So you can imagine the problems that you have if you're trying to maintain this this is 300 websites so They all though have one thing in common. They were all created. They were deployed There is maintenance and bug fixing going on all the time 300 times So you can imagine what is the problem there? So how can we solve it? That's why we are here, right? So we can solve it by focus on one single technology and that is that can be Drupal That can be something else, but we decide to use Drupal because we think that Drupal Can really do that plus the city of Reykjavik. They have said that they want to use open source technology So let's look at this Example a little bit differently. So imagine we have the 300 sites there on the right side or from you guys on the left side so every single website Consists of four different layers at least and this is just like So we have in the base. We have the base system layer. That's a management content management system that you're using Then you have the core layer and that is the core modules the base theme the you know the installer So you have maybe created some kind of a blog or events or news Then you have the context layer. So for example when you're creating 120 websites for schools, you know, there are certain things that the schools needs needs and there's something else that other Projects need but you create that in the context layer and then on top you have the project layer and this is the specific layer for your website So this is how we like to like Look at it because When we analyzed all 300 website we noticed that there is so much stuff in common At least from bottom and up So how do we then do that? We create a distribution So by creating a distribution or a puppy is they even here? there was a nice blog that he had about distributions and What you basically do you take these Modules or elements and you pack them into something so basically you take The bottom with we use Drupal 8 and we use aqua lightning on top of that and this is just because we have looked at it and we have Seen that they have a lot of good stuff already in there. So we don't have to build that too So we start like by clicking together the modules that we like and we use again and again and again Then we take the core layer. We have the the base theme we have the All these all these elements or the blog element and the events and all that and That we go on. So are you so far with me? Just recently there was a meet-up in Boston where trees was actually addressing Let's make distributions great And he said people don't really want to download all these different pieces and couple them together and figure out how to Configure them and deal with maintaining them and upgrading them Distributions can really reduce so many barriers to adoption So by having a distribution we can already have all this We don't have to do it again and our programmers. They also don't like doing these things again I don't know how many of your programmers have created some kind of a news module on a website every single time So let's now think about so we're trying to create value and one of the Variables that we are using there is cost So let's just imagine that we have an average price per site 10,000 euros that not that is not a lot of money, but let's just play with that number a little bit So if we say like of course we know in the city of Reykjavik that we have very many sites that are really expensive and much more Expensive than that so let's just but there is also very many landing pages that do not cost so much So let's just use this example and you can use this number and you can put it up or down Depending on who to who you're talking to Let's then take the layers and just put 2,500 on each layer You know it would be interesting and this is what we are thinking about just try to see like what is the real relationship in Each layer, but let's say that it's one fourth It means that for the city of Reykjavik and all other enterprises with this type of Web project they have spent 3 million euros on creating these websites So 300 websites times only 10,000 euros is 3 million euros That's a lot of money and if you just put this number up to 20,000 you will have a lot higher number So Let's then try to look at it if we do the same calculation with a distribution. Okay Distribution cost money. That's no doubt. So let's just put any number on it Let's just put like hey, we have to do so much we have to work like we have to create all these modules You know Glenn, you know how much time it takes to create a distribution, you know So let's just put 750,000 euros and creating the distribution seems to be a lot of money But in comparison with the what's gonna what you're gonna end up with is not very much and Then for all the websites that we are creating every single time we only need to spend 2,500 euros on each website So we have 300 websites times 2,500 euros. That's 750,000 euros Then we have the initial cost of the distribution and having maybe a somebody Maintaining that distribution and taking care of it and that will result in 1.5 million euros Which means it's late leaves us with 1.5 million years Which is a lot of money in a governmental space for example and in any enterprise of course So this is seems really clear like why are we not doing that? Why are we not just all doing exactly this if we have this problem that? We have very many projects So it is not only about the cost it is also about Freeing resources for innovation and it is also about using this 2,500 euros To do something for the project itself to the website, you know make some awesome front end with React, you know do something really cool and use the money on that don't use the money on Doing this stuff that you're doing again and again and again So we can even like then we can calculate and this is what we do we calculate with the client We say like okay, let's take the 2,500 and let's hire that up So like make that a little bit larger portion on the top You know then you even have more money to to you know to have your departments play with and do something awesome But it is not only about freeing like getting less having less cost Freeing resources for innovation in your company But it's also about having your employees happier and very much less Burnout for example because if they have to only focus on one single technology It's definitely easier than having to deal with the problem that I showed you before and of course the risk For an IT and now coming up the the EU Governor like the compliance laws and all the data protection Of course, this is also very important that that is just all part of your basic distribution So they don't have to start doing that again and again and some people some agencies do it bad and other do it differently And then you know the IT is trying to maintain that and can't do that So this is then the question that comes up every single time here, but we already paid 3 million So how do we solve that? Well, it's not like that We are going to be taking all of the 300 websites and create and put them into the distribution That would be madness So what we're gonna do we are gonna create the distribution as the first thing we're gonna do We're gonna work together with a team we are gonna find out what the layers are and Then every single new project that is gonna come it's gonna be put on the distribution and That is how we're gonna do it So slowly from now you are going not to spend 3 million next time because we all know that the web projects They live not longer than maybe maximum five years So they anyhow have to be done and again and again So we already have maybe 25 website that we can just start them doing right now because they have to be done anyways so Basically, it is still a pitch. We are Asking for a lot of money now to create a distribution To of course save money later But the good thing about ruble 8 is that it is Upgradable it has no end and this is one of the big things that we use in our okay I said that I'm not gonna talk about ruble 8 in the beginning But I have to say this one thing that it has no end so triple 7 will have an end Where it's not being maintained, but ruble 8 and on will continue so for enterprises This is also a very good Tool to start using this is though possibly a problem that we are always seeing is that We are possibly asking them to kick out their favorite vendors and they are already used you know using a lot of web agency that they love working with and These web agencies don't necessarily write code and PHP nor like Drupal There we have to work a lot with the client. We have to offer a lot of training We have to create a lot of documentation of how to use this so they can still work with a with with their vendors And that is very important It will never work that I come in there and say like hey guys I'm gonna take care of it all and I'm gonna take all the 300 websites that are out there for the rest of the world We know that too. So we really like Tell them that we are gonna help you, you know, we are gonna take care of your distribution We are gonna help you with that stuff and we are even gonna enable you to work with the best front-end company and the best Company that does integration to whatever system they're using So that is really important in the pitch to tell them this that we are not or that is not our mission That we're gonna throw everything out We are just gonna make sure that your basic stack Technology stack is just under control and we're gonna help you to save money there so therefore the bottom line as I As this is a very short session and normally often you also have a very short pitching time So this was my pitch. You just have to say we have lower cost less risk and happier employees and I can assure you that this is gonna make the sale Like they are gonna believe that because it is also true and this is being done now All over I talked to earlier about open edu distribution for a higher education Made by image X media here clan We have the D go for the government now and we see the commerce guys. So there's this is being done a lot now in Drupal and Thunder with with the Buddha media. So I encourage you just to look at that and also use that when you are promoting And now you're trying to convince the clients to go this way So just a little advice in the end that came also up in this Boston user group On the 5th of September. It's a good friend Mike Miles who also came to the triple camp in Iceland He said two things that are really important. So number one If you want to build a distribution, you need to remember that you're not building a single site You need to abstract your problems and solutions though. They work for many sites You have to think about that and you have to build your distribution that way you can't just Focus on this one side So and the next is that if you're building a distribution You will probably deal with very many different teams And they have different expertise and priorities. So not everything is a need to have So try to get the teams to think in terms of brand best practices and guidelines When describing the functionality they are looking for and this is a lot of work This is probably the biggest challenge you have is to convince them all to That not everything is necessary and try to put that stuff maybe up to the top layer that we looked at before so That is I think I have already I think five minutes. So I was I made it Yeah, questions. Yes, please and could you maybe come here because of the otherwise I will repeat your question Because they have to record it all I have a question. I'm actually I Guess one of you not yours, but I'm saying just a person that uses Drupal our business has over 64 websites Plus because we keep acquiring companies And then we have this we're working in 7.5 right now We are actually trying to get money for the upgrade for Drupal 8 now We are converting we have over 22 websites already in 7.5 and we're trying to get to this Yes, right. So as part of that and what you were saying is totally right trying to even though we're a fortune 100 company in the United States We still struggle getting money. I'm part of the digital marketing. I'm the head of the digital marketing So my question is this when you put in can you put in back that slide where you had the buckets? This one. No the buckets where you had like the definition on the bottom Yeah, right there base theme and all that So when you were saying that there's nice to have and they're the ones that we truly need Would you say that these buckets are kind of like the foundation of when it comes to functionality? Yeah, and then when you add me once you just add additional buckets with them Yeah, well, we try to fit them into the buckets So we try like and this is most likely the context layer then where we start to like put your Your business into like what is alike and if we think about the city of Reykjavik, you know We have the kindergartens. They are pretty similar and they have same API integrations And then you have the the schools and we put them and then we start creating that Modules in the context layer and then on top that is just very side-specific Module and how did a quia help you get there? What sorry a quia, which is the partner the offer to buy yeah So we are using a quia lightning and they just come with a lot of for example in media They have a lot of stuff done already that we are just using and this is also open source so the the the droopalate and the The a quia lightning is open source products and there are very many agencies that are using a quia lightning as their base when they start creating websites and We just pack this together and we put on the correct modules how we like it and they have already done this configuration for us Partly and they are also maintaining and making sure that the media for example is just working out of the box And that's a challenge that we have often been having that every single time you have to you know They come with some new module and then you put in this module or you know and we just use that as a base and and work from there on and the base could be then you know the same Open edu Distribution they are also using the same same base as we are Okay, thank you. Yeah, I hope it answered the question Anybody else no Yes, please Can you go to the microphone? Yeah, thank you We as a droopal building company have often the problem that customers have very special wishes for modules or other Contrib things Which are not really sellable to other customers This is not really fitting in your plan to build everything you do for the cluster of your whole Customership, so how do you deal with this problem? You have to you have to make a really good decision Where does it fit in this here? at the moment like What what we have been doing with de cough then we are basically open sourcing the bottom to Which means that that part is just something that when there comes a wish We look at it and we have experts of people who then decide if it is a good good thing to put in the Distribution that is open source or not just like actually just like we do it in a droopal project the same Procedures the same way and then you go to the next level and you start thinking about doesn't make sense for this level or not and then it always ends up then in the in the top layer which then can grow You know, but at least you have saved the the 2.5 times 3 You've already saved that and then you just can use at least that money You can even use 10,000 euros than to do the top one, which is then awesome Cool. Yeah, thanks Any more questions? Good, so I hope you enjoyed it. If you have any questions, you can at any time come feel free I'm probably walking around here and Yeah, just come and talk to us


Nick, describe what it took to pull out this one against this Cavaliers team that kept coming back and going on runs. I mean, it was pretty resilient, especially Garland. He really got going really throughout the whole game.  And sticking to the game plan, Jerry Allen was a big part of that game plan. Jack Vaughn just said you guys were able to exploit some of those mismatched matches. What did you see that allowed you guys to kind of disrupt Jerry Allen's offensive flow? Just being solid. I got a lot of experience playing against him, you know, in the past. So just being solid and it's a team effort, especially with guys that's really crashing the glass like that. And we just, all five guys, we did a good job. And we have a lot of links.  And to see TJ get going, coming off of the binge, what did you think of his performance tonight? I just told him a good work. He hit some tough shots and timely shots that we really needed. And, you know, we're going to need that from him going forward, especially in games like this. When the offense can be less stagnant and having another guy that can go out there and create, it's big for us. You told me the other night that the statement that this team is making during this winning streak is that you're coming for everybody. Now, Jack told us that the message is to continue that even on the road. How do you build off of this and continue that momentum as you guys get ready for a couple more road games? Yeah. I mean, the best teams, the best teams can win wherever, like a home on the road and you've got to be consistent. I think for us, our staples should be really just defense. We just stick to our defense, the offense. I always believe it will take care of itself. We've got a lot of guys that can score a lot of shooters. So, the road games, they're always fun, especially here was a good atmosphere, but we did a great job tonight.


Hey guys, welcome back to our channel. My name is Andrea and I am here today with a Kroger fill-in haul I spent $119 and some change and I had a $50 fetch rewards gift card So my total was about I think $69. I believe that's what I paid So let me jump right in got some great deals. So I got these Pringles They were buy one get one free and my four-year-old little boy loves Pringles My husband likes to eat these tortillas often with different types of bills and they were also buy one get one free I needed some parsley for recipes and then I also got four Russet potatoes just to have on hand make big potatoes or other recipes I love to keep frozen onions on hand when I don't have fresh onions And I just don't feel like chopping these are perfect and I use them in recipes all the time What I really went to Kroger for was their unsalted butter Is on sale this week and I got there were two. I think there were two twenty nine For one pound of butter, which is a fantastic deal And I'm just gonna throw this butter in my freezer and use it when I need it I've never had a problem freezing my butter So I got four Unsalted for baking and then I got one salted that I keep on the counter and we use it to butter bread or whatever else We happen to be using I bought a jalapeno for a recipe and then I found some meat on clearance I love egreg smoke sausage and this family-sized pack, which I believe is three pounds I got it on sale for three ninety six Originally it was 1099. So that's a great deal doesn't expire until June And then I got these two packets of andouille sausage They don't expire until April 17th, and they were on sale for a dollar 44. They're originally 399 I have a lot of Zattern's rice mixes and other types of Cajun Creole Box mixes in my pantry that I need to use and I can use that andouille sausage for that Got a couple of packets of pasta. These are 12 ounce Skinner And they were a dollar each. I got fettuccine and linguine for a couple of different recipes I just needed some daisy sour cream. I use it all the time And so I just grabbed some These chest or peppered farm cookies were on sale for 299. I got butter and the caramelized crisp and Then I really love bubbly sparkling water and this is something new that they have out It's a sparkling water Beverage in its flavored with there's a pineapple tangerine and I got cherry lemonade Triple berry and Tropical punch and these were all on sale for a dollar each of course They do sell these in the case, but I wanted to try them like this first just in case I don't like them They also had some other flavors that I didn't grab. They had a mango.  I think and they had one other flavor that just wasn't my cup of tea So I didn't grab it. I needed some canned corn So I grabbed two cans of the sweet super sweet golden corn and then I grabbed two cans of the Chunk chicken and water just for recipes. I really love these foster farm crispy takeout wings They were on sale for 599 a bag Normally I get these wings from Costco, but I'm not planning on making a trip there anytime soon So I just grabbed these just to kind of hold me over I Grabbed this tide. It was on clearance. You get 57 pods and it was on sale for I think it was $15. So I grabbed that can't beat that and then another thing that I found on clearance Were these ziploc storage bags now I like to have storage bags on hand and freezer bags freezer bag I freezer bags I use for food and for freezing and things like that storage bags I just use those around the house around the house excuse me, but you get 75 of them and They were on sale for 662 can't beat that Normally they are 1299 and normally I get my storage bags from Aldi But this was a much better deal than just grabbing my storage bags from Aldi Another thing that was a really great deal this week Are these nature Valley oatmeal squares my son absolutely loves these things you get 12 bars And they were on sale for 499 each so I grabbed three boxes for him And then another thing that I grabbed is This chimney charcoal starter so we have a gas grill and we also have a charcoal grill I really prefer using the gas. I'm sorry the charcoal grill. My husband prefers the gas But I always have a hard time figuring out how much charcoal I need So I grabbed this this holds the perfect amount of charcoal It holds up to four pounds, which is typically what you need you need three to four pounds for To grill and so I really like this. It was on sale 30% off I think it was 1299 and what I really like is on the side here. There's a little lever There's a little tray. So when you have your charcoal lit and it's ready to go into your grill You can release it and it just falls out. You don't have to worry about Dumping it out or anything like that. So I thought that was pretty good and That's it. I didn't need any meat. I didn't need fruit things like that. This is simply just a little fill-in haul I hope you all enjoyed it. If you did, please make sure to give us a thumbs up If you haven't subscribed to our channel, we'd certainly love to have you Thanks so much for watching and we'll see you all next time


Right guys. What is going on? Welcome back to Napuna Wai Athletics Track here in Christchurch. It's an absolutely pristine facility. I love it and I haven't been back here for about two and a half years or maybe two years something like that. So it was about time. I've spent the last four weeks back in Christchurch on holiday and I always had plans on coming out here. I didn't know exactly what for but now I do. So what we're going to do today folks is test my fitness prior to going back to Alice Springs. This is what you'd call day one testing. This is you know whatever result I get is going to be all about you know just my base level of fitness. My level of fitness that has been maintained through very little and so it's going to be interesting but what a test like this does whether you call it the beep test or the pacer test there's other names for bleep test.  It is a fitness test that is measurable which means that into the future if you do indeed make some progress you can test it and you can uh you can you can prove it you know what I mean and that excites me I always love my statistics my analytics and my measurables and this test this particular test I've done I've done many times right but I began doing it again on this channel and I've done it three times. The first time I think I came short of of 10 just short the second time I think I I think I might have got 10 possibly but the third time and I don't know whether my fitness actually improved I feel like it was more confidence to be honest but the third time I actually got a 12 and so I'm excited today just to see exactly where I'm at you know a couple of years on a couple of years on um with no real consistent work on my fitness so this is going to be interesting if nothing else um it's going to be tough but uh what I'm going to do is I'm going to take a full lap around just to warm up then we're going to place the cones out one here and one 20 meters down then I'm going to get my earphones in put the beep test on in my ears you guys will hear it in the background and uh we'll get into it because really when you've got something like this on your plate there is there is nothing nothing else to do but to just do it you know thankfully the first like three or four levels are really really easy you get up to level five or six you feel like you're going really well seven or eight starts to get tough nine or ten you know if I can push any further than level 10 today that will be a real win so yeah I'm going to warm up get my shit together get my thoughts together and then get into it right guys the time has come what have I got myself into the 20 meter bleep test starts in 10 seconds level one starts with a triple bleep after a five second countdown five four three two one start of level two start of level three of level four start of level five start of level six start of level seven of level nine start of level 10 start of level 11 level 11 relying on a very very very base level of fitness now I could hey if my life depended on it I probably could have pushed through to level 12 but I'd say no more than that so hey look I've thought I've thought of myself in the past to be in really good shape I come I come here try and do something like that pretty randomly I have failed I failed many times today I'm not going to call that a fail but it's certainly not a PB so feeling that this is pretty much day one of my return to the rugby field it's a really interesting test really interesting it's never going to test your 100% you know full sprint but it just lulls you into a sense of um a sense of confidence you know but by the time it got to level four or five I was like okay yeah now I'm in for it and yeah level 11 there you go so by all means I recommend anyone else out there to give it a go post your number down in the comment section below and I don't want to hear anything about oh when I was your age or back in the day when I played football no this is a test anyone can do so please by all means get out there get outside get some sun and push yourself you know it's 9 30 in the morning and I've already done a beat test wowee what a time to be alive okay that's enough from me and I'll see you on the next one


Now with the media and entertainment industry that's all set to double its revenues to almost 2 lakh rupees according to this recent report by KPMG, India is indeed a key market for media agencies as well as all the big conglomerates that own them. According to the 2014 Rekhma Quantitative Ranking, the top three Indian media agencies at least in terms of billing are Mindshare, Madison and Maxis. But at least one of these might lose that spot next year as Densu Ages network. Now they're taking their head on, they've gone on record to say that they'll be at least the second largest player in India by the year 2017. This mega merger that has taken place between the Japanese and the British media group has created an entity that is quickly gaining ground in India. They've bagged a host of marquee accounts like Maruti Suzuki and Monaliz. This has happened this year itself. But now what's the strategy to overtake players like Madison and the whole clutch of agencies under Group M? How is it approaching areas like digital where it has been one of the last to enter? We find out all this and more. Loss of large clients, challenges in holding onto leadership teams, management decisions that led to a divorce with partner percept holdings and a delay in investing in domains like digital and direct. This was the sad state of affairs that ages media in India in 2011 as reported by Impact. Fast forward to 2012, on the global stage, Japan's Densu stunned the advertising world with a £3.2 billion cash deal to buy out UK media group Aegis, parent to global media networks like Carrot and Vizio. The deal shook up the established global advertising hierarchy by creating the fifth largest player with over £3.8 billion in revenues and over £600 million in profits, providing a new rival to giants like WPP, Publicity Group and US giants like Omnicom and IPG. Well, we have very complementary geographies. Aegis Group operates in 80 markets around the world, those relatively small in Japan, whereas Densu has something like 84% of their revenue from Japan has operations in 29 markets around the world. So the combination is very strong from a geographic point of view. We also have a very complementary client list as well, but I think quite importantly for our people and for our clients, we have a lot of shared vision, a lot of shared strategies and I think that bodes well for a very good combination going forward. I think there's a very good opportunity to really build this business together. I think it provides continuity, stability and a platform for growth for our businesses. And myself and my management colleagues are actually really looking forward to this. We've worked with these people now for a couple of months and we're very impressed with them. We think it's a good combination. We think culturally it will work well together. So I'm very encouraged and very enthused about the business going forward. Today in India, Densu Aegis Network is poised to become the second largest agency group by the end of 2017, overturning for the first time some of the historically dominant players in this space. I did say that we would be the second largest group by end 2017. To me it now looks, we'll probably get there earlier, but for now I'd like to maintain that as a deadline because it eases a bit of pressure on me. I think we will have an approach which will be multi-pronged. We will look at acquisitions wherever appropriate and we only make acquisitions for strategic reasons. We will be aggressively going in for organic growth and basically we are following what our clients want. So we are figuring out where our clients' needs are, where do they need help from us and we are customizing our service to be able to fulfill that. And I think that strategy we will be following. Once we get there, whether we get there in 2017 or earlier, once we get there, we would have reversed more than 80 years of ranking in India because the number one and two players have been the same for the last 80 years. And in a relatively short period of five to seven years, I would have reversed 80 years of that ranking. So it will be a historic landmark for us. When we started off, we were number 19 in the market. In the last four or five years, we've proven ourselves. We are now a close number, we are probably number three, but a close number two. So all I can say to them is good luck. The more you keep thinking of it that way, the easier it makes it for us. This enthusiasm is hardly surprising given the Maki Clients Agency has backed in 2015 alone. These include Maruti Suzuki as well as Monolays at a global level. Airtel, Honda Motorcycle, Toyota, Canon, Nikon, Unicharm, TBS, the Aditya Birla Group, General Motors, Philips and Panasonic are some of the others that make up Densu Age's Network's impressive client portfolio. I think size does matter because you need a little bit of sort of a table stakes entry, right? So you have to be of a certain volume. Now, in the last year or so, we've won almost 2,000 crores of media business. Our group is now transacting 3,500 crores. So you need certain size to get on to table stakes on that. Beyond the point after that, there's that diminishing returns kind of a thing. But more important than size, so once you've got the table stakes, you've got all the advantages of scale, you've got the rates from media, or you've got your creative agency clients fully serviced because you have all of that. Once you've done all of that, after that, it's not the size that will matter. It's what are you able to bring? How good are you in your product? What are the relationships that you have with your clients versus services? Are you offering world-class services? Because India today is no longer isolated or insulated. So I think that then starts mattering much more. With digital quickly becoming the buzzword for all media agencies, Densu Aegis Network was amongst the last to enter this space. But this also means it has an inherent last mover advantage in the digital space. Densu is a 110-120-year-old company. Aegis Media itself is a few decades old. But the new Densu Aegis Network is born in the new era, right? So for example, if you look at it today, out of my 2,000 people, almost 750 people are in digital alone. Now that is disproportionate. I get, Densu Aegis Network in India gets about 35% of its revenues from digital. The country average is maybe eight or nine percent, right? But we know that we're over-invested in that because we know that's the future. We've got four digital companies. We've got iProspect, iSober, Densu Web, Chutney and WhatConsult, right? Which is powered by iSober. So I think that gives us an advantage because we're able to do it. The others who've got 100 years of legacy behind them have already got siloed structures and have people who only know how to produce 30-second TVCs are going to struggle. And I think we have that advantage, so why not take full advantage of it?