Hello everyone, welcome to Think Tech Hawaii, and today we are saluting the work of Dokomomo. What is Dokomomo? It is essentially kind of the fan club of mid-century architecture, meaning from about 1930 to about 1980. And today on this Dokomomo-themed program, we have a guest, William Bill Chapman. As he is called, he is the Dean of Architecture at UH Mānoa. Thank you for the wild nickname. Wild nickname, Bill Chapman, we call him. And what we're going to talk about today specifically is buildings that we've lost. So these are Honolulu buildings that have been demolished from the modernist time period. Things that we want to emphasize to people, too, that while we cannot stop change, we also want to be aware of conserving things and preserving things, and being aware that buildings of this time period are worth preserving. Well, Hawaii was really blessed with a lot of modernist architecture because it coincided with the boom period of development, just around the time of statehood and afterward.  Well so, Kokos is behind us, but we're not going to deal with Kokos right yet. Let's go to our first slide, and this is what we're talking about. We're talking about demolition. And before the show started, you and I were discussing the wholesale destruction of a lot of downtown Honolulu for urban renewal, as well as the construction of the H-1 freeway, as well as the widening of vineyard boulevard. So the loss of these things is what we're... Yeah, it's a kind of paradox in a way, because what was getting lost during urban renewal was really the 19th and really early 20th of July. Yes, it was. So we lost our downtown, we lost Chinatown, really. We kept some of it. We lost our very little. Yeah. And then we lost other neighborhoods, and yet modernism ushered in vineyard and the highways. Exactly. And in a way that's always been strange to me, now in my point in my career, to preserve the... Yes. Trying to preserve the very buildings that lent themselves to the loss of these really wonderful 19th century buildings. That's exactly right. And this is something things gain charm and interest as time passes that they did not initially seem to have. Right. Okay, first let's go to our slide. Let's go to our next slide. And we're going to talk about something, a development of the post-war period when those are shopping centers. And there are a lot of extant shopping centers still with us from that time period. But here are two that are gone, completely gone. The Moanalua shopping center that you see at the upper right, there still is a shopping center in that location. But this 50s one was completely demolished. Did you... Yeah. Who designed this? Well, it was a group of architects, but it included Alfred Price and Vladimir Asipov were both on the team that designed this shopping center. And those are... Look at that wonderful graphics. Yeah. And that's something else too. We're just talking about signage, et cetera, which has all changed as well. And then in the lower corner, we've got the Kalihi shopping center. Now this is entirely gone except for a part of it, which is now a car dealership. And this opened up in the middle 1950s. And it was in an area, a small area of Kalihi that had a little boomlet of some 50s buildings, the First and Wyand Bank across the street, across North King Street. There's also a church right nearby. So there was a 50s redevelopment of this area, which had been just pretty much residential. This is one of the few shopping centers that didn't really just take off and stay in its position. And most of the other ones have. It's got an elegant entrance, don't you think? Oh, I know. And it's got these very thin metal poles and it's got the cookie skylight hole in the roof. Right. And then the kind of trees interpenetrating, it's just a terrific, terrific little center. Reminds you some of some of the schools of the period. Well, I was just going to say, I went to Punahou and the Winnie units, they looked very much like that. Absolutely. And my daughter studied at Winnie units, I remember that too. Yeah. Okay, next venture. And a shopping center that is still very much with us is Olimwana shopping center. I think a lot of people wouldn't even recognize it today. That's right. That's right. Well, this is the way it looked in 1959, when it opened. Completely dominated by parking at the time. And yet there's hardly a parking structure, it was surface parking. That's right. Well, it was, but as we talked about, when it was, it had been Bishop of the state land, Walter Dillingham bought it. He filled it via the Hawaiian dredging company, which he owned. And they started talking about building a shopping center here in the late 1940s, 1948. It was going to be a one level one, but then when they actually started it in 1957, they kicked it up to be a two level structure. This is what's called phase one. Now the basic structure is still there. Let's go to our next picture. Well, you know, William Murtaugh, who some people know, he was a pioneering historic preservationist. He said he remembers being over at La Pietra, talking to Walter Dillingham, and Dillingham said he had this idea for this new shopping center. They conceived it in the late 40s and started really doing the prep work by the mid 50s. And as you said, 58, 59 is when the construction got done. And then I guess it was Don Graham was a California developer who was brought in to kind of conceptualize the whole place. Well, the thing that I wanted to say is that Alamwana, the basic structure is still with us. So in the lower picture, you can see the mall on the opening day in 1959, in August of 1959. That basic structure is still there. But what we have lost at Alamwana are the other accoutrements or the facades that were very much of the time. So the top picture shows you this fresco bar relief, modernist, abstract picture of Honolulu, which was on the Maoka wall of what was the McInerney store. And as a little kid of five or six years old, looking at that one, it opened. I thought, wait, is that supposed to be Honolulu and which building is which? Because I'm still very literally trying to figure out what that was. Well, all of that's been lost, as you said, because of these. Now, is this at the, see, I didn't live in Hawaii at that time, but is this at the Sears End then? Well, this is the phase one end. So this McInerney store was right where the center part is today, where the stage is. That was just, so this was at the Diamondhead end of that, on the Maoka side. OK, OK. Well, next picture, we see two other things that are gone. Right, well, certainly that piece of art is gone in the pool. We do see that, we do see the Alamoana building. And that's certainly, and we still have the revolving restaurant that no longer revolves. That doesn't revolve. Well, the lower picture shows you a fountain that was located in the center part, which now, of course, is, it's kind of where Neiman Marcus is now. Right. And exterior fountain, the center portion of the mall was not covered at that time. And in the top picture, this was, Longs is the only store that's still there. This was the side of the Longs drug store where there was a planter box that had this ceramic fifties abstract tile pattern on it. And it also had the open ceiling of the open roof with the with the slats in it, too. You know, to my mind, what probably the only really distinctive piece of not first phase, but early second phase, is Liberty House itself. Oh, yeah. That's really the only thing you see of the period today. That's right. Well, let's go to the next picture, because here's phase two. And this is what you just were mentioning, the part that was opened in 1966. The mall, the fountain in the center, of course, has been changed. The overhead part has been changed. It's been enlarged from two stories to three stories. And at the very end, this is the Liberty House end where Shirokia was and where the Conrad Jewelers was. There was this soaring structure with the circular holes in the ceiling. Wonderful again, isn't it? With the coming down to these tapered columns. Yeah. Oh, yeah. Very, very typical of that time. It's like it's like the state capital building. It's like it's like other things, too. And this is, again, all wiped out. The travel later was a an escalator that you can see that was flat. I didn't have steps. I always remember hearing the story about the earlier series that the Sears building, which I think was on baritain. Yes, it was. And that was the first escalator in town. And it actually brought people out. No, you're wrong. The first escalator was in the Mitsukoshi Department Store in 1941. I understand that the one at the Sears was a big deal. Oh, I want to see one. OK, well, next picture. Let's see what else we've got. OK. Oh, right. The Hawaiian Village Hotel.  What a place. The Hawaiian Village Hotel opened in 1955 and it was built by Henry J. Kaiser, who we were talking about earlier, just was a huge industrialist very well to do, and he just said, build it. I want it built right now. Build it. And people did. And from 1955 to 1960, the Hawaiian Village changed dramatically. They constantly were building stuff. Very little of the original 50s Hawaiian Village is still there. This is a picture of an amazing thing which was there. It's a swimming pool, as you can see, but it had a retractable cover. So on the left-hand side, there are the people standing on the retractable cover. So during the day, it's a swimming pool. And next picture, by night, it's a dance floor. This is an interesting story, because this was one of these old Hawaiian estates. Yes, right. It was a John Ina estate. Yes. It became a hotel. The mana. The Niumalu. Niumalu in 1928. Yeah. Modest wooden buildings. Right. And then this would be replaced by Henry Kaiser's vision. Right. He had another California developer working on this one, Brits Byrne. Brits Byrne says correct. That's correct. And he had this idea of creating this little village. I think there were 70, not individual unit cabins, but 70 rooms. That's all. And I think some of them may have shared the same little. They did. They were the same. They were like a duplex. They were like individual houses, essentially. It's what they looked like. And it was right around the corner from a place that you and I both loved, that Tahitian and I. Well, exactly. Which had a lot of the same scale and stat style to it. It was a lovely place. And I don't know how they got around the fire code and issues like that. Oh, that's a very good point. Well, something else that was at the Hawaiian Village Hotel, which was very notorious in our next picture, is the Kaiser aluminum dome. What a thing we had, right? I know. And this was used as an auditorium. And it was partly a publicity stunt for Kaiser brand aluminum, which Henry J. Kaiser owned. But it was also this Buckminster Fuller design was what we all thought we were going to be living in in the distant future in the year 2000. He had been an artist and resident at Black Mountain College in North Carolina back in the 40s, right after the war. He'd had some experience in the military during the war with building temporary buildings and things. Correct. And he came up with this geodesic dome idea. And he thought he could put these pieces together and they had tremendous strength. Because as anyone in the building trade knows, a triangle is your really most rigid form and stable. This went up in two days, two 11-hour shifts. They actually did put a column in the middle. And then they built around that column. And then they could magically remove the column. And it went up almost 50 feet, 548. So it was five stories high. Got finished in 57. His first big dome, it would later become a kind of, like you say, a hallmark for the counter culture during the 60s of your own geodesic dome. Exactly. They got very few in Hawaii because of permitting, I think. But at the time, this was the space age. This was modern. And ironically, then in the hippie era, it became kind of like a do-it-yourself down rule thing. And they made a amount of plywood. And then they rotted. They didn't work so well. That's right. Exactly. But this lasted until 99, is that what we thought? Well, see, if we go to the next picture, you'll see that the dome was a prominent landmark of the Hawaiian village property. And I still remember as a kid, I didn't see it here. But I remember when around the world in 80 days that David Niven came out. Right. Mike Todd's big extravagant thing, where he actually took the camera to other locales. Exactly. That and Zizi came out the same year where they actually filmed in Paris. Exactly. This was a big innovation. This was a big deal. Well, this famous movie around the world in 80 days, and again, Henry Kaiser loved publicity and free PR. So around the world in 80 days showed at the aluminum dome for like six months or a year or so. And I think they had a big, wide screen, right? Oh, they did. Because it was shot in SimaScope, right? And they put it, no, it was in Tadeo, which was Mike Todd's, yes, his own version. That's going to. Unfortunately, that is left. And then Don Ho, you'd use it as a venue for many years. Yes, he did. And I think in 64, you had Elvis at both, generally at the village, right? And he was there. When he first came in 1957, he stayed at the Hawaiian village, yeah. I think Sima Blue Hawaii was filmed there. Yeah, 1961, the film Blue Hawaii is shot there. Dennis, the menace comic book was there. You and I talked about it. I want to tell him again. I don't know what happened to mine. I've got mine. Hawaii Night Television Show took place there. We've got a lot of PR. OK, next picture. We are going to go to something that modestly called itself the world's most beautiful restaurant. And that was Candice Charcoal Broiler, which was at Kalakaua and Kalai Moku Street, designed by Wimberley, Pete Wimberley. Pete Wimberley and Cook at the time.  Right, and I want to, I think I'm going to do a Wimberley show because he did so many amazing buildings. Yeah, very lovely, huh? And this was. It's like, you want to say it's Tiki, but it's really a step above Tiki. It is. Absolutely. No, you're not. Exactly. That's right. Go to the next picture, and we'll see the interior of it. And it's got this big, soaring A-frame. It's got the usual rough lava rock basalt rock contrasted with the other smoother surfaces. Yeah, exactly.  So the total inspiration isn't Polynesia. No. It's a little bit of the Mission 66 kind of stuff that was going on with the park service where they wanted to bring modernism into the park. Correct, and there was a lot of very soaring, pointy, big, thrusting structures. Right, big, open spaces like this, yeah. Right. Well, from this particular restaurant, we will go to another one in our next picture, and this modestly built itself as the world's most beautiful Chinese restaurant. I like this one very much. It's just checking something. This is, this is... P-Y, yeah, P-Y Chongs. Owned and built by a man named P-Y Chong, who uncharacteristically for a Chinese businessman spent way too much money and went bankrupt and had to get taken from him. Well, you and I were just talking before the show about I'd been recently in Los Angeles. And these kind of thematic shopping center, restaurant combinations were really the development of the time. And we tend to, you know, you kind of look at this and you see the obvious Chinese influences, including the pagoda tower and the gate and things like that. But it could have been, you know, done in the Spanish colonial style just as easily. So they've been, Los Angeles has a lot of these very much developments around. Los Angeles architecture had a big influence on us too. Absolutely. This was demolished in 1965 for a high rise, surprisingly enough. This was in Waikiki. And in the next picture, we can see that not only was this, there was an interior, obviously, of the restaurant, but it was a nightclub as well. Right. At an outdoor stage. And that's what I mean about having these kind of complex. Oh, absolutely. It was like a complex. So it has... You know, isn't it interesting to think, you know, Mrs. Cook rejected the tower by Bertram Goodhue for the Art Museum. It's almost like it ended up floating over here. Versus a square plan version when this one's round. But that's an eye-catching, you know, and in Waikiki at that time was all low-rise. It was an eye-catching building. Okay, next picture, we go to another restaurant and this is remarkable because this was on Kalakawa Avenue. It was demolished, it was built about 1960-61. Yeah, it was on the Makai side. And it was where the Cheesecake Factory restaurant is today in the Royal Hawaiian Shopping Center, but it looks like a home. It's amazing. Looks like a private home. Vladimir Asipov. And it looks like one of Vladimir Asipov's homes. And it is, as if you've transported it. And that kind of copper coloring and everything. The whole thing has a really strong kind of righty and feel. Very horizontal. Yeah, very much in the spirit of that. And this wonderful sort of screen wall on the left of what we always call Moss Rock here. Yeah, but it's lava. Lava's a terrific place, huh? And again, look at the writing. The script is so snappy, right? Yes. Well, speaking of snappy script writing, let's go to the next picture because this was one of my favorites. And if you look in the upper picture up in the top, the littlest kid in that picture is me. Oh, that is so cool. And that's me at the age of five at a top restaurant. I missed tops. I missed tops. I didn't see it ever. Well, this was open in 1956 at Alamoana and Ina Road. And across, it was diagonally across from the dome. So we had two really 50 structures right next to each other. And this was designed by a famous architectural group in Los Angeles called Armay and Davis. And they specialized in what is called Googie architecture for this type of coffee shops. And there's a lot of differentiation now, you know. What is Googie? What is programmatic? Programmatic, I guess, is when it actually literally imitates the product. Oh, correct.  Right, this is not programmatic. This is more spacey. This is very spacey. And very modern, you can see this diamond-shaped structure that was composed of smaller diamond shapes, which, again, is a little kid. I thought, what is it there for? Well, it was just there to catch your attention. Exactly. But look at those diagonal braces there. It's like Talleus and West. Yes, it is. It's so much like that, right? It's a pop culture version of it. It's a pop culture version of Frank Lloyd Wright. This was demolished to build a high-rise in 1970. This building only lasted 20 years, from 56 to 76. Next picture, another restaurant. And this is very much like what you were just mentioning about Los Angeles influence. This is the Kaukau Corner Drive. It's the old 30s version, right, before they built the 1960 version of the placement. So this actually was built in 1941. And it, again, the rounded facade and the rounded base of the building. And this must have been built just before the war. Just before the war. And it was. This was a major hangout for GIs during the war. In fact, Kaukau Corner had that very famous sign. Famous sign, exactly. The directions of how far away Tokyo was and how far. Let's go to the next picture, because there is the famous sign. Oh, terrific, yeah. And this neon sign was located on busy intersection of Kaukau Avenue and Copilin Boulevard. What a shame now, there's nothing really to mark that. You have nothing left anymore. And this was, everybody had their picture taken there. And I can't believe. There are scores of pictures. I can't believe with the convention center being right next door, that somehow we haven't managed to create some urban space that brings this back. That nods to this. I think it should come back. I agree with you. This is what, basically, for our viewing audience who don't necessarily quite know where this is, this is Hard Rock Cafe. Well, it's actually now Honolulu Coffee Company. The Hard Rock Cafe moved out of the building. I knew that. They moved over to Kaukau as well. But that's where Hard Rock's building was. We go to the next picture. So in the 1950s, Kaukau Corner looked like this.  And they actually did have serving young ladies. Yes. And I got taken there. I only remember going once in 1960 before it closed. And seeing how the tray got put on the car window was astonishing to me. And I didn't have that experience. I only had once. But you've got to remember that just up the street near where McKinley is, it was an outdoor theater, right? Oh, no, no, down the street, down Kopiwani, this is. Is there was a drive-in theater? This was all linear strip development, exactly. There was not a lot of houses yet. So in 1960, Kaukau Corner closed. And if we go to the next picture, this building that you just saw was just remodeled with a facade over it to make it really quick. And once again, we get the tall yes and kind of ribbing on the outside. Yes, exactly. And this is we've gone from a drive-in, which was one archetypal American restaurant to the 24-hour coffee shop, the other one. And then when this got demolished in 1986, what was built, the theme, the chain theme restaurant, the Hard Rock Cafe, all at that same location. OK, next picture. Now, we're going to have to go through some theaters very quickly. We're dipping back into the deco period, really, right? But this is the time period when there were neighborhood theaters in abundance. This is before television. And this was when, particularly in the 30s, there was a big explosion in local theaters. And so small towns. This is 31, I know. This is 1931. The Hollywood Theater was demolished in the late 70s, early 80s. 80s, I think, 84 or so. And it was a big over the weekend community. There's a lot of protests. People are really upset about it, because there's a lot of stuff going at that time. And it was really a local part of the community. Next picture is a really forgotten theater in Kahului. I know. And it has that kind of like the style of Puneho Chapel that kind of a. Yes, Dillingham. It looks like the Dillingham. Yes, and it's got this roof over the front. I didn't mean the chapel, but the performance center. Correct. And this was the one. That was Bertram Goodhue. And this is just probably a Goodhue knockoff. I think you're right. Something of the feel of the Southwest, right? I think you're right. Yeah, this was demolished for a shopping center in the 1950s. Next picture, we've got a theater that's still standing, although not as a theater anymore. It's part of a retirement community. What a funny schizophrenic building. You've got a little bit of what we were talking about about the California Exposition in 1915. The California Panama Exposition in San Diego, which Bertram Goodhue was the architectural coordinator for. And you've got a perfect signature of that on the top. Then all of a sudden, it goes to this modern look. Yes, it does. Yes, it does. And if you look on the far left, it's just a wooden structure. Exactly. So this facade is just there to make it look more grand. Well, it's still standing along. It doesn't show houses for a long time. It's a lobby of an old people's home, right? Is that appropriate to say? I should say so for the people who used to go to it. Next picture, we've got another theater in the city of Hilo. This opened in 1940. And unlike all the other ones, it wasn't demolished because of urban renewal or economic pressures. It was badly damaged by two tsunamis, one in 1946. And after the one in 1960, it closed for good, and it was eventually demolished. But it was very much like the Varsity Theater in Honolulu, which we've also lost. Yeah, this is great. Look at that. The Hall of the Star, the way they used the horizontal banding and then the light. And the lighting is very important. The exterior of neon lighting. Do you know the architect for this? I don't know. It's a terrific building, isn't it? I know the Varsity in Honolulu, of course, became a kind of rep house toward the end. And that was C.W. Dickey as he moved in a more modern style in the post-war, in the Jeffrey War period. Had to, yeah. Yeah, it was very interesting. But the plan of it was similar to the Toyo or the Waikiki, also C.W. Dickey theaters. OK, well, we've got to rush through the last few things. We've got our next picture is of another theater, and this is the Toyo Theater. It's C.W. Dickey, mainly Chinese, a little Japanese. Originally, I think, showed Japanese films. It did. Go to the next picture, and you'll see the very ornate interior of it. I think some of it resides in our mutual friend of ours house at this point. I hope so, I don't know. Our next picture is of another major theater. This is the C.W. Dickey, you know. Then it's just in time for the war, didn't open in time for the war, because the Navy requisitioned it, and then opened in 45. And I remember when it went down for Nike Town. It was a shame. That was a lovely place. It was a beautiful place. We've got several more pictures. Let's go quickly through our Waikiki theater. And our next picture. Absolute tragic thing. They took it apart in bits and pieces, so you never really had time to protest the whole thing. No, that's true. That's true. Next picture. Yeah, Waikiki theater. Had a wonderful fountain, which had metal plates with movie star signatures on it from the 1930s in the courts. You had the usherettes. Usherettes, oh, yes. Little pillbox hats that they ran around. They had, there were usherettes, because it was a reserve theater. They had this wonderful scenographic interior. And as the lights would fade, you'd see the clouds and the sky and the stars would come out. It was quite wonderful. It was magical. And I remember Bob playing the word. Oh, the Lady Organ. That's true. Yeah, it was great. OK, next picture. We've got our last thing. All right, good. The pineapple. This is the pineapple. I think a lot of people are fond of the pineapple. I was very fond of it. It was a real icon of Honolulu. It was atop the Dole Canary. It was the water supply for the emergency fire sprinkler system. It did not contain pineapple juice as I thought as a kid. And it was demolished in 1993 because it was falling apart. Well, apparently the original idea from this came from CW Dickey, who was related to James Dole. Who was the Dole company. And Dickey had designed other sorts of sign things. And he said, this would be a good idea. And then eventually it got built. And there was a guy named, what was his name? I wrote it down here. Sims Thurston Hoyt was the engineer who actually put it together. And then there was this Canadian guy named Coxcombe, I think his name was. And he would periodically repaint it because it was in a very harsh and marine environment. Yes, it was. And there was hope when they finally took it down that they would put it back up and they never did it. Well, folks, thank you very much for joining us. And we are very happy that you were here to join us for the Dole Momo show. That was super fun. So thank you. Well, I will be seeing you again in our upcoming shows for Dole Komomo as well as Think Tech's human human architecture. Till next time, everybody. Thanks and aloha. Thanks. That was great.


This paper proposes a novel method for protecting metal electrodes used in lithium ion batteries. The authors designed a metal electrode skin, MES, which consists of two layers of fluorinated graphene oxide and a prussian blue coating. The fluorinated graphene oxide layer acts as a barrier against corrosive elements, while the prussian blue coating helps to reduce the formation of dendritic deposits on the surface of the electrode. The resulting MES is able to significantly extend the lifetime of the battery cells, with one cell achieving more than 1,600 cycles before failure. Additionally, another cell consisting of potassium and prussian blue achieved a cycle life of more than 5,000 cycles. These results demonstrate the potential of using bionic principles to improve the performance of lithium ion batteries. This article was authored by Hongbo Ding, Zhu Wang, Jiang Du, and others.


Hello, welcome to Tovy TV, this is the Everton News Daily. Everton are reportedly interested in Burnley attacker Maxwell Cornett. There is a £17.5 million relegation clause, obviously it's been relegated. Apparently Westam are interested in him as well. Good player, good international player, plays for Ivory Coast obviously. Settling to the Premier League really quickly, he's had a good season, scored nine goals. Obviously can't say the same for Burnley unfortunately for them. But you know, he's still young, fast attacking winger, he's obviously scored against us at turf more I think it was. So yeah, I'm all for it personally, £17.5 million is a cheaper option. And he's definitely a player who's possibly good enough to get into our side at the moment. So I do think we've got other areas we need to strengthen in first but we'll see what happens with that. Everton have reportedly been dealt a blow in the pursuit of Blackpool goalkeeper Chris Maxwell. It was reported that the deal was on hold as it remains to be seen if Everton will be getting rid of Jal Virginia and Lonergan. Because it's at the club obviously, Jal Virginia has been linked to the sport in this week. And whether Lonergan will probably leave the club is looking likely. So 31-year-old goalkeeper Chris Maxwell from Blackpool, obviously their captain. So whether he can come in and be a backup is yet to see as it's apparently on hold. So we'll have to see what happens with Jal Virginia and Lonergan first. In terms of other goalkeepers, Everton have signed a deal with a goalkeeper. They've signed a new one-year deal with Zann-Luc Laban until the end of June 2023. 19-year-old signed him in 2019 from FCBS Kohler, Polish side, Slovenian goalkeeper. Obviously a young goalkeeper to keep an eye on there. He's in the academy. So congratulations to him signing a new deal. And finally the vote to elect Everton. So the club's fan advisory board is now open. So make sure you go to the website and check that out obviously. Something big for the club moving forward having a fan on the board. So yep, there you go. Thanks for watching. If you want more videos including a live daily video joined on Patreon. There's going to be a little barcode in about three seconds. And make sure you subscribe and like this video. See you later.


Everybody forced here rip in 2022 gold standard football hobby six bucks number 20 your random team style you can always find the results on your screen at late and sports cards calm Thanks for joining everybody and good luck. Oh, you're Yes, it was Tim rose Yeah, I know it definitely wasn't the best box gold R2 is nice, but I guess I've seen worse. I will say I've seen worse so Hmm Got Raiders Derek car number 28 of 30 Cowboys rookie D'Ontario drummin 35 of 49 Chargers Jersey Keenan Allen 186 of 299 See Hawks Jordan Brooks Jersey card Excuse me 294 of 299. Thank you Chargers Justin Herbert gold plated Jersey to 69 of 299 got an Eagles rookie Otto Carson strong three of 25 Jats of Breeze Hall rookie duo patch Otto gold ink 7 of 49 nice hit on the breeze We go All right bears rookie Mackay Polk 49 of 49 Packers rookie Romeo Dobb 62 of 75 Raiders gold rush Jersey Derek are 55 of 299 Patriots rookie patch pier strong jr. 48 of 49 Nice patch Ravens rookie Otto Tyler Beatty 67 of 199 Lions good as gold patch Otto Amon Ross St. Brown 11 at 25 The Detroit nice hit Texans Damian Pierce rookie patch Otto gold ink 23 of 49 the autos. I mean unless his auto is just like that It's not quite all the way on the sticker. It looks like Unless he just really kind of scribbled that one on there Could be the pen is kind of thick on those two. Let me see soon. It's Sam. What did he do? What did Sam do? looking for elements And gold number one Here's the upload Yep, I see your name there. Oh element elements Six bucks half case one that was from Wednesday The house from Wednesday one sec here it is That was hurricane breaks That first break was like the only one that was like normal speed everything else was Cardinals JJ Watt 22 of 49 he texted me and I'm like, all right Jags EJ Perry's 61 of 75. Yeah, of course in I was like number one was that way. I was so feels like so long ago when She had a lot of 47 to 299 Dolphins Jersey Packers Christian Watson rookie Jersey 367 of 399 Cowboys a Tony Pollard auto 97 of 99 Such as called gold auto That's pretty nice nice Pollard for the Cowboys Colts rookie auto CJ Verdel 505 on the Verdel and Kenny Pickett rookie Jersey auto 119 I'm one 49 Steelers nice hit Matthew B with the Berg Nice Kenny Pickett, we'll get that mag for you KP Jets Quinn and Williams 85 of 99. He got rookie trailing Berks Titans 53 of 75 Bengals Jersey gold gear T Higgins 35 of 299 Jaguars mother low hood five-way patch with a logo patch in the center. It's the viscous Chanel jr. 18 and 25 Some dirt in the top, right? I Thought it was dirt it says no specific gamer event Nice, Levisco. You've got Colts white gold Jersey Jonathan Taylor 19 of 299 Bucking ears golden age auto Mike all-star at 73 of 99 Nice all-star with the creamsicle you either and Panthers Matt Corral rookie triple Jersey auto 109 of 149 Sub Steve because products are made months and other planned months and months in advance and he was traded like Right before Yeah Got chargers rookie Isaiah Spiller 8049 Raiders Max Crosby 1975 you probably won't see a Levisco Panthers card for months Jets Michael Carter Jersey numbered 145 of 299 Rams Van Jefferson five-way relic to 17 of 299 Yeah, touchdown vulture Mike all-star touchdown machine though rookie Jersey Desmond Ritter 359 of 399 Bears V less Jones jr. Rookie Auto 5 of 49 the V less and chargers rookie dual-patch auto Isaiah Spiller 11 of 49 gold ink He wasn't even here on Wednesday, so that was that was all me soon I guess What's the last big hit you hit from us in Victor Eagles Kennedy Brooks rookie 30 of 75 Chargers JC Jackson 76 of 99 Raiders gold gear hunter Renfrow 163 of 199. Yeah, I was pretty nice Washington rookie Jersey Brian Robinson jr. 332 of 399 Colts rookie auto CJ Verdel 184 of 199 commanders good as gold Jersey auto Terry McLauren 18 of 99 almost Jersey number and on the back Saints nice rookie dual-patch auto Chris Olava a 42 of 49 what a hit Gold ink color match three color patch on the left to Sick hit New Orleans Let's go ahead and recap relics Falcons Desmond Ritter Packers Christian Watson commanders Brian Robinson jr. Raiders hunter Renfrow Rams Van Jefferson Jets Michael Carter Bangles T. Higgins Dolphins Dylan waddle Colts Jonathan Taylor Raiders Derek Carr Chargers Justin Herbert Seahawks Jordan Brooks Chargers Kenan Allen Patriots Pierre Strong jr. And Jaguars Labiscus Chanel jr. Autos now got Colts CJ Verdel Ravens Tyler Beatty Panthers Matt Corral Bucking Ears Mike Ulstott Commanders Terry McLauren Cowboys Tony Pollard Bears Vilish Jones jr. Chargers Isaiah Spiller Saints Chris Olava a Texans Damian Pierce Jets Michael Carter Eagles Carson strong Lions Amon Ross St. Brown Colts CJ Verdel again and a rookie Jersey auto Kenny Pickett to 149 There he is There he is. That's gonna do it. Thanks everybody We've got more football coming up


Good to see you. I'm Martin Despang. I'm your host of think-taker-wise human human architecture. This program needs your help again. We're pro bono and funded by donations. So this is the spring 2022 fund drive with your help we can continue to provide coverage of some of the most important issues of the day, as well as content that enhances our lives and enriches our community. So please click the donate button on thinktechhawaii.com or on our daily email advisory, or send us a check at 1164 Bishop Street, Suite 603 Honolulu, Hawaii 96813. Thank you so very much for your grateful and generous support and see you back on our programs. Bye bye.


Lemons are often touted as a miracle cure. It is an excellent source of vitamin C, an antioxidant that can help protect cells from damage and reduce inflammation. This is important for people with diabetes. Lemons also contain fiber, which can help slow down the absorption of sugar into the bloodstream. This can help to prevent blood sugar spikes after meals, include lemons in your meals and beverages for their vitamin C, fiber, and refreshing flavor. Pair them with other nutrient-rich foods as part of a balanced diabetic-friendly diet. Another is the soursop. Soursop leaves and fruit contain ananasins, acetogenins, and other bioactive compounds with potential anti-diabetic effects. Some studies indicate these compounds may inhibit amylase and aglucosidase, enzymes that break down carbohydrates, leading to slower sugar absorption, increase insulin sensitivity, enhancing the body's ability to utilize glucose and reduce oxidative stress, a known contributor to diabetic complications.


Okay, we're back here at EMC World for SiliconANGLE's exclusive coverage of EMC World. This is theCUBE, our flagship program. We go out to the events, and try to see them from the noise. This is day three of three days of exclusive coverage. We're going to try to keep the energy up. I'm John Furrier of SiliconANGLE. I'm joined by my co-host. I'm Dave Vellante of Wikibon.org. Guy Churchwood is here. He's the president of EMC's BRS division, the conglomeration of a number of assets that has really done extremely well in the market, according to IDC, it's about two-thirds of the market space. Guy, welcome back to theCUBE. I thank you very much, appreciate it. I think one of your first weeks on the job was last year at VMworld, and then you were recently named president of the division, so congratulations on that. First hundred days in, what'd you learn, and how'd you apply it? I learned how to sleep less. I certainly learned that, but yeah, I'm just coming around to a year's anniversary, four days off. So it's been a whirlwind, to say the least, but yeah, I mean, I'm probably now, it's the first job I've had in years that I'm bleeding the color of the organization within a period of months, and the team's fantastic. What we do is phenomenal for the customers, and as you said, we have about a three-quarters market share in our space. And so we have two things. One is to basically upkeep what we have to do and execute going forward. The other one is basically to continue to disrupt ourselves to make sure that we're not lethargic and executing again what customers really want moving forward. Guy, I got to tell you something, because one of the things that Dave and I do in theCUBE is we look for the signal from the noise. That's kind of our tagline, but we look at the numbers, we look at the videos, and Jeremy Burton's got the big splash, everything's big, transformation, very sexy messaging, but BRS, backup and recovery, isn't like that top-of-line messaging, but consistently when we look at the data, your videos that we do with BRS and the backup and recovery are so popular because it's a huge market. There's a lot of people who care about backup and recovery. So we constantly love to have you on because we get great traffic and responsive engagement. So I want you to talk about not the sexiness of backup and recovery, but the relevance today. I mean, it's one of those things that's like, people don't necessarily talk about all the time, but it's always talked about. So what's cutting edge right now in backup and recovery? I mean, obviously, everyone has issues. You got transformation like virtualization, you got vibe, all these new kind of things going on. What is the current bleeding edge of backup and recovery? And share with the folks out there that vision. So you're saying the backup's not sexy? Is that what you're telling me? John Coyne, the term storage is sexy. It's relevant. It actually is sexy. It's one of those things where it's like, everyone is doing it and they have to know more. So we're seeing the numbers, we see the data, and it's just off the charts, and so it's demand. It's huge demand. So I mean, one of the things we were talking about on the keynote is that backup is now becoming, in some respects, the long pole in big data. So big data's the sexy thing is what people really want to do, but if you actually look at the way in which people will innovate, they're trying to create a data pool of information, and to enable them to do that, they have to grow the applications or the data pool exponentially, and to do that, they have to have a really efficient way of backing the systems up. Otherwise, the backup window, it's almost like Moore's law for backup. It actually starts to get trashed, and that's why things like deduplication and incrementals become really important, and synthetics become really important. And so as much as it is, in essence, is the infrastructure, it's the plumbing. You go by a house, and the drapes look good, and the carpets look good, and the plasma screen looks really good. But the reality is, it's very rare, you go underneath the house or up into the eaves and have a look at the plumbing and the infrastructure. But if you don't have good infrastructure and good plumbing, it doesn't matter how pretty the drapes are, yeah. I mean, and exactly, if things aren't working, the impact is pretty significant. You've got all kinds of problems. You've got all kinds of data loss. You've got all kinds of issues. Yeah, and I'm not talking about, yeah, I'm not going with the analogies of a lot of backups. I'm going to lie to the plumbing, at least. So, okay, but now you guys have been out talking about some of the issues that customers are having with backup. I mean, you've gone as far as to say, hey, backup is broken. We can't scale our businesses with this current model. Why is backup broken, and what are you guys doing to fix it? Yeah, so I think you've got Stephen on a little bit later, and you'd be chatting to him, and so he coined a phrase, in fact, he stole the phrase off me about the accidental architecture. It's kind of annoying, but you should ask him about that later. But in essence, what happens is because backup is needs more attention, let's just say. If you go back maybe four or five years ago in the way in which people were doing application development, and IT wasn't delivering the right value to the customers, their own internal customers, people started to go off in renegade or road models. So they're creating their own development platforms or their own paradigms, and in exactly the same way as with backup, is because we're not delivering from an IT perspective an efficient way of executing against backup, then the application vendors themselves or internally in IT, they're finding different ways of doing it. And what that means is that you end up with these silos or data silos where you have three or four or five or 10 different ways of backing up the data, and therefore it's then distributed. There's security issues with that. You can't get the duplication. It's not in a centralized pool, so everything kind of goes wrong. So the reality is most organizations now have multiple ways of doing backups, and because it's a long pulse, what we have to do is to get ahead of that, have a much more agile way of executing against it from a portfolio perspective. So what's your vision of backup or data protection? How will it evolve, and what's sort of the end state that you're trying to get customers to get to? Yeah, I mean, I think that in reality right now we're moving from a backup recovery to data protection and then to data management. So you go through all of the phases of that. And you also have to basically split from specifically being around on-premise to on-premise and off-premise, and what we're seeing increasingly as our customers are now moving to a hybrid model. So they'll actually have some data that's actually at the customer side itself with things like Data Domain, Distortion Last Resort, but they'll say, well, if I've got applications that want to do things like software as a service, then they'll have applications around in the cloud, and they want to have a backup, holistic backup program, or compliance program, or archiving program that enables them to look at both the on-premise and cloud services. So hybrid models are becoming increasingly important. And Mozi's back. Yeah, yeah. So that's obviously part of that cloud piece of the equation. Can you talk about that a little bit? Why is it back? And where does it fit? Why is Mozi back? You flew back to us. So this one comes with everything. Let it read and it comes home and it's good. Yeah, that's right. Yeah, that's right. It's true love. Well, actually, you know, we had Russ, I wish myself, Russ runs the Mozi business. Actually, we've rolled in Source One into Mozi as well because we think archiving's going to be really important as a service, but I think he would be elated. The team would be back into the EMC fold. One of the things that previously, because it kind of went from EMC out into VMware and then it came back again, when I joined BRS, I honestly thought that Mozi was part of the portfolio because it is such an intrinsic thing of moving forward. And I'm pretty obsessed with cloud and service provision models. And so I fought pretty hard to make sure that we actually pulled this thing back into the portfolio. So for them, they feel like they found their family. It's come back and it makes much more sense for us. We want to extend it. So I mean, in other words, if you kind of think of the current Mozi business, they're definitely moving more into the SME and up into the enterprise. But invariably, we'll have to move to BRS as a service. So you think about each of the products, lines that we have, how do we evolve that moving forward? And what's fabulous is we have one IP assets and a customer base that we can work with. And the second thing is the mentality and the way in which people from Mozi think is very different from the traditional way in which the BRS engineering team and executive sing. Because we're really about large scale enterprise infrastructure. They have a different mindset and model. So it's nice to have that blend.   So you have to make sure that you have that diversity and it gives us great diversity. So my other question, I hope you can help us to squint through is, how does the BRS division fit into this whole theme of software defined storage? And how do you see that evolving? So specifically, so we're kind of obsessed about that as well. So we are moving to virtualized editions of the majority of our products. Most of our value is really in software. It's not so much in the hardware piece. You know, so in other words, even if you look at things like data domain, although it's an appliance, the reality is it gets applied with things like DIA, you know, the data involved with the architecture, with the DDOS, the products, the levels of de-deplication, DD boost, and then right the way into having more a networker. A huge amount of it is software execution. And so when you look at the software defined architecture, you know, all software, including things like Viper that was announced yesterday, Viper's a really good way, and we believe it's super critical to the business. It's going to be disruptive. And I would see that as almost like a service bus, like a storage service bus, or a hypervisor that allows you to basically pull out behind that of generic. So we've got two sides. One is we want to be the protection platform behind the storage itself. And then the second thing is we look at it and go, well, you've got that transfer mechanism, but you still need to make sure you got application sensitivity and you've got a protection and a protection storage architecture. So we're working very closely with Viper and the teams to deliver this in their software defined architecture. So a couple of other things, guy, you're like a walking quote book. You mentioned accidental architecture. So we've covered that. The other one that you talked about is that backup's not a Swiss army knife. It's more like a harmonious survival kit. So what do you mean by that? What do you mean by that? That's good, that's good. Well, so every organization you talk to thinks that you need to have a product that you switch on, it does everything. And it just isn't such a thing. You know, because in other words, if you look at enterprise, even if you look at SMB, SME, enterprise, cloud, service provision, you can't have a product that fits everything because it's not going to have the scale or it's not going to have the simplicity. So you actually need to make sure you segment it. So the challenge I have with things like a Swiss army knife is on the surface, it looks great, right? So in other words, you've got everything all in one. But the reality is not one of those functions inside a Swiss army knife is practical to the extreme.   Like the pointy bit with a little hole, which apparently is to repair a tent. So it's kind of pointless. And then, you know, I think I mentioned it when we last talked is, you know, I look around my house, I found four Swiss army knives and literally every single one of them had a logo of another company on it where I got given it as a gift. Freebie. So it's great to get as a gift, but the reality is it's not that practical. So the difference in that Swiss army knife or in a survival kit is I believe very strongly in a survival kit for backup and recovery services. So you have a proper knife or, you know, a proper sewing kit or a proper toolbox, a proper screwdriver, you know, coming from the same family. So that's the harmonious thing. So you want to get the management right on that. You want to get the user interface. You want to get the experience right onto it, but have a tool that's very specific for the job.  When you put it down, then you've got a torch, you can pull out and use it. And then that way you actually have the best of both breeds, right? Yeah, now the obvious follow up to that is, okay, how do you make sure that all the tools get into the toolbox in their right place and are there at the right time and your kids didn't take them and hide them or use them or leave them behind? So how do you bring all that stuff together? Yeah, and that's there within is the challenge that we have inside of our organization because as you know, you said, I think at the start, you said we're a conglomerate of multiple acquisitions. And that was really why EMC bought me in in the first place is to have a look at that and say, okay, so we have these fabulous best of breed technologies, how do we then level them out and bring them forward? So we do have a project and I can't say the name, but it's around the harmonious thing. Project Harmony. Yeah, cheers, thanks for that. And we've been working on it for probably the last couple of years and it's a journey that will take another few years as well. So we're iterating. So we have releases coming out shortly around, Networker and Avomar, and you'll see further releases on that or further iterations onto it, but you basically need to make sure you have a management framework that works, a GUI framework that works. You need things like common catalog, you need things like common data formats. So it's actually working right the way across the brand. So it'd be really neat, for instance, if you could create a, and I'm back to my analogies, I'm sorry, but basically instead of a sea of storage, you actually have a lake of data, right? And so in other words, it's not so much on storage, it's about data and data being basically backup and archiving that's in a distributed environment so it could be in the enterprise or it could be in the cloud but have a single point to be able to drill to. And the only way you're going to be able to do that is if you think about it from our portfolio is Networker, Avomar, Data Domain, Source One, DLM and Mozi, all understanding the same catalog. And so you can basically have relevancy across the whole shooting match. So not an easy thing to solve, but it is a journey that we want to take our customers to. And we're going to drill down more on that with Steven later on this afternoon so he can help us unpack that. The other great quote that you had, I want to just make sure I understand it, is backup is the long tail of big data. What did you mean by that? So I'm going to use Oracle as an example, bizarrely. We love Oracle examples on theCUBE. Yeah, and what I find interesting about it is the number of years that I've spent in software development, generally if you're writing software you don't think too much about the hardware. It doesn't really matter. And if you think of Oracle with the database you think, well, why would they write anything that's actually to do with hardware? But what we found is customers, basically, because they're getting big data and they want to put all of their data in a single database for them to be able to use that value of everything in one place, the backup window's got so big that they can't actually get all the data into a single database, right? So they have to have multiple databases and then they can't search it because it's fragmented. So they came up with blockchain tracking so they could do incrementals. So the reality is you've got a software vendor who's now actually writing enhancements to their software package to basically optimize the hardware platform. And at that point you realize that backup's gone from being something which is, just as you said, it's kind of sitting there doing its thing, it's in the infrastructure, to something now which is actually, in some respects, it's the long pole. So to progress things like data discovery, massables of data, big data stuff is really, you look at it and say the long pole is exactly that which is the backup window. And you need to eradicate that. And so all of the work that we're doing enables that. And then if you take virtualization, you take cloud computing, you take the service provision market, these have catalyzed the space. So it's actually, I was remarking to Stephen about it is this is the fastest I've ever seen this market innovate. We're really now running really quick because it happened in the software development side where the software developers basically needed more from their IT group and they went out and did it themselves and now I'm seeing it from the backup. So we're on our heels, right? We're running fast. We've come full circle to why it's broken. Guy, my final question, because we've got to press on time here in the segment is you mentioned backup and recoveries, moving to data protection and data management. For the folks out there who are practitioners who have been in this field and you have a lot of experience, you've seen this transformation of the industry. What should people be thinking about as careers are changing? We're seeing it with big data and doop and other things, the DBA is changing, all these different roles. So there's shifting of practitioners things but your business is not going the way it's only expanding. So, but roles are changing and people are always interested in perspectives as data management becomes more of the practice. What's your advice for those guys looking at the career side of their business that they can build on? Yeah, and what I would say is I would, I mean, it sounds awful, but I'd say go with the flow, right? So I use an example of a hay bale on the stage yesterday and it was really, what you don't want to do is to get stuck in what you did well. There was a quote I saw maybe six months ago that said, you know, you don't want a career that basically you had a 20 year career where you learned something for a year and then you repeated it for 20 years. You really want to test yourself and you want to keep moving forward. So in fact, at the analyst briefing we had yesterday, one of our customers turned around and said that backup's finally getting sexy. You know, because we are involved in analytics. So the thing is, that's what I'm saying, is go with the flow, don't hold it back and just rock and roll. Back if it's sexy. I've always said that.  Data management is what's happening and this is what it's all about. So, you know, whatever you call it, that's kind of a more of a prominent role. So any particular things skill-wise as a software is one of the things that you, that's on the edge that people can start looking at and start putting their toes in the water. So you want to take all of the backend stuff and try to make it as simple as possible. So in other words, the adapters, you know, the way in which you plug in, you know, we're going to move towards what I would say is more of a backup-less backup. You definitely, systems management side, the front-end-wise, GUIs, analytics, you know, that's going to be important. Purdue technology is going to play pretty big into it. So there's lots of really interesting new skills to learn, but as I said, I think it's, I think it's step out of the uncommon piece, you know, or what's been working all the time and then just basically go with the flow because the companies are literally going to take us there. Guy Church, we're great to have you on the queue. Obviously there's a lot of demand for this market segment. It's not shrinking, it's growing. You guys are live streaming from the booth right here. So there's a lot of demand for the content and what to do with their careers and how to expand on backup recovery, data protection, obviously data management. So thanks for coming on theCUBE. We're going to hear more from the BRS team here throughout the day. We got Jeremy Burton, a lot of the top executives. We've got some customers, we've got VCE coming up. This is day three exclusive coverage with SiliconANGLE Wookie Bond here inside theCUBE. We'll be right back with our next guest after this short break.


This 12pm tutorial will cover downloading and using Ultrasurf. This program tunnels through firewalls in order to give you access to material that may be filtered in the area where you are accessing the internet. Ultrasurf also helps to protect your identity by hiding your IP address and deleting your browsing history when you are finished using the program. The first thing we have to do is get the software. So open up your internet browser and go to www.ultrareach.com On the Ultrasurf site you can check out the downloads page the user center where you can view and frequently asked questions section you can read some background information about the program and you can learn about the people who created the program. Here Ultrasurf announces that it protects your privacy, increases your security and grants you freedom. What you want to do now is click the green button that says Ultrasurf 9.97 free download. This is the most up to date version of the software at the moment. Now save the file. Once my file has downloaded I'm going to close the window close the browser and go to my file. The file comes up as a compressed file. If your operating system does not automatically open these files you want to get a program that can open it for you. Something like Winzip or 7zip I'm going to double click the file and there's the file I want. Ultrasurf is a self-contained program which means that you don't have to install it and because you don't have to install it that means you don't end up with any extra files on your computer. This also means that you can put it on to a flash drive and take it with you anywhere so if you are out at an internet cafe and you want to maintain your privacy while using a computer there you can put the program on a flash disk plug it into the internet cafe computer and open up the program to access the internet. Now all we need to do is run the program before I do that though I'm going to copy it and put it on my desktop Now we just double click the icon of the sailboat going around the world and the user interface will pop up shortly followed by an internet explorer browser. I'm going to minimize the browser for a moment When you open Ultrasurf for the first time you have to choose one of these boxes here. I chose the first one and then it connected to the server. If you have a problem connecting you can click here to try reconnecting. Now I'm successfully connected to the server. This is the options menu which lets you set a couple of different parameters for the program. You can set Ultrasurf to open up an internet explorer browser automatically You can have Ultrasurf close the internet explorer browser as soon as you stop using Ultrasurf. You can delete your history you can delete your cookies and you can hide the golden lock that shows up in the lower right hand corner of your screen indicating that Ultrasurf is actually running. You can set your own proxy settings as well but I'm not going to do that right now. Once you're done with the settings click OK. The internet explorer browser that opened with Ultrasurf is the one you want to use because it can access block sites and it's secure. I'll show you what I mean. I'm going to open up an unprotected Firefox browser and go to www.checkip.org The IP address that comes up here is my actual IP address. I'm blocking out some of the numbers to protect my own privacy. Now I'm going to go back to the Ultrasurf browser and go to www.checkip.org You can see that the numbers here on the Ultrasurf browser are different than the numbers you saw on the Firefox browser. Once you're done using Ultrasurf you can close it by exiting out of the browser or closing the Ultrasurf program which will close the browser, remove the lock and depending on your settings delete your browsing history and cookies. Now you know how to use Ultrasurf.


Ladiši džendeljmeni, vse z Prof. Jan Rydel, koženator v poličnih zivnih netvorka, Evropne netvorka, vsega rečenja, vsega rečenja, vsega rečenja, vsega rečenja, vsega rečenja, vsega rečenja, vsega rečenja. Zato. Mene je stavljena, da bi se skupil, a zem svoje, da smo, sajemo so, na veliki webs, o emphasize, ne so si nevali. Zato, kduženja, tudi ljudi, kako smo izgledali začutnje, solidaritje in izgledanje tudi nočnih. Zdaj smo izgledali izgledanje, kako smo izgledali izgledanje, kako smo izgledali, kako smo izgledali, kako smo izgledali, kako smo izgledali izgledanje, kako smo izgledali začutne z tudi nočnih. Zdaj smo izgledali izgledanje tudi nočnih, zdaj smo izgledali izgledanje, believe two at least three different points of view, how to deal with the history and how to think about the consequences of the history. Then we went into details and discussed the concepts of solidarity and resistance, afterwards tried to show you some concrete projects, konkreet institutions and their versions of the work having behind solidarity and resistance. Then there was as usual the time for memory places. So we were in shelter, in prison and in a church, both connected with 20th century history and both witnessed 20th century history and all three making a bridge between history and our current situation. And now today we spoke about art as a tool of remembrance and as a tool of giving solidarity and showing resistance. And then during last panel there was the links to current situation and the war to the Ukraine. Now I would like to ask Professor Riddel to go into some details and then we will invite you to the next symposium, next year symposium. Again, ladies and gentlemen, during the symposium on resistance and solidarity which is now coming to an end, we have listened to many debates, many speeches, longer and shorter, but always inspiring presentations. It has been a lot of intellectual input that requires thought and work, therefore, please do not expect that I will be able to present to you now readymade solutions and finished results of our deliberations. On the first day we listened to a fundamental discussion between three exquisite intellectuals and political actors of recent decades, Ms. Carmen Megayon, Mr. Piotr Naimski and Mr. Michal Zhantowski, who was moderator and mediator. The superficial conclusion of the listener would be the 20th century Spanish experience and the experience of the inhabitants of Central and Eastern Europe are completely incompatible and even contradictory. Pacifism understood as a tendency to seek peaceful methods of resolving conflict is right, but as an imperative to act in practice, for example, in the face of unprovoked and barbaric aggression, it is completely pointless because it practically serves only the aggressor. On a closer look, the experience of the inhabitants of Central and Eastern Europe and of Spain have a common denominator. I saw it quite clearly while watching the movie Spain in Exile. This common denominator is the concentration camps of Mauthausen and especially Gózen, where Poles and Spanish republicans suffered and died side by side. The defenders of freedom, despite their differences, were victims of the same totalitarianism that killed people, not because of what they did, but because of who they were, as our friend from Lithuania said. Today Poles and Spaniards are working together to create a modern and dignified commemoration of their victims in these Austrian memorial sites. In the next part of the session, we focused on the question of whether memory can be a form of resistance and solidarity. The panellists from Hungary, Spain, Poland, and Romania have proven, I believe, that this is indeed the case. Remembrance can be a form of resistance as evidenced by the combating of commemorations of the victims of the dictatorship of Franco during its duration, as well as thousands of examples of fierce struggle of communists with people and organizations trying to commemorate Soviet crimes and crimes of local communists. Remembrance is also an excellent platform on which solidarity can grow. It can be both discovering unknown or forgotten lies, whose reminder generates an emotional sense of solidarity. This was the case, this is my reflection, for example, with the Scholl siblings in Germany or in Bavaria, and the young members of the Polish resistance movement. They were the same age, they were brought up and educated, de facto in the same spirit, they fought for the same goals and ideals, they died at the same hands, and yet these young Poles and Germans never met and never collaborated. So only now, years later, we do discover their affinity and arouse a moving sense of solidarity. Allow me one more reflection. Not only the memory of struggle, victories or common suffering in the past can serve to stimulate the sense of solidarity today. A similar function can be fulfilled, I believe, by the memory of common mistakes, omissions, and perhaps even crimes. This is the case of Poland and Ukraine. Both nations have done things to each other and to each other that they must be ashamed of. This memory and fear of repeating mistakes from the past is undoubtedly one of the most important reasons for the very intensive, solidarity-based cooperation of our societies and governments today. A moment ago, we heard excellent presentation about the arts as a form and vehicle of solidarity. Indeed, we have seen excellent examples of such an influence of art in which the art carries not only emotions, but also factual knowledge serving the purpose of commemoration and solidarity. As it was rightly pointed out in the discussion, art also has served totalitarian systems. However, I have the impression that we know now how to recognize this kind of manipulative use of art. For a few minutes ended a beautiful, very important discussion on ethical consequences and the lessons of 20th century history. I am not able to summarize this discussion. So, thank you very much. Thank you very much, Professor Riddel. And now I would like to thank all of you for being with us all three days for coming to Barcelona. And I would like to invite all of you to Warsaw next year. We decided to make the next symposium in Warsaw. It will be the second time in Poland because the first symposium took place in Gdańsk. But next year we will meet in Warsaw. And I would like to show you where it will take place. Thank you, because it will be really a special place. Our main partner is the Museum of Polish History, which is now under construction, not the institution, but the building is now under construction, and you will see it on the short film. They are going to open the building, not the main exhibition, but the building September this year. And I hope next year we will be able to see at least a part of the stable exhibition, because they need one year more or less to do that. But it is probably the biggest, the current biggest memory project in Europe. Thank you very much for being with us. Jordi, thank you for your help. Thank you to Eurom, thank you to the Solidarity Foundation of the University of Barcelona. Thank you to the University of Barcelona. And thank you to all of our colleagues who made it possible that we have been meeting this time. Thank you. I will be very brief. No idea of Spanish, just to you. Of course, thank you to you for this great idea to be here. And here has memory concept, it is, and it has to be, it is a place, it is an Agora place too. An Agora to discuss, an Agora to debate, an Agora to learn from our past, but also for our present conflicts. An Agora to share these international universal concepts has solidarity, but also has resistance. And well, it was a very good idea. Next year congratulations. So maybe, maybe in some years too, we will come and we will have another meeting of discussions in a new Agora too, maybe in the new Memorial Museum at La Modelo Prison, we hope, and I hope. And also to the participants and speakers. Gracias también a todas, a todos, colegas también por haber venido. For having come here, for having withstand the whole three days, and also for following the discussions which have been intense and rich, and they have given us many reflections of our thought, which in a way since 2012 will be discussing in many of the Agoras through Europe debates, which continue to be present, I think that the current conflict that we all wish to be finished in Ukraine, let's stop this Russian aggression. And as we have seen, and this has been a very life and intense debate about this same memory in Europe, and this memory and remembrance that we wanted to fight from Europe, because the most interesting thing, as Robert was saying, is the multiplicity of memories and being able to work in different scales and dimensions, this type of memories which are transmitted, as you know, in the present. And of course, they depend on other media, such as art also, which are based in knowledge and the critical analysis of history, and in this university we are also dedicated to this. And in a way, well, I don't know, we could present some conclusions. And he's switching to English now. And also, a lot of work to do with the European institutions, European platforms, has the House of European History, Constance, to put the focus on these debates, not only, of course, and to try to be so multi-liars, a multi-perspective as soon as possible, as far as possible, sorry. Thank you very much, to the interpreters, the technical team, the team of the NRS, and thank you to the university for allowing us to host the congress here. I have the pleasure to represent them here. It's an open place for everybody.  Thank you very much.


Hey everybody, welcome back to Retro Tech. I'm Steve and today we're going to be taking a specific special look at the Sony PVM 1350 and Also, this PVM that you're seeing now behind me will be for sale Listed in an eBay auction. There will be a link to that below and I will also have more details at the end of this video about that sale and Details on how all that will Basically go But to start the video, I wanted to go through this the details on this Sony PVM So that you would know the differences between this 1350 and other Sony PVMs that you may see that are similar to this But not quite the same Again, this is a 14 inch Sony PVM It does match the same format as many other Sony PVMs from this time period Which is the mid to late 90s, you notice we have a lot of adjustment knobs to make our adjustments on the fly We also have the ability to Use this menu button and open up our regular menu and then a sub menu That way we can make adjustments to things like geometry and other important settings inside the PVM And that's a big step in the technology for these monitors Prior to this you'd have to go and take the shell off and make a lot of those geometry adjustments Internally with potentiometers, and it was just a lot more dangerous and a lot more Hassell than on a monitor like this So that's a big plus for this and really any other PVM that happens to have a sub menu But again, everything else you'll notice on this looks very similar as far as the build out does It has a standard handles on the side and then this particular monitor was made in July of 1996 again by Sony in Japan, and it's just a really high quality unit for using for CRT and We are going to look here at our inputs first We've got two lines that have composite ends and they also have outs So you can loop your analog video in and then out to another device or monitor from this Output on here if you just use either B and C cable or adapter and same thing with line B is the same In and out for composites. You also have mono audio on this monitor, which is common And then you have your S video in and out So you can get S video in and out of this monitor But down here towards the bottom is where I have RGB plugged in so this monitor does support RGB and RGB sync and it does a great job at that It also has a mono audio speaker on board and there is no Outputs on this monitor for RGB so you will not be able to daisy chain Your video signal out. However, if you do have either 240p or 480i video analog Signal and rgbs form. You will have very little trouble getting it to sync up to this You don't have to have a certain type of sync or anything now. I have personally calibrated this monitor I've also replaced the capacitors on the geometry board, which is something I always recommend if you get one of these monitors either try to have somebody to do it or Get in there and replace the capacitors yourself There are kits available. I have a kit available You're about $30 for kits a little bit less sometimes depending on your monitor But that way you won't have any trouble getting in there and making your adjustments Using your submenu. You just need to get a good copy of the 240p Test suite and that way you can make the adjustments and again try to make this a little bit over scanned The manual actually recommends about a seven percent Overscan for your picture and that's just going to give you less of a gap Over here between the actual screen and then your bezel So you want to get that tube picture and use a hundred percent But you have to over scan it just a little bit that way You won't have any of those crooked lines along the edges here and you can get the geometry set very well on it's very easy to set geometry on a monitor with the submenu and That is 14 inches, especially these trinitrons They do once you replace the capacitors you could get the geometry dialed in very nicely It just takes a little time and patience, but With the new capacitors and set you'll be good to go for another 20 years So that picture does look very nice. It has 200 and well, this is 240p, but it has 450 TV lines. Excuse me on this tube there are other monitors that will have 600 TV lines 750 800 and up and To be completely honest with you I have done a lot of comparisons of this 450 TV line picture right next to a 600 line monitor and I can't see any bit of difference and And it's very hard to notice even the 800 line difference. So You'll only notice a big difference on the picture quality I feel once you get over that 800 line into those higher-ed PVMs and BVMs that are up to a thousand and higher But you can get a great scan line picture Right there. You'll see you get great nice scan lines here once you get close. You'll notice them and it's very Sharp image. There's again no latency with any of these monitors. So those are just some great Notes about the performance This particular monitor will only support 240p and 480i. So there's no higher resolution support for this monitor. You can only get those two analog video formats to work on this and then maybe some of the other drawbacks you'd like to note are This 1350 was actually designed only for the United States. So it is an NTSC only Model which is a little different because a lot of these are made to go in other regions and to be able to use like PAL for instance or Even CCAM and other Video formats that aren't standard to North America But this monitor actually is just straight North American NTSC and it only accepts 120 volts through the AC plug So those are two important things to note And you also look at the inputs and it does not say component on there anywhere because it does not support component video This particular PVM was only for RGB. So I recommend if you have a Consumer set or if you're concerned with component video get a nice consumer set That way that with component video on it that way you have the best of both instances Where you can actually use The RGB monitor for RGB and then if you have component you're worried about playing component You can use that on a consumer CRT easily because you're pretty much getting one of these PVMs most likely For the RGB support But this does have a great picture and I definitely recommend it. It's very simple to use once you get it set There's only four different input buttons on it. So it's just you're switching between you just press those four buttons and You'll also notice there's a degaussing button. So you don't you know, it's not a very busy button area There is a one blue only button, but this is a pretty minimal button layout So it's it's again fairly easy to operate yet. You could still get in there in between that and the adjustment knobs Make any adjustment that you would need to on the fly or pretty easily And it does Use a lot of the same parts as the 1353 the 1354 the 1351 and even the 1453 so these are all pretty much the similar same sonys. So I Pretty much think that's about all there is to know Specifically about this monitor. Maybe one more thing is that it doesn't only support one single color temperature which is 6500 and There's 6500 K and that is just one some of the other monitors support as many as three or four So you are just limited to that one color Profile but that's not really a big issue either if you're just someone who's getting into RGBs for monitors for the first time maybe and you're really looking into a sony and you come across 1350 Don't be scared off by that But that's pretty much again all the major Differences between this one and others you might have additional Inputs and outputs or different inputs and outputs on other monitors, but this was kind of an entry-level lower cost Monitor at the time compared to the 600 line high res trinitrons that they were selling You know kind of like a higher-end model with a little bit more features and a little bit more Technical kind of power built into them So that's gonna be it for the technical profile as far as the sale is concerned I will be selling this monitor through eBay. The listing is below and it is a 10-day auction Just some quick details here pick up and delivery are available Now I should let you know that the only people they can bid on this particular eBay listing are people that are located Within the United States. They have to be within the continental United States So I'm sorry if you're outside of that area I can't ship to that area through eBay right now as far as like making sure it would be insured so If you're in those 48 states and you're interested you can click the link below for a lot of details again It's fully recapped fully cleaned fully calibrated There are videos that I've done where I've shown how I've repaired this particular PVM It was the one that had the damaged bezel and then we have a new bezel put on there so it's really been thoroughly cleaned and just works wonderfully fully tested and The delivery again if you need delivery that is available It's between 60 and 80 dollars depending on how far you are away from middle Tennessee or Nashville, Tennessee area and That will be done through FedEx So if you have any questions about that, please let me know Through the eBay listing, but I think it's a good chance for somebody to get a great monitor I just don't have the space for it and none of my patrons right now Are interested in it really so I figured if you know, I try to just throw it out there to give it a good deal to somebody and Hopefully find a good place for it to wind up and live out a long PVM life so That's pretty much the majority of the information again on the Sony 1350 and how it compares to other monitors and The information again through that eBay Listing so if you're interested if you've been looking for a monitor for a while and you're trying to get a good deal And you're what in a 14-inch. I think this is a great opportunity for you to get one and It's Most of the time these come available. They're not usually serviced. So just take that into mind and I appreciate everybody for watching the video. Please let me know if you have any questions I will come out with more CRT and PVM style profile videos where I'll go through kind of the specifics and the details of each Monitor and CRT or television as it pertains to you know, how it performs But that'll be it for today's video. I'm Steve. Thanks for watching and I'll see you next time with some more retro content