I was supposed to sleep last night. One Piece live adaptation came out at 8 p.m. New Zealand stand time. See there was a bit of a problem. I was at my parents house. My twin came back from like he he's living somewhere else and he came down to visit us and I really wanted to watch One Piece live so I like forced everyone to watch it. It was great. It was fascinating. It was amazing. My parents seemed to like it and my brother decided to read his book. What a sin. I hope he reincarnates into a road cone. So yeah I had a rough sleep last night because I only watched one episode and I wanted to watch more because that first episode was so god damn good bro. Oh like this video is just gonna be me excitingly talking about something which I haven't done in a very long time like I do videos on stuff that I'm like oh that'll be cool but I haven't done anything on videos where I'm like when the episode started and Roger was there and we got the execution I was so hyped. There were so many references already and like I was like oh my god I've already added that there. It was like I was I was I was I was giddy.  I don't think it's their cup of tea but I think they didn't hate it. That was just so good to watch like everything. Luffy is the perfect Luffy. Holy shucks. It was just so good. Kobe who my mum was saying is the blonde Harry Potter with such a good actor. Oh my god and Zorro. Someone said Zorro was sexy and that was me.   He'd be doing free sword style.  Can we go outside? I want to go outside. It's a great day. Let's just go outside. So where was I? Zorro's introduction.  They made his introduction just a wee bit better by introducing Barok Works. They've already shown that they are doing a season two. They have already shown that wow what season three they'll probably be season three like season two and season three. That's just gonna be so cool. Just so so cool. I was not expecting that because it gets mentioned in Whiskey Peak. I'm pretty sure Zorro is like oh yeah someone from Barok Works you know introduced to me a while back and I was like they made that his introduction and then he sliced him in half. I loved it. I loved it. I was like oh my god the this live adaptation is just doing wonders. They like turned it into a real world situation. They have the swords cut people. Yeah dude it was just so cool.  Like he's constantly talking like this. Oh there's birds fighting on my roof. Okay but yeah he was always talking like uh I'm not part of the crew. Yeah oh you think you're cool. Oh that's my food. I'm gonna eat that. It's just so cool. I'm like me okay.  It was amazing. Like like Zorro was freaking awesome. Loopy was freaking awesome and then Nami as well.  Like wow just every character has been so perfect so far. Like even Garp. Oh god just just everyone is so cool. Everything was just popping off and this is just the first episode. I wasn't able to get any sleep from the first episode and I got to go to work soon so I'm gonna have great great time fun time amazing can't wait great awesome that's just I'm gonna love it really I'm gonna love it. I cannot wait to watch episode two. I cannot wait to watch episode three. I cannot wait to watch episode four, episode five, episode six, episode seven and episode eight. It's all gonna be great. Okay let's change it up. I thought of a cooler shot. I think that this is the best live adaptation ever. Everyone had so many like issues like that. I know this is gonna be terrible.  They can never do a live adaptation. Wow. Well one.  It's just great. I'm like in heaven.  It's just so good. It feels so nice. Legibly it's just perfect. Right now it is just so goddamn perfect. The soundtrack was awesome. The shots was awesome. The locations was awesome. The way the bounty posters appeared awesome. The acting awesome. Okay so there's people that won't even watch the English. They will just go straight to the Japanese dub where it's just the original voice actors which is all right but you're missing the whole purpose of the voice acting. Well not the whole purpose of the acting from the actual characters. You're missing the emotions the the lines you know. Yeah you get to hear um um oh my god I can how did I forget Luffy's voice actors name. Anyways look you get to hear her. She is a fantastic voice actor. Everyone is a fantastic voice actor in one piece but goddamn the acting from the actual characters is so good. That's why I'm gonna watch the Japanese second. I'm still gonna do it. I'm hating on you guys for doing it first but I'm gonna do it second. Priorities. Okay some of us got priorities and that's me. I'm some of us but yeah like so I got my family to watch it. I've said this multiple times but it it was it was so cool because I have been telling them for years and months like one piece is an amazing show. The world building like everything is just so goddamn good and the fact that there is a live action adaptation of it and now that they can like follow it because you know whatever it is what it is so cool. I legitimately hope that my parents continue to watch it because the reason why I want them to continue to watch it is not because you know I love it. It's because I actually want to know what people think of world building the one piece world building because that's like one of the best things about the entire show.  Oh my god but yes I really want to know people who haven't watched One Piece and you're watching this video somehow because it's somehow got recommended to you even though like my videos don't do that well. If this is your first time experiencing One Piece let me know what you've thought of the world building for this season. I've already watched the first episode but I know what the world building is like so yeah what should I talk.  Huh say that say that again because it was pretty goddamn good. Yeah most live adaptations don't have the best visual effects but this has put so much budget into it and it's great did you see did you see Luffy swimming around on the ropes did you see that huh because I did that was cool. This is a good adaptation it is worth the watch it is not death note it is not Dragon Ball it is not actually the Gintama one's pretty good I take that back it's not the attack on Titan one this is One Piece we're talking about god dammit you guys and your hatred your pessimistic views on everything try and be optimistic I was optimistic from the very start of this I was like this is gonna be a banger this is gonna be good what happened this was a banger and it's good creamy good dude okay the choreography of the fights is so goddamn cool like so goddamn cool I loved it so much the way that Nami's post art actually like oh my god yes and the fact that like Zora's fighting in the bar and he actually didn't use the blades and he was just using the sheaf and I was I was like my knees hurt the choreography for the fights was amazing when Zoro was versing number seven which was I mentioned this before I love that introduction I think that is just such a great way that they introduce Zoro into the thing and future like I found that amazing so goddamn why am I going on my knees again this just hurts and like the the comedy it was great just okay they skipped out on stuff of course they skipped out on stuff and they added stuff of course they would add stuff this is a live adaptation not a like mungut anime it's a thing for the western audience to basically enjoy so they had to change it up a bit and it was so great it was like they did a really good job the remote's my dad laughed and you know what that is what this is about this whole adaptation is not about making the the manga they skipped scenes that okay yeah they skipped it but they got the essence of one piece which is fun fun yeah why am I doing this it was so fun generally the only thing that I want them to adapt really well is the dog scene you know I hope that's in there if it's not in there then I'll be up city spaghetti I don't have good balance I've been going to a physio because of my back and then yesterday when I went to physio she was like oh yeah so we're not just going to fix your back anymore we're going to fix everything I'm broken so that's also why there's been a delay in videos because I've I'm broken I'm just a broken human being I'm scared to sit down on this that's prickly up my butt four sword style yeah so just from the first episode I can like I've jumped to conclusion that this is amazing if you guys want a video where I'm talking about the rest of the the show and you know Usopp sanji comes along I'll do that I'll do that for you guys but yeah I I just wanted to talk about this I just wanted to talk I it's been a while since there's just been something that I have been this passionate about um and I would love to do more videos where I just talk about shows you know and I like when I want to force myself to watch shows like Odin Odin high school club high school of the dead I want to force myself to watch that shit baby and do videos on it I want to do stuff on cultured content but I just can't wait to watch episode two I was wanting to binge watch it but um I have priorities in life and sometimes that those are more important than binge watching a show and I hate that because I want to binge I wanted to binge watch it last night but I could not sleep I was just thinking about how good it was how great it was and how like even my dad he researched when like because he was like talking like he knows he knows I talk about a lot so I was like oh there's like 1000 plus episodes of the anime and then he was like doing research on the anime so I think I think I'm doing good for the world my mom was pretty interested in it as well and like I said my brother he can go turn into a traffic cone I know you came down to visit us I just wanted you to watch one piece bro yeah that was kind of that was kind of harsh of me to do that but I got him a two dollar chocolate bar so you know whatever I just want to binge it also I wanted to do this video so I could talk to you guys about about this type of stuff so yeah I'm a fun human being I have no friends already about three but that's why I need now I'm just talking about how shitty my life is and I'm just telling you guys about it um yeah subscribe or concrete grass that's like concrete grass how do I how I'm not there am I


Think you don't have enough time to work on your personal brand? Not true with this week's two-minute tip Hey everyone, it's Leanne from LeanneColderwood.com and even for us serious bloggers and people who are on social media all the time it can be really difficult to work on putting content out there and increasing our personal brand especially when the day-to-day operations of our job kicks in and And it can be really tough for someone who doesn't even know how to start a blog but wants to elevate your personal brand Well, I'm here to tell you you don't need a fancy blog and you don't need fancy video content to increase Your visibility and your personal brand you just have to keep doing what you're doing but take it one step further So we're going to use LinkedIn as an example But you can do this with any of the social media platforms when you see a piece of content that you like I want you to like the content Because people will see that as your activity that you are actively engaging by liking the content Now you're going to take it one step further and if you really like the content I want you to comment on it So let the author know what you think of the content that again this gives you visibility and it gives you a voice So now you have something to share and something to say And again, it wasn't original content things that you had to dream up all of in your own You're just contributing to a dialogue that's been started by someone else The third thing you can do is you can share that content So again, if you really like the content by sharing it, it makes you look like a person of Value so now you're not only contributing to the dialogue But you're sharing the dialogue and you're getting other people involved So this is going to increase your visibility It's going to elevate your personal brand and it's likely things that you were thinking about doing Anyways, and you didn't have to want write one blog post to get it So that's my tip for this week's two minute tip tuesday Enjoy linkedin this week find something that you can like comment and share on have a great week. Bye for now


J-E-L-L-O! The Jell-O program starring Jack Benny with Mary Livingston and Phil Harrison is orchestra. The orchestra opens the program with Life Begins When You're in Love. It's not always that you can have delicious things to eat and to save money at the same time, but sometimes you can. And Jell-O makes the most attractive desserts and salads you ever tasted. And Jell-O is amazingly inexpensive. It costs only a few cents a package. One package serves the average family generously and they love it. Jell-O is America's favorite gelatin dessert and no wonder. For only Jell-O brings you Jell-O's delicious extra-rich fruit flavor. Strawberry, raspberry, cherry, orange, lemon and lime. All six are packed with that ripe fruit goodness fresh and tempting and satisfying. So for that extra-rich fruit flavor and for one of the most economical desserts you can serve, be sure to get genuine Jell-O. Don't accept any substitutes. Look for the big red letters on the box. They spell Jell-O. Begins When You're in Love played by the orchestra. Now, ladies and gentlemen, we bring you a man who has joined the ranks of Hollywood Turfman and bought himself a race horse, Jack Benny. Jell-O again, this is Jack Benny talking. And Don, I don't know where you pick up all this information about me. Now, how did you find out that I bought a race horse? Well, Jack, I was talking to Ben Crosby the other day and he just happened to mention it. Oh yes, Bing knows about it. As a matter of fact, I've been trying to put my horse in Crosby's stable. But it's too crowded there. Well, Crosby has an enormous stable. There's plenty of room there for your horse. All right, then he wanted too much money. I wouldn't pay him $80 a week to board my horse if he sang it to sleep every night. Oh, I'll find another place for him, all right. Oh, I'm sure you will. Oh, and Jack, you know, I'm a pretty good rider. So if you ever need a jockey, think of me. I've got a horse done, not a 20 mule team. Now, your shadow alone would break his back. Say, Jack, how'd you happen to buy a race horse? You don't know anything about horses? I don't, eh? Well, it might interest you to know, Phil, that I was kicked in the face at the age of 10. Buy a horse? Yes. How did that happen? Well, my father sent me out to feed him and it was dark in the barn. Now, believe me, fellas, I know plenty about horses. But why this secrecy? Why didn't you tell us about your horse before? Well, I didn't want people to think I was showing off or doing it for publicity. You know how modest I am, you know? Yeah, what's the name of your horse? Buck Benny. And you're going to hear from that, baby. If I'm any judge of thoroughbreds, he's going places. Well, tell us more about it, Jack. Is it a yearling? What's that done? Is it a yearling? Well, it's a sort of a back bay color with a black spot on his nose. Oh, you don't understand, Jack. Is it a yearling? In other words, how old is it? Oh, oh, it was two years old in January. I wish you'd talk a little plainer, Don.  But it's a real thoroughbred, and I know. By the way, Jack, who's your horse's sire? What is that, Phil? I said, who's the sire? The sire? Yes. Well, I am. I paid for the horse.  J. Phil, you don't know what you're talking about, do you? I don't, eh? Well, let's see what you know. Is your horse a gelding or a filly? A what? Is it a gelding or a filly? Is it a gelding or a filly? Is it a gelding or a filly? Trying to be smart, making up words. I'm not. I'm not making up words. Is it a gelding or a filly? In other words, is it a boy or a girl? It's a horse.  You won't be so smart when he wins the Irish sweepstakes. You ever got a trainer for him, Jack? A trainer? No, I just bought him a rowing machine. That'll keep him in shape, all right. A rowing machine? Well, that settles it. You don't know any more about horses than I know about music. Oh, I don't. I don't. I don't know anything about horses, eh? I used to be a trout. A trout? Yes, a trout. And I gave out plenty of good tips, believe me. You're a fine turf man. How many legs did your horse got? My horse has four legs, Marty. How do you know?  Believe me, I'm sorry the whole thing came up. Hello, Jack, for heaven's sake, what's the matter now? Well, what would it be? Phil and Don found out that I bought a race horse and you can guess the rest.  Oh, don't interfere, Mary. I can fight my own battles.  Jack knows more about horses than both of you put together. Yeah. He even tried to get Lady Godiva for a jockey. I did not. Then why did you put blinkers on the horse? Oh, you're just making things up, that's all. So you've seen that nag of Jacks, huh, Mary? Oh, sure, a couple of times. Well, is it a good horse? What does it look like? Looks like any minute, two men are going to step out of it. It does not. It's a fine-looking steed. Oh, it is? Yeah, jeez, fellas, you ought to see the way Jack pampers that horse. Pampers him? What do you mean, Mary? Jack bought him shoes with art supporters. Now look, fellas, Mary's giving you the wrong impression. Now, here's a picture of him, Don. He's a pretty good-looking animal, isn't he? There he is with that. Hey, Jack, let me see that picture, will ya? Here you are, Kenny. What do you think of him? Oh, boy, he's a beauty. Looks pretty fast, doesn't he? I'll say he does. But why is he laying on his back? Kenny, turn the picture around like this. There. Well, I'll be darned. He got up. Yeah. He does all kinds of tricks like that. Now go ahead and sing your song, Kenny, and let me back that picture. Say, wait a minute. Let me have a look at that. Here you are, Phil. Well, is that a real horse or isn't it? It's a good-looking animal, all right. But wait a minute. What's this stamped on the back of the picture? Where? Right there. It says Man of War. Man of War? Well, that's the name of the photographer, Joe Man of War. He's a Greek fellow. Oh, sing, Kenny. He must have picked up the wrong picture. I fall in love with you every day. That was a beautiful number, Kenny, and a very romantic thought. Thanks, Jack. And dedicate that song to your horse. To my horse? Why? I met him. My girl. Oh. Oh. A little snip.  What's the matter with you? Oh, I don't know. I guess I'm just a gorilla.  Well, he's young, yes. Yeah. And now, ladies and gentlemen, going from the zoo to our place, tonight we are going to present what we think is a... Oh, Jack. Jack, pardon me for interrupting, but I just noticed that your shoelace is untied. My shoelace? Oh, so it is. Thanks, Don. Excuse me a minute, folks.  Oh, so that's your little trick, huh? It comes in six delicious flavors, strawberry, raspberry, cherry, orange, lemon and lime. Hurry back now. Ah, folks, what other program starts on a shoestring and ends up with a plug? Don, that was a very clever ruse. Now, as I was saying, ladies and gentlemen, tonight for the first time this year, we're going to offer our annual murder mystery. We feel that this will be a high spot in the career of the Benny Federal Theater Project. So now we will present a deep dark mystery entitled Murder in the Library, or Book Marks the Spot. Ha, ha, ha. She isn't that clever, folks. And I thought of that all by myself. You laughed all by yourself, too. Now, wait a minute, Mary. That was a very funny title. I can't help it if our studio audience didn't get it. But I'll bet our listening audience liked it. We did not. Now, in our little drama, which will go on immediately after the next number, the cast of characters will... Pardon me, folks. Come in. Hiya, Mark. Hello, Spencer. Well, if it isn't Damon and Pithias. Well, I haven't seen you two fellas in weeks. Where have you been keeping yourselves? Oh, we've been pretty busy, Buck. Me on my farm and Slip on his. Oh, that's right. Slip did buy part of your farm. How's it going, Slip? Have you planted anything yet? Yes, but believe me, Jack, it's no good. I'm having plenty of trouble. Well, that's too bad. What's the matter with it? I struck oil last week and it ruined my potatoes. Oil? Well, that's great, isn't it? What kind of oil is it? The man oil. He's trying to sell that property back to me. Oh, well, I don't blame him if it isn't good land. Well, he shouldn't complain. I gave him a rock bottom price on it. Yes, that's all I got was rocks. Our cactus wouldn't grow there. Well, naturally, Slip, you got to clear the land first.  Say, man, am I a chain gang? Well, you just don't know anything about farming, that's all. Is that so? I'm a good farmer. A fine farmer.  He does. Ah, listen, Mr. DeWine. What about those rabbits you sold me? Oh, fine rabbits. Well, what about it? I sold you two of them, didn't I? That's the trouble. I still only got two. Now, wait a minute, boys. Wait a minute. Look, boys, you can settle your own troubles when you get home. Let's talk about something else. Tell them about your horse jack. Oh, yes. You know, fellas, I bought a race horse. That's right, Buck. I heard about that.  Yes, he's all right, but I'm having trouble finding a place to keep him.  I got a nice pasture for him. Keep him on my farm. I'll dye the rocks green. Well, that's a good idea. I'll tell you what I'll do, fellas. I'll split it between you. Andy, I'll let you feed him for seven days. And, Schlepp, you can feed him for seven days. How's that? What are you laughing at, Mary? For most the masses in one week. Never mind. Well, that's right, you boys. Now, wait a minute, Buck, if I were you, I wouldn't let Schlepperman have that horse. Why not? He'll put rockers on it and give it to his kids. Well, I'll take a chance. Now, you each get him for one week, and I want you to take good care of him. He's a very delicate animal. Well, leave it to me, Buck. I'll take him first. Now, wait a minute, Henry. I've run him for the first week. No, sir. I got to have him right now. I got a lot of plowing to do. It's fine for my race horse. Say, how much are you guys going to charge me? Don't worry about it, Jackie boy. If he wins the Kentucky baby, you'll break even. I thought so. Now, come over here a minute, boys. We'll talk this little deal over and down.  Now, look, boys, my... Harrison is Orkster. Now, ladies and gentlemen, we will present our thrilling, baffling, spine-tingling melodrama entitled Murder in the Library or Book Marks the Spot. Gee, I love that. Boy, are you corny. Go away, Mary. Now, I will play the part of police captain O'Benney, as brave a blue coat has ever wore bulletproof undies.  Here's your badge, Phil. Okay, Chief. Here, Kenny, here's your badge, your uniform, and your club. Okay, where's my flat feet? On the opposite end of your flat head. Oh, that's right. Now, Mary Livingston will play the part of Mrs. Sugar clunken bush, a much-married society woman who makes a hobby of collecting husbands, guns, and life insurance. Gee, do I have to kill all my husbands? You've already killed seven of them, Mary, and there's just one left. Oh, one new husband sitting on a fence. Boom, boom, boom. I shot him in the pants. Well, I suppose that wasn't corny. I suppose you didn't ride us. Quiet. Now, the part of the butler will be played by Don Wilson, who has been in the service of Mrs. clunken bush for about, uh, oh, Don, how long have you been with Mrs. clunken bush? It'll be, uh, six husbands in October. I see. And now for our play, folks. The scene opens at police headquarters where we find Capo Benny very busy playing solitaire. Curtain, music. Hmm, now, let's see. There's the jack of clubs. Here's a seven of hearts. I'll put that on the jack. No, I won't do that. That would be cheating. Or should I? No, I won't. Hey, Cap. Yeah? What's the idea of playing solitaire with handcuffs on you? I don't trust myself. I need the ace of spades and it's up my sleeve. I'll get it for you. Oh, no, you won't.  I ought to put you in jail. Now, let's see. Is that the phone, Cap? It ain't a Swiss vaudeville act. Capo Benny speaking. Yes, sir? What?  Oh, why didn't you report it sooner? Oh, you wanted to give her a good start. What? No, don't worry. I won't rush. Goodbye. Now, let's see. The six of hearts goes on the black king. Oh, I wish I wouldn't do that. But how else can I win? Oh, Cap. Cap. What is it, Sergeant Baker? Somebody's been passing fully one-dollar bills all over town. And I've got one of them. A dollar bill, eh? How do you know it's phony? Washington is wearing Lincoln's beard. Hmm, let me see that. You're right, and he's wearing Lincoln's hat, too. You think that's something turned the bill over? Good heavens, Carol Lombard is sitting on the eagle. Nice work, Baker. We gotta report this to Washington. Can you get any more of these bills? Yeah, my uncle makes them. Your uncle, well, you better tell him to stop or else. Hey, Cap. Cap. What is it, Harris? You know the prisoner in cell 21 that sent his suit out to be pressed? Yes. Well, he was in it. I'll wait for that one. All right. Hang out the vacancy sign and don't annoy me. Hmm, I'll take it. Hello, Cap O'Benney speaking. What? A murder? Yes, yes. Hold everything. We'll be right over. Hey, fellas, what do you know? We've got a murder. Hooray! We've got a murder! Yippie! I knew we'd get one if we waited long enough. Come on, fellas. Let's go right over. Where are we going, Chief? To, uh, oh, darn it. I forgot to get the address. Gee, I hope they call back. That's a fine how do you do? We wait around all year for a murder. We get one and you lose it. Wait, I know. It must be Mrs. Clunkenbush on Park Avenue. She married her eighth husband two months ago, and he's about due for his lead anniversary. Come on, boys. Let's go. Calling all cars. Calling all cars. Go to 215 Maple Street. Man beating up wife. That is all. Hmm, man beating up wife. Make a note of that, sir. I got it, Chief. Calling all cars. Calling all cars. Go to 215 Maple Street. She's beating him up now. That is all. Hmm. Tear up that note, sir. Okay, Chief. Calling all cars. Calling all cars. Go to your nearest grocer and ask for a package of jello. That is all. Hmm. Well, I see our police department finally got a sponsor. This is a house right here. Baker, you break down the door. Okay, hold my banana.  I'll break down the door. Let's give him a hand, Harris. Ready, set, go. Well, we've got that down. Here comes somebody now. Did you ring, gentlemen? Ring? No, we didn't. We're the police. Who are you? I'm Blimp the butler. Blimp the butler, eh? Yes, and I didn't do it. You didn't do what? Goodness, haven't you heard? We think Mr. Clunkinbush has been murdered. What makes you think so? Well, he's in the library reading a book, and he hasn't turned a page in three days. Make a note of that, sir. Got you, Chief. Can I make a note, too? Quiet. Now tell me, Blimp, where is Mrs. Clunkinbush? Right this way, gentlemen. She's out in the garden burying the gun. Oh, burying the gun, eh? Her husband has murdered, and she's out in the garden burying the gun. What do you make of that, Baker? She doesn't need it anymore. Now you're clicking, you cluck. Come on, Blimp. Take us to Mrs. Clunkinbush. Right this way, you bums. Come on, men. Ah, we got you this time, Mrs. Clunkinbush. Oh, how do you do, Captain? I've been rather expecting you. Oh, you have. Now there's no use, tall and cunty. Your butler, Blimp, broke down and confessed. Blimp broke down, eh? Yes. I knew I should have filled him with helium. Now listen, you just buried a gun in this garden, didn't you? I buried a dagger, too. Oh, see, you not only shocked your husband, but you stabbed him, too. Yep, it got the daily double. Well, you've gone too far, Mrs. Clunkinbush. You've had eight husbands in four years, haven't you? What about us? And they all met on timely deaths. Take your first husband, the big game hunter.  Well, he looked like a gazelle. That's no excuse. And your second husband. Uh, you mean Pascuali? Yes, Pascuali. You no sooner fell in love with him than we found him laying on the floor with an arrow in his back. You did that. Could have been Cupid, you know. That's what you told the jury. And your third husband was killed, too. What happened to him? All I did was slap him on the back. Yes, but he was leaning out of a penthouse window at the time. And what about your fourth husband? Oh, this is getting boresome. It is, eh? Hello, Kelsey. I didn't see you standing there. Hello, sweetheart. Sergeant Harris. Do you know this woman? Yes, we're engaged to be married. I'm going to be her next husband. Well, congratulations, and rest in peace. Now, let's go in and look at the body. Hey, Cap. Cap. What is it, Baker? I was in the library just now, and I don't think Mr. Clunkinbush is dead yet. How do you know? I went to reach for his pulse, and he shook hands with me. Well, let's hurry up in there. Imagine a man shocked and stabbed and still alive. There he is, Cap. Mr. Clunkinbush. Mr. Clunkinbush. How do you feel? A little drafty. Well, I shouldn't wonder. Now, tell me, can you name the person or persons who try to kill you? Well, of course I can. I was here at the time. Then tell me exactly what happened. Make notes on this, Harris. Okay, Chief.  Well, I was sitting here in the library reading a book. Uh-huh. When all of a sudden, the door behind me opened. Uh-huh. So I turned around and said it free me. See, the border state. Of course, I couldn't tell the race of the state of the river. I said it rain it all. And I figured my zone of state of the state of the border state. And right at the time of the border state of Great Great, what was sent in? Oh, it was ghastly. The man must be hysterical. Now, Mr. Clunkinbush, say that again and slower. This is important. All right. I was sitting in the library reading a book, and I was saying the border state of the state of the border state. Oh, she came in. The only thing that saved her from a border state. Oh, she didn't come in. The only thing that saved her from a border state. Oh, she came in. Oh, she came in. He's delirious now. He's getting weaker. Quick, get him a glass of water. Here you are, Captain. Thanks. Now, drink this. Quick. How do you feel now? Oh. Good heavens, he's dead. Mrs. Clunkinbush, what was in that glass of water? Well, I only put in a satchel of satchel. Isn't that a satchel of satchel? That's the truth. Move over, Clunkinbush. I'm tired. Play, Phil. Everybody loves homemade ice cream, ice cream that's rich and creamy smooth, grand ice cream. And here's a new and better way to make it. It's made with jello freezing mix and made just perfect. For jello freezing mix is a wonderful new product that gives you ice cream that's velvety and rich. It has a beautiful creamy texture that's simply grand and it's amazingly quick and easy to prepare. Open a can of jello freezing milk. Add milk and some whipped cream and turn the mixture into your freezing trays. Stir only once during the whole freezing process and take out six servings of delicious ice cream. One of your favorite flavors will be rich, smooth chocolate, the chocolate flavor that can't be beat. Then there's maple walnut, real vanilla, and fruit flavors that are real fruits in their own sweetened juices, strawberry, tutti frutti, and orange pineapple. There are six luscious flavors in all. If your grocer hasn't any in stock, he'll be glad to order it for you. So ask him tomorrow for jello freezing mix. This is the last number of the 33rd program in the new jello series and we'll be with you again next Sunday night at the same time when we will present our version of David O. Selznik's outstanding film production, The Adventures of Tom Sawyer. So be sure and listen in and guess who's going to be Tom Sawyer, folks? No kidding, Jack. Are you going to be Tom Sawyer? Of course I am, Mary. Do you think you can have your face listed by next Sunday? I think so, yes. Good night, folks. J. E. S. L. L. This is the National Broadcasting Company.


Hello, I'm Dr. Skipper and I'll be talking about Miles Morales. Before you watch this video, let's set some ground rules. When looking at this video's length, it's pretty obvious I won't be writing a thesis paper but I do take pride in being able to express my feelings in a short amount of time. When it comes to superhero games, Spider-Man 2018 is one of my favorites. I have a strong emotional connection to the game so when I heard the announcement of Miles Morales, I was worried because of my PTSD from Ubisoft. This is most prevalent with the copy-paste Assassin's Creed games. So when I heard that Miles was getting his own game, I was optimistic but nervous. And after playing the game and finishing all his side content, I still remained confident with how Insomnia handles the Spider-Man license. And I could also say that this game doesn't deserve to be uttered in the same sentence with Assassin's Creed. I should also state that I find pride in being truthful. While I have a lot of kind words when it comes to Spider-Man 2018, I could tell you the flaws and criticisms and I'll be doing the same with Miles Morales. Miles Morales is in a sequel to Spider-Man 2018. If you approach the game as a sequel, you're setting yourself up for failure. This isn't Spider-Man 2, this is Spider-Man Miles Morales. When looking at this game, I saw it resembling a lot to the formula of Spider-Man 2018. The resemblance is that both games are sent around a Spider-Man protagonist who has to conquer obstacles on their own journey. In Spider-Man 2018, you follow and experience Peter with Miles as a side character. And in Miles Morales, you follow and adapt Miles with Peter as a side character and mentor. Miles and Peter are two different characters with two different stories. Peter Parker is an experienced Spider-Man that struggles balancing his life and hero work when a danger emerges he's pushed to his limits. Or Miles is an inexperienced rookie that struggles to find his own identity while also having to learn independence. In the first hero, you see these character differences in the swinging animations. Full of the exaggerated swagger of a black team. Yes, I know this is a meme, but Miles' swinging is still pretty kickass. Miles' swinging is fluent in sporadic, solidifying the immersion of an inexperienced Spider-Man while also displaying that Miles is a young teen with flair. Most of the animations have Miles swinging backwards while being confused in his motions where Peter is more tight and confident within his swinging. Since we're on about swinging, I should discuss the technical aspects of the game. I played through Miles Morales on PS4 and it was clear that the game was intended for PS5. Few at some point are planning on getting a PS5 or I recommend you wait until then to play the game. On the PS4, the game is still visually pretty, but it's at its best on the PlayStation 5. For those playing on PS4 though, I'll state you aren't the only one experiencing frame drops and setters time to time. But I wasn't too surprised though since the game was designed for next-gen. And by looking at the PS5 footage, it's really, really pretty. Insomniac's intention was to create individuality between Miles and Peter and this is prevalent in the soundtrack. Where 2018's soundtrack was composed with symphony, Miles Morales' soundtrack is more modern using beats composed of fast hi-hats and kicks that you find in most urban music. Music is subjective of course, but being an American 18-year-old that's into music hearing modern instrumentals was extremely pleasant. Swinging to beats that most cultured young people will find relatable and entertaining. Also, Jane Smith and Kid Cuddy? Nice work Insomniac. Earlier I stated this game isn't a part 2 and that may cause issues for some players. I love Spider-Man 2018 mostly because of how unique it felt. And while I still had a lot of fun playing Miles Morales, I wouldn't disagree if anybody was to state that the game felt repetitive with less content. No matter what, at the end of the day you're still a Spider-Man in New York so I understand why you might be on the fence about spending your own money. Especially spending your own money when you can play its better counterpart that's been out for two years.  This game doesn't have the same amount of content as Spider-Man 2018. You don't have as many gadgets, customization options, side quests, and the only change of scenery is the environment. This also applies to the combat. At the end of the day you'll be punching and dodging just like the original game but I found handicapping some features to be interesting. Also the animations for the finishers were gorgeous. In Spider-Man 2018 it makes sense that Peter uses gadgets due to him having eight years of experience. And where you can make smart plays with the gadgets it definitely made some encounters easier. Miles doesn't have the same amazing gadgets as Peter and while making sense I also prefer it when playing as Miles. Instead, Miles gets an electricity mechanic called Venom. Venom refills instead of a stamina bar and can be used against weak points on certain enemy types and through the game you learn a variety of tactics that involve Venom. The mechanic is also used for puzzles that involve electricity. But mentioning the enemy types you play against two factions called the Underground and Roxanne. Both factions have unique enemy types and forms of combat. The game also has an interesting spin on side quests. You can do simple things such as collecting time capsules, sampling sounds for beats, doing training missions assigned by Peter, and dominating faction strongholds. But since Miles is a hip hoppy team it also makes sense that he would have his own app for side missions. And when speaking about the side missions I should not talk about the game's story. Other people are beloved due to how much they could vary. Unlike the stands of people who bitch and whine when something isn't copping and paced I find different struggles of Spider-Men to be interesting. Spider-Man 2018 stood out because it was a 24 year old Peter who's been Spider-Man for 8 years and that was a change of pace. And only recently Miles Morales became solidified due to the Spiderverse. And by the titles video you saw this coming but the closest thing relating to Spider-Man Miles Morales is Spider-Man Homecoming. I should state that I like Spider-Man Homecoming but I think Miles Morales does everything better. From the mentor, motivations, character building, and even the fat Asian best friend.  Both Peter and Miles are teenagers who look up to people they admire while also having issues of their own identity. But Miles Morales handles the subject 10 times better. The game starts with Miles making a mistake and having no confidence and after said mistake Peter tells them that it's okay and leaves for two weeks making Miles independent. Off the start, Peter is a better mentor than Iron Man because Peter is forgiving and patient due to him being able to relate to Miles and has trusted him knowing that he needs to make mistakes to become his true self. Iron Man was always a shitty mentor and Homecoming made it seem as if he was in the right and that never sat well with me. Iron Man was controlling and didn't let Peter advance to his true potential also putting everything in his lap. When Peter Parker messes up with good intentions Iron Man scolds him for doing something instead of doing nothing and when Peter expresses that he wanted to be a hero Iron Man takes the suit back. And when Miles messes up Peter tells him that at the end of the day he had good intentions and that it took him eight years to figure things out and gives him a shitty suit with hologram lessons to train and make him better.  Miles idolizes Peter because Peter is a great mentor and a great person so when Peter is gone there's a lot of pressure on Miles' shoulders to fill those shoes.  And Iron Man was never pressed or called out in this situation. Peter's constant need of attention from his mentor handicapped his narrative because it felt that being a mentor student movie would also want it to be a let's save the neighborhood movie causing both aspects to be 50%. When Peter leaves New York and Spider-Man Miles Morales a new group of bad guys show up and Miles has to learn to be his own Spider-Man to protect his town.   Through cutscenes and side quests Miles interacts with the people in his community a lot. From saving cats to putting out fires and catching pigeons you could tell that Miles cares about the people on the ground so him taking in a bomb feels genuine or Peter caring about his town just feels like bullshit. Peter's motivations are to prove himself to Tony Stark and all that shows that he could be Spider-Man without a fancy suit. When Miles jumps off the roof in Spider-Verse that represents Miles accepting that he could be a hero. And when Miles makes a suit in this game that represents that he's coming to the acceptance that he's not Peter Parker but he's still Spider-Man. Not only does he have to be greater but he has to also be himself. You gotta be me. Yeah you do. And when Peter lifts the debris off of him it shows that he doesn't need a suit to be Spider-Man but doesn't have the same impact as the other two because the following actions later don't deliver. Peter at the end of the day stops the vulture to prove a point but the events after still don't solidify it. So when Peter goes to space because he wants to save the neighborhood it doesn't feel impactful. Because he did the things he did to prove a point that he doesn't need a fancy suit to be Spider-Man to then just get it in the next movie. And when Far From Home questions who's gonna be the next Iron Man you realize that Peter isn't even fully Spider-Man. And instead of continuing this they just give him a vacation. Miles has to step up to the mantle of Spider-Man by himself while the world compares him to the original. No matter what Miles does he's always immune and vulnerable. And when he's put into a situation of stress and danger he's pressured to quit and hide by his uncle to then remember that he made an oath to Peter to protect his city. And when at a crossroad Miles chooses to be greater than those in his family. Even when his best friend wants justice and has potential to harm others Miles is torn between his family and doing the right thing. Miles cares about his family, he cares about his town, he struggles with exception and confidence, he struggles by wanting to be Peter instead of being himself and when left with a seat in his hands he has to resolve these in order to be greater. Peter Park and the MCU is still Spider-Man but Miles is a better hero and a better person. Making him a better Spider-Man. The pacing of this game is also extremely fast throwing Miles into the fire causing him to adapt and face these challenges quickly. Or some can see this pace as being an issue I enjoyed it due to the game's narrative. Overall Miles Morales is a great expansion to the first game with a great message and purpose. But be aware this game isn't anywhere near as depth or polished to the first game. So if you're hesitant to pay $50 for an expansion I don't blame you. But for what it is, Insomniac you did a great job at making Miles a true Spider-Man for the next game. Having both of them now gone through a journey allowing them to be able to step up to the plate for what's in store for the future. But for real though, thanks to everybody's watching the video. If you had all enjoyed any part of this video it would be helpful to subscribe. I don't know, I'm still kind of in this thing kind of new and any support's good. Also if you liked it, please let me know your thoughts down below. Also like the video, goodbye.


Do we need to turn it on? OK, it's on. Hello. This is bright. Hello, everyone. Thanks for attending. Today, my colleagues are gay, and I will talk about how you can accelerate the path to cloud native application development. Wow, these lights are really bright. So we want this to be interactive, so please feel free to interrupt us if you have any questions. We will try hard to see you as you raise your hand. If not, please come forward and we can talk. You want to drive that, or I can drive it for you? I'll do it, so please. So let's talk about how you can start coding in two easy steps using Project Caspian. Now, before any of you raise your hands, let me ask the question, what is Project Caspian? Project Caspian is a code name for a product that we're launching at EMC World next week. It's an open stack and pivotal cloud foundry-based cloud platform that you can just roll into your data center and start using. It comes with all the hardware and software components, the servers, the storage, the network, and all the other software components, like load balancers and networking and Ansible for Configuration Management and HAProxy, EngineX, HCD, the whole deal, so that you can get up and running and start coding really quickly. Now, setting up open stack is painful. Setting up pivotal cloud foundry is painful. But setting up open stack and pivotal cloud foundry in a manner so that it is production ready, so that it can be upgraded maybe once or twice a year, so that it can be supported. You can maintain it. You can troubleshoot it so that it is available and stable is much, much, much harder. And that's the problem we're trying to solve. Quite frankly, the deployment problem of open stack is kind of solved. You have tons of tools out there that already do that. This is more than deployment. This is how you can support it, operate it, upgrade it, troubleshoot it in an easy fashion. So to summarize, Project Caspin comes with hardware, software, servers, switches, racks, everything all rolled into one. It's supposed to just work out of the box. And if you think of solutions on a scale from simplicity, at one end to flexibility on the other end, Project Caspin gives you a whole lot of simplicity at the cost of some amount of flexibility, somewhat like an iPhone. Really, really easy to use, but not that many configuration options. Now, while the hardware is EMC-provided, and quite frankly, hardware is the least interesting part of the solution, it is commodity hardware. Commodity servers, switches, direct-attached storage. And we require EMC-provided hardware, because if we own the full stack, we can provide the best possible customer experience, right from deployment to operations to support through upgrades. And really, what we've tried to do here is taken those parts of OpenStack and Pivotal Cloud Foundry that are really hard to get working, and package all these tools together so that it's just very easy to use. So two easy steps, deploy OpenStack, deploy Cloud Foundry, and you're ready to go. Once you've done these two steps, you can start doing your CF push and start scaling your applications.  I'll talk about the OpenStack deployment side. My friend and colleague, Sergey, will talk about the Cloud Foundry deployment side. So OpenStack deployment has got really three subparts, but the first two are really professional services enabled. So as a customer, you never have to deal with these first two steps. The first is the hardware configuration, where our professional services come in and it takes about a day to perform all the three steps. So it's about one calendar day, really. In the hardware configuration, we set up things like the host IP addresses. We hook up our switches to the customer switches. We set up whether we use your BGP or static routes for networking. We set up our pointer servers to the DNS server in your environment, the NTP servers in the environment, just getting it set up. And after that, we have an infrastructure installation step where we set up a management complex, a management plane which hosts the management components for Project Caspian. So a UI software, our load balancers, and all the tools are going to really getting that cloud platform ready. And finally, we have the OpenStack installation, which is something the customer will do. That's the first step the customer actually deals with Project Caspian. So after one day, one calendar day, the customer is ready to deploy OpenStack. And then after deploying Cloud Foundry on top of it, and then customers have a really cool cloud-native platform. They can use OpenStack directly for running applications on it. Or they could use, and or they could use Pivot Cloud Foundry in conjunction with that to host applications on it. And that's a really powerful cloud platform. So here's the first screen that a customer gets to see with Project Caspian. And the user in this case is a cloud operator who is setting up the cloud so that it can be consumed by the end user's application developers. Think of the business units, or maybe different companies if they're a service provider. At this point, we have one user that's already been created in a local database, the cloud operator's username, which is what is used to log in. And this is a single point of control for management, maintenance, upgrades, and monitoring and reporting, the back-end operations. Now I should call out that the end user application developer interfaces are 100% OpenStack and Pivot Cloud Foundry compatible. So the standard horizon interface, the OpenStack clients, the OpenStack SDK will work as is. And that is 100% compatible with what's already out there. We don't intend to mess with any of that. And our goal is to ensure that developers have an open source industry standard interface for application development. So tomorrow if they decide to move away from Project Caspian, any investment they've made in application development still holds. They could potentially run those apps on another cloud, another OpenStack cloud, or if they're using libraries like Fog or JCloud, if they work with other public clouds or other clouds, they could work with that as well. So the end user application development interface is 100% open source, OpenStack, Pivot Cloud Foundry compatible. What you're seeing here is the back-end operator interface to manage Project Caspian, to upgrade Project Caspian, to how do you monitor, how do you troubleshoot, how do you report on it? That's what you're seeing here. So after you log in, this is the first screen you get to see. As you can see, this is a 20-node system. And let me highlight some of these. Before that, on the left-hand side, we have our pain to perform management operations, create accounts, look at the infrastructure, how you can report on it, how you change the settings. And here I'll highlight, we have a 20-node system out of which three have been used for management nodes, host a management complex, and the remaining 17 nodes are already available. So as soon as this comes up, it already discovered what's already out there, you get a view of your system. So let's see, now the next step you may want to do is out of these 20 nodes, the Cloud operator may want to provision a subset of those nodes for OpenStack, or what we call the Cloud Compute Service. So all the customer needs to do, literally, is select the nodes and click a button to deploy, and that's it. In 30 minutes, you have four Cloud Compute nodes ready to run your workloads. So let's see how that is. Over here, you get to see the list of all the nodes that have already been set up. You will find that three of them are the platform nodes that were set up when Project Caspian was set up, and the rest of the nodes are available. Now, at this point, I should call out here that these three platform nodes that you're seeing are a very low management footprint for a production-ready, scalable OpenStack Cloud. If you compare this with the management overhead of other products out there, you'll find they have about five nodes or seven nodes, and we have three management nodes for two racks. That's what we've tested. Two racks are about 84 nodes, and even if we scale more than two racks, we won't need to expand our management management plane. Three nodes are enough to handle it. Now, the reason why we have three nodes and not more than three nodes is, one main reason is we use a scale IO for block storage. And since scale IO has a very low overhead, it can run hyper-converged on the compute nodes, so the scale IO components, SDC and SDS, if you're familiar with that, they run on the compute nodes, so you do not need a separate pool of compute nodes to provide block storage. That's the key benefit of using scale IO in addition to other features like performance and all the other cool stuff, but that benefit allows us to have a very small management plane. And we use scale IO not just for Cinder persistent storage, which is the common case, but we also use it for ephemeral storage. So we have this one common pool of storage spread across all the compute nodes that can provide both ephemeral and Cinder persistent block storage. And that allows us to have a very small management plane. Lessor management nodes is good because that way you have more nodes to run actual workloads. So a starter configuration is eight nodes, that's the minimum configuration you have, out of which three are management nodes, five are available to run workloads. Three nodes are there because each service runs in active active mode, front-ended by three load balancers. So we have three copies of the Nova scheduler running, three copies of MySQL running, so that we can tolerate node failures. And then of course we have three load balancers in front as well that are being used to route the traffic across the nodes. So let's get back to the installation part. The goal is to deploy the cloud compute service.  In this case I've highlighted the four nodes in which I want to deploy the cloud compute service. You select them, I've selected them, that's why they're highlighted here. So as you can see, and I hit the deploy button and that's it. We have a fully production ready, open stack environment ready for writing applications. You can run your heat on it, you can spin up VMs, you can provision storage, you can take snapshots, you can do all the cool things you do with open stack. So in one calendar day, you've got a production ready, open stack environment ready. Right from the time it got into your data center, because when it comes to the servers and switches and storage are all hooked up. And in one calendar day, you have a production ready open stack environment available which can be maintained, which you can upgrade once, twice a year, which is easy to troubleshoot, which is easy to support, you just call EMC and we'll take care of it. And that's a really, really cool thing. So here I just want to highlight the standard open stack operations. This is nothing unique over here. We do not want this to be unique. We want this to be 100% compatible with open stack. But so this is just to highlight, you can do the very, the basic things that you can do with open stack, you can spin up a VM, you can attach floating IP addresses. During our initial setup time, we took the floating IP block from the customer. They give us a floating IP block that we could use.  And you can directly associate a floating IP address and then attach a floating IP address to an instance. It just works out of the box. Maybe this may be a good time to talk a little bit about networking. So all the value of Project Casperin is in software. We have software-based storage with Scale.io. We have a software-defined networking. We use OpenVSwitch with Neutron, which, as you know, is vendor-neutral. We use VXLANs for the logical network. So when you, as an end-user, goes into a project and creates a network and creates a subnet, we use VXLANs to have logical network so you can have overlapping Amazon web services, VPC-style logical networks, and they provide the maximum flexibility. Now, internally, Neutrino, we use Layer 3 networking. So we get to use features like OSPF and ECMP. OSPF is a key component of Neutrino's availability and resiliency. Because as nodes go down, OSPF allows the traffic to be routed to the right location. And that's really important because failures do happen. This has come already hardware. The application has to be written with assumption that nodes are gonna go down. But at the back end, we make sure that we detect that and the traffic is routed dynamically to the right place. And then we have storage over here where we talked about Scaleio. We use Scaleio internally. One benefit of using Scaleio for ephemeral storage or ephemeral volumes is that it makes recovery from node failures and live migration really easy. Because if a node goes down, all you need to do is spin up a VM on another physical node and that node can access the shared volume and you're ready to go. And here's an example of how we can launch an application using heat. This is, again, a standard interface to set up a heat stack. The reason we're showing that here is that we believe that if you're designing a cloud native application, you'll split up this big application into small microservices. Some microservices are more suited to run directly in an infrastructure-to-service environment. Maybe in containers, you're using Kubernetes or Docker Swarm or something directly because you want more customization. Some microservices are well-suited to run in a pass environment. And over here with Project Caspian, you can have both these... You have an infrastructure-to-service environment available. That's what's open stack. We have a pass environment that Sergey will talk about. And you can have applications in both these environments communicating with each other, which is a really common use case. Now, I'll focus just a little bit on the operation side of things. So here you can see we have all the nodes and let's look at common operations. Let's say a node goes down. You may have to replace it. So all you need to do is click on the particular actions button and you have options to suspend the node or reboot the node or reset the node. But there's one operation I really want to talk about is this transfer node. The two use cases, two common use cases. Let's take one where your management node goes down. Actually, let's take another one. Let's say a compute node goes down. See how it's gonna happen. But that's not a big deal because your application is cloud native. It's supposed to deal with a failure. Either using heat or it's using some kind of water scaling or it's handling it itself. So our control plane is always available. It can start up a new VM. No big deal. The node still has to be replaced. You can suspend the services on the node. We can replace it. We'll automatically discover it. Great. But what if one node of the management plane goes down? That's a bigger problem. The neutrino still continues to run. Project Caspian will still be running. But now you have just two management nodes. And soon you need to spin up another management node. Now all you need to do as a user is click on the transfer button over here. And you select an available node and that's it. And you're ready to go. You have a new management node ready. Think how hard this would be if this were to be done manually. You would have to provision a new node, set it up, make sure it advertises its IP address, manually move the services over. Now that could be very error prone, very time consuming. Over here with the press of a button with node disruption to end user workloads, you have a brand new management node available. Let me show you the workflow. Over here you can see you select a node, the destination node, where you want to move them, where you want to create a new management node and you hit transfer. That's it. And another very common use case is when you scale Project Caspian. Let's say you start off with a single rack, maybe half a rack configuration. In that case, your three management nodes are in that half rack. There's only one rack, so that's the only place you can put it. But now let's say you scale up to another rack. Now you want to redistribute your management plane across two racks for high availability because let's say if one rack goes down. So now you need to move your three management nodes from rack one across rack one and rack two for high availability. That's where you could use transfer node again.  And you get HA because now your nodes are redistributed across the different racks. I think how painful this would be to do it manually without any disruption to end user workloads. Really, really hard to do. And this goes back to what I said earlier. Setting up OpenStack is one part of the deal. That's really not the most important thing. There are many tools to do that. But setting up OpenStack so that you can continuously maintain it. You can perform these kind of operations as you scale, how do you expand your management plane, how do you replace management nodes. These are the operations that really take up a lot of time. These are the operations that cause application disruption. And that's what we tried to solve over here with Project Caspian. Over here I just want to highlight the different components that go into Project Caspian. So you can see you have a full list of components over here. And there are two types of components. We have the platform components and we have the cloud compute or service specific components. Project Caspian was designed to be multi-service. So all those components that are applicable to all the services come on the platform component. So our Ansible for configuration management, our Elxtrack for log analysis, our load balancers, HAProxy, Nginx. All of these are the common components that are shown over here. And you can see we have three copies of them running on an active active mode. So you can see we have three copies of HAProxy that we use for TCP based load balancing. We use Nginx for HTTP, HTTPS based load balancing. And as an example, we have used MySQL with the Gallauder application. So three of them, they're all running active active so that if one node goes down, the system continues to run. And you can see that over here. The next example over here is for cloud compute. As you can see, we have our Nova controller running in active active mode. Same for other services as well. What I want to highlight here is another key value prop is we use containers internally to deploy all the components, not just OpenStack services with all the components in Project Caspian. And the reason we do this is because all these components, HAProxy, Nginx, HCD, the OpenStack services, Ansible, all of these have very different operating environments, own dependencies and runtime libraries, their own quirks. And deploying them and running them in containers makes it really, really easy to isolate them, maintain them, and support them. And if you want to expand a service or you want to add new services, all you need to do is wipe out the existing containers and replace them with new ones. So as you can see, Project Caspian was designed with containers in mind from the ground up. And containers play a key role in making it stable, reliable, and easy to use from an operator standpoint. Now that you have a cloud production grade OpenStack environment ready, I'll hand it over to my colleague, Sarge, who will talk about deploying Cloud Foundry on top of it. Thank you, Ajay, I appreciate it. Yes, please. Sure, so let me repeat the question. The question is, it'll be good for me to share what hardware configuration options are available. So we have different hardware configuration options available from server standpoint. They go from 12-core, 16-core, 20-core servers with 400 gigabyte SSD to 800 gigabyte SSD drives for each server. So depending on your use case, you can select the type of hardware configuration you need. And with each release, we add additional hardware configurations. So you have a menu item to choose from. And the way you will really work that out is you'll know how many VMs you want to run. You'll know what your oversubscription ratio you want to handle based off your workloads. You back calculate that and you figure out how many physical servers you want. If you're doing from the Pivotal Cloud Foundry site, you'll start with the application instances, backtrack to the number of physical nodes. Thank you, Ajay, I appreciate it. So the native hybrid cloud solution idea was to use the Project Caspian as a sort of a black box that introduces cloud-native infrastructure and then build on top of that to enable Pivotal Cloud Foundry deployment in a matter of hours, probably within one day to quickly enable developers and DevOps practitioners to start coding in a matter of days. As a solution, native hybrid cloud treats Project Caspian as, in essence, a black box. However, in talking to our Pivotal colleagues or in talking to customers such as yourselves, we realize that the majority of the time spent bringing up Pivotal Cloud Foundry in a typical IT infrastructure really spent on analyzing the network and configuration settings required to correctly provision the Cloud Foundry in identifying the endpoints and integration endpoints with identity providers such as LDAP and AD with the DNS network settings and all that. Building that on top of Project Caspian enabled us to actually retrieve all the settings and configurations automatically, significantly in speeding up the deployment process. So the modern developer solution really builds on top of a Project Caspian by introducing Pivotal Cloud Foundry as a cloud native application development platform. On top of that, a multitude of different services can be used to really build a, again, modern day DevOps ecosystem. So some of the services, and I'm not sure how well you can see that on the screen, but as you know, Pivotal offers the number of marketplace services for integration into DevOps process such as Jenkins for CI CD, different tools for application performance management, tools for monitoring and reporting. And we've integrated some of these tools into our solution right off the bat. So to spend just a few seconds on the description of what is the Pivotal Cloud Foundry, there are two different approaches to building a modern DevOps infrastructure or platform. One of them is the unstructured approach. The other one is a structured approach. Unstructured approach could be illustrated by taking different components of the infrastructure, adding on top of different development tools, integrating it all at the customer side. Typically, that is a very time-consuming and costly approach, especially for the customers that are from the platform is not necessarily their business. Now part of that, the structured approach that Pivotal Cloud Foundry introduces brings together all the components required for quick deployment of a platform as a service and enabling developers to start coding pretty much right away. So in essence, Pivotal Cloud Foundry offers the native platform for cloud native applications and immediately delivers the reach operator experience both for the developers as well as development managers and platform admins. The Cloud Foundry itself is an open-source project. Pivotal has taken this open-source project and built the ecosystem around it with support services, with the deployment services, with incorporating that in the deployment tools that actually enable developers to start coding very quickly. The majority of the operations that Cloud Foundry allows are done through the set of RESTful APIs. The applications themselves are run in the containers that are presented to the developers simply as an organizational workspace. And then, of course, it allows the seamless scaling up or scaling out of multiple applications either by increasing the application footprint in terms of the memory or disk space required or increasing the number of running instances of an application. At the same time, that takes care of not only scalability, but also resiliency of application deployment. As you're running multiple instances of the same application across the entire platform, across the project Caspian infrastructure, your application is protected from downtime by a number of instances of the same application, running in the different containers, in the different VMs, on the different nodes, across the different racks. So by using the Pivotal Cloud Foundry resilience approach, we solve the problem while application is pretty much 100% application uptime. It also enables a seamless upgrade of the application code. Developers can push the new code without necessarily introducing downtime in application availability to their end users and customers. Let me go through some of the animations here. So the native hybrid cloud tools that we've developed on top of Project Caspian are designed to be installed at the customer side by professional services, specifically EMC professional services, which also facilitates a handoff to EMC support and enables you to simply pick up a phone and call one number for all associated issues, whether it's the issue related to Cloud Foundry itself or to the networking to the hardware or to the Project Caspian underlying infrastructure. What we've done is we developed components that Pivotal deployment requires for successful operation. Specifically, as AJ mentioned earlier, the Scale.io is an underlying layer of persistent storage in the Project Caspian. And it acts as both ephemeral and a cinder block storage. We've taken it a step further. We developed a S3-compatible Swift cluster that runs on top of Project Caspian on top of Scale.io storage and acts as a resilient and highly available blob store for Pivotal Cloud Foundry. And that's where all the application data is stored. Application data, the build box, application code, droplets, et cetera. We've developed an installation tool that is delivered to our professional services as a virtual machine image that simply gets imported into a glance and then spun up as a VM instance on top of Project Caspian in one of the tenants. And then it allows to run through a series of prechecks. These prechecks reach out to the underlying infrastructure and retrieve the associated networking information of the NTP, DNS, and the load balancer configuration and enable the configuration of the subsequent deployment of Pivotal Cloud Foundry. The three main components of the Pivotal Cloud Foundry that are part of the solution and that enable, of course, the further development are the Pivotal Apps Manager, which then spins up an elastic runtime. In fact, the elastic runtime is the Cloud Foundry itself, the open source Cloud Foundry. And then on top of that, we're adding another component called Pivotal Apps Metrics, which is used for a real-time and historical data collection, monitoring and reporting on the state of health of Cloud Foundry itself. That component is also used to collect a logging data. So we retrieve all the logs from not only Pivotal Cloud Foundry, but also from the blob store itself and from all the associated miscellaneous components to make sure that as a platform admin, you will have access to logs over time and be able to analyze these logs both historically and in real-time. The installation itself is a pretty straightforward. Once the Project Caspian system is deployed on site, the same deployment engineer retrieves the image of native hybrid cloud deployment VM and then from there proceeds to verify the LDAP configuration, the connectivity to the external log system, firewall and load balancer configuration, NTP server configuration, et cetera, to ensure that once the Cloud Foundry is up and running, all these components are accessible. We also look at the footprint of the tenant, whether there are enough resources available for deployment of the Cloud Foundry given sizing information collected from the customer when the sizing calculations are performed, calculating back down from the number of application instances and size of the applications to the number of execution agents, such as the Diego cells and ultimately down to the number of VMs or to the CPU cores, memory footprint and disk footprint. So all these calculations are done during the deployment by the tool and compared to the resources available in the tenant. If any of the resources are falling short, the tool will inform the installer engineer to go and adjust appropriate quarters through Horizon or through the API in Caspian project. As itself, the native hybrid cloud lives in a tenant namespace on top of the project Caspian. It uses a standard open stock APIs to authenticate the keystone to interact with NOVA, Cinder and Neutron to create VM instances, assign the private and floating IP addresses to these instances, interact with the Cinder to create and attach volumes to those VMs and create snapshots and then convert them into volumes for a backup and data protection. At the same time, the installation tool collects all open stock related information, such as the network instance IDs, the API endpoints for keystones, Cinder, Neutron, and NOVA, and then imports that information into a configuration file that is used by pivotal cloud foundry deployment. Once the deployment is complete, we protect the installed configuration by taking immediate snapshots of all the configurations. So we back up the native hybrid cloud components, such as a Swift cluster, such as installation VM, monitoring and reporting VM, as well as some of the installation settings from the cloud foundry itself by exporting it into the manifest file that's stored locally. And after the backup, we continue monitoring both the cloud foundry itself and underlying components in real time, as well as collecting this data historically. These data are presented in a series of reports with associated alerts on the threshold violations, for example, or on any of the operational thresholds breaches from cloud foundry. We look at not only the state of health of the pivotal cloud foundry, as well as the operational components and operational metrics, such as the number of Diego cells available or the number of containers available for application deployment. In terms of the data protection, I already mentioned the initial backup of both the pivotal cloud foundry and native hybrid cloud components. But at the same time, we continue taking the snapshots over time on the user-defined schedule. During the deployment process, we actually offer flexibility to enter a specified backup schedule, whether it's 6, 12, or 24 hours. And these snapshots are taken over time and stored in the ScaleIO persistent data layer. Once, if the failure happens, the customer will have the ability to actually restore either S3-compatible blob store or any of the components of pivotal cloud foundry from the backup with today manual procedure. We're actually looking to automate it in the next release. However, all the procedures are well documented and pretty straightforward. It really consists of spinning up another instance of the VM from a snapshot, from backup, and then reattaching an existing volume since the volume protected by the ScaleIO persistent storage layer. Monitoring and reporting component of native hybrid cloud is really a single point of a single place of data collection, reporting, monitoring, and alerting. It provides not only runtime reports on a state of health of individual virtual machines comprising the cloud foundry, but also historical information that covers cloud foundry components themselves, as well as the application developer's activity in the cloud foundry. So we monitor the applications and application instances as they're being published in the cloud foundry. We collect their footprint information over time. We record the number of instances of which application, number of service instances. And from there, begin to generate the reports. These reports are available either through the user interface or could be exported in a form of web page, the PDF, or Excel files, et cetera. In addition to the operational reporting, we provide a financial insight that really looks at the showback information available from cloud foundry, how much usage hours are generated by each application, each service, and for given organizational space. We use a couple of mechanisms to collect this data from cloud foundry. JMX provider is a native component of a pivotal ops metrics. We use that as well as the set of API calls directly to the cloud foundry to collect the data from application layer. And from a logging standpoint, we built in an open source Elkstock component that retrieves the logs from both native hybrid cloud components and the cloud foundry components into a log analysis platform. That log analysis platform is available as a part of the solution, but at the same time offers customers ability to export the log in real time to a log analysis, external log analysis tools such as Splunk and others. In addition to the logging itself, we provide a set of dashboards that at a glance display the performance of native hybrid cloud, the pivotal cloud foundry components, as well as alerts that exist in the system. Each of these dashboards is available for drill down for more detailed information, for administration, support, and troubleshooting purposes. And as I mentioned, the Chargeback or Showback, really depending on the terminology used in your organization, offers the ability for business units to understand in greater level of details exactly how they're using underlying infrastructure. We're actually using that for some of the service provider functions as well, because this information could be easily filtered and extracted for a given tenant or a given development department and provided to managers or the financial administrators to understand how they should plan the development capacity going forward. So with that, it's time for questions. Okay, if there's no more questions, then we'll proceed with the ruffle. All right, so we're ruffling out Amazon Echo. I'm sure there's gonna be a lucky person here in the room. And the lucky winner is 970-377. There we go, we have a winner.


She goes by the name of Elizabeth Nana. Welcome to the show. Thank you. Karibusana. I like your ring. Is that a ring? Yes, it is. What is that? It has some weed inside though. Nice. Yeah. Me na kumbe a little Russian. I know. Okua fashion tips apa. I know. We learn okua get jahazia, okua fashion tips. No, I mean ta gonga, gonga. I wish na na gonga, gonga. It's very comfortable. It's very comfortable. It looks nice as well. Thank you.  Thank you for coming through. Anytime. You got into the industry about two years ago. Your first track was Paro. Professionally. Professionally. Yes. What does that mean exactly? Before I used to do like a bongo type of music and then I met Rafiga and Rafiga was like you can change your music to something else. Why did you do bongo? You know when you're new and you believe you can write music, you can write anything. So by then I didn't really know myself. So after I met Rafiga I think I totally knew myself like what I would do. Yeah. So when you say you started writing bongo initially as you were trying to learn yourself as an artist, your influences were mainly bongo music? Yes. By then I was still in school and I used to listen to a lot of music and also I'm a songwriter. So it was so easy to write that type of music. Who was your biggest influence way back then? Lady J.D. Lady J.D. Why her? I really like her because she's so authentic and like all of her songs have messages so I find it very nice to me. Yeah. If I may ask what attracted you to the music industry? When being a songwriter, I was a songwriter myself. I am a songwriter myself and just being able to talk out to people also and then right now I'm doing Afrofusion and it's a mixture of Lua English and Kiswayli for what I do I'm doing and to find like not most people my age are so much into their languages. But for me I find it very nice being able to speak to other people through my language and through my songs. I like the way you're fusing it. That's why it's called Afrofusion I guess. Thank you. The way you're fusing like a local vernacular and the English and Swahili to create something so beautiful. Your latest track, we're going to talk about that later on. You also featured Abhi. Yes, Abhi. Abhi is a singer songwriter. Has he had any influence in your music? If not, who has been helping you as an uprising artist on your way? Abhi, I used to listen to Abhi when I was in school and I really thought he's like this old guy like because of his voice. He has a very deep voice and he's very super talented. So I met him someday one time when I went to go down for a gig and actually he liked my music but we had never met. So he was like, hey Nana, I really didn't know him but I was following Abhi by then and then I was still young and I really didn't know much about him. So one day I was going through some pictures like profile pops up and then I saw him. I was like, I know you from somewhere. So I inboxed him and he said, yes, you have met like twice at Go Down and I was shocked and I was like, okay. Then we talked, we talked and I told him how I loved his music and I really thought he was old and we became friends and he would teach me one or two in the industry. So we became friends and I told him, okay, I am having this song and I would like you to future in it and he was like, fine. It's okay. So like we are both like fans for each other's music. That's what I would say. Fun over fun. Yeah. That's nice. Any other influences who has been like teaching you the ropes? What to do, what's not to do? Public appearances and all that. So most of the things I would say I've learned to myself like following other artists. I really love Yemi. I find she's these amazing artists who really love what she does and she's keeping it African. So I try to keep it African and the fact that I'm doing low music also. So I really like her and then I watch a lot of artists performing, female artists performing which also, I'm a performer so I have to learn from other artists because no one is perfect. So yeah. Okay, there was a I hope I'm pronouncing this correctly. Paro. Paro. Yes. Baby Gochina. Yes. And then there is Terimos. Terimos. Terimos. Okay. And then there is a rumba called Dogepacho. Come Back Home. Come Back Home. Yeah, it's a collab though. And then now I have Nisame. And then Nisame. Yes. Someone looks at your track record with your songs. All of them had low influences but Nisame is mostly Kiswa hili. It has Kiswa hili, English and low. Like it's all mixed up. It's all mixed up. So how would you describe your sound instead of just afrofusion? I would say it's authentic. That's what I would say. Yeah. So you're trying to stay close to the roots. Yes. Yes. Because you find like most people are no longer into their roots. They are so American or Swatanzania. And so you find like. With that regard, how would you describe like the current music in Nairobi and Kenya? Some of them are keeping it real like they're just being them but some of them fake kids. That's what I would say. What would you do given the opportunity to change the music industry? What would you do differently? There are many young upcoming artists who are very good outside there. I think and I believe they should be given more opportunities to be had than always having like the same same people. Yeah. So you feel like the veterans are not giving everyone else the opportunities they deserve. Yeah. I would say that because you find like a young artist who is very very good. Actually there's so many amazing artists that are better than some of us. Like they are even better than me. I would say that but they are still they are like they will do interviews. They will be given that chance but not that much. So at times you ask yourself like where is the problem or what is not happening. But if they are given that chance, I think the Kenyan industry will be at a greater level. Like you see like what's happening in other countries also like Tanzania or Nigerian. The younger artists are given that chance and they really do good. Yeah. So it's like competing competing with the veterans. I would say that. So you would like a level playing field where everyone else can compete with everyone else. Yes. I think that was the idea. I think music is all about competition in other countries. Like people are really competing but you know. Trying to give good quality in music. Everything video quality like audio quality. Yeah. Content wise as well. Yeah, content. There's been a big debate with the content and I'm sure you've heard it as an artist yourself. Yes. Because as an artist you also sample everyone else who's on the radio on the airwaves. What do you have to say about the content? Is it true that we lack in content? What do you feel about that? As a songwriter as well. I think we have content. Like every artist has a different way of bringing out a message to people. Like right now there's some songs I would say that for the teens and then there are those who sing for the middle age and then there are those who sing for the waze. But why that distinction though? It shouldn't a song be open to everyone? Okay, you will find an old person on a middle age person really saying like which song? Can we not say any song? Like this song for the youth nowadays people dance to you. Just sing it. No. You will find an old person saying which often I would say but like what are those how are they in badini? Yeah. But then you will find There's an audience for it. Yeah, there's an audience for every artist. You have to try like know your audience. Yeah. And music is is about making money. So you have to know like okay this audience will give me this or this audience I just want to have fun or I want to take it professionally or I just want to make money. You know with that money regard some artists say when you're after the money you're selling out you're not really doing it for your craft anymore and that's when you start going wrong. So what do you have to say about that? Okay, okay.  I will spend on a video. I will spend on marketing. So you need return. You need return. You can't just keep okay when you are starting you have to let those fish shows like people have to know who you are and what you do. But as time goes as you spend like you have to get some return. Apart from this kizotun and other things like you need shows you we all need shows. Yeah. So I think as an artist as much as you are doing it just try to think like okay I have to start making money or else you'll be using money and you'll never get in return which is like you're doing nothing in the industry because like in Kenya we'll get artists from outside to come and perform in our country but you'll find in other countries it's so hard to get a Kenyan artist to go there. Going to perform there. Yeah. Is it our content is not really like breaking through or there actually I sometimes don't understand that. Yeah. Are we creating music just for Kenyans basically? But at times we still we still sing in English but we can't get there. We're not breaking through. Yeah we're not breaking through. So I don't know it's us we don't do more work or we sometimes I don't understand how those people outside will really penetrate in our industry and us will not penetrate that. But for us it's a lot harder. Yeah. I think we need to have this debate especially on the E-Circuit we'll put a panel on one of these findings Yeah. But now you as an individual artist what's the hardest hard to live, how to go through to get to where you are right now within you track me some ahead. So when it's normally marketing like that's like the biggest thing and then the rotation and then the fact that I do most of the things myself I have a team that I work with a very amazing team but you know sometimes it's really good to have a manager but also the managers they have their issues like when there's a manager but you're doing a lot but you're not getting anything in return. But I always believe in hard work you know there's always somewhere who someone someone would really love your music and every artist has to go through steps to make it there. So it's just part of it? Yeah it's it's part of it because if you just make it like once you'll be like you'll be relaxed like okay you want to want to work for it you would want to work for it but as you go step by step you'll always remember I came from somewhere you'll appreciate where you are yeah. I like that interesting what about your favorite part of being an entertainer of being a musician? Favorite part is traveling meeting a lot of new people meeting people you only see on TV or you would like to meet. Yeah. Nice. So as I said earlier Elizabeth Nanna that's her name on YouTube make sure you go subscribe subscribe subscribe like comment do all that fun stuff and make sure you share as well we're about to premiere her new song Nisha Mehe Yes. In the video there's Abhi one of our own I don't know why I was not called for the video but Maybe next time Okay. So like most of my songs I do in Kisumu this one I've worked with Abhi I've worked with Kealo Johnson Kealo and I've worked with our studio from Kisumu Mgf by Jamal Malik so and everything is all Kisumu yeah. Tell us about Nisha Mehe before we play it so what is it talking about Naniya unataka kukame okay this is the story behind it like in a relationship you find like Ukiniko seha you want me to forgive you like most time you will play on a woman and you will want the woman to forgive you and like when you find your girl playing on you you will not easily forgive her so from the from the what from the video that's the main thing like forgive you can forgive your lover yeah so yeah that's basically what Nisha Mehe is all about Is it based on a true story Not really it's just writing and being creative things happen you know these are things that happen so I like to write my music from things that happen around like something like when I grow old someone can still listen to and just be like this is that song yeah then do a song that I know in future I'll look at myself and be like was that really me what was I doing yeah. Nice thank you so much for coming through we were asking a question earlier and guys back at home also keep on answering on Y254 channel and the e-circuit the question is how much influence should your parents have on your relationship when you're dating or when you're married well okay when you're dating really none you can just do the introduction but when you're married yeah maybe 20% not like 100% just kidogo yeah but you know in in most guys are mamas babies yeah like most guys but so with a patakijana 100% he will involve the mum which for us ladies you like so I think the parents should be like 20% yeah yes Zerre first of all I don't know this young lady to my right very young of course no the 20% is true if you watch the beginning of the show 20% was like none and you were like and mankind and mankind I don't know about mankind but now Nana is saying 20% you're like yeah but if you watch the show in the morning I clearly stated 20% parents should be in your relationship like 20% you know to offer advice to to guide you and all that because this is a path they had also taken yeah and they're still doing it and they're still doing it and they probably know better exactly so 20% yeah the 20% thing but with a sieve of course because not yes they are parents but not every parent is a good parent sorry to say true true also so take it with what's it called a grain of sanda I can't remember that saying with a sieve I'll just say it in kikuyu Mike ichungi you know he wants to say it in kikuyu he's just it's a direct translation na kikuyu una ichunga so it's a kichungi una ichunga kenyuna pachia I need that to have tea somewhere take the good throw away the bad see so so guys keep on answering on Facebook, Twitter and Instagram and that's on why to find the isa cute until then elizabeth nana nisa meha