Welcome back, it's theCUBE live in Las Vegas. We've been here since Monday, covering the event, wall-to-wall coverage on theCUBE at AWS re-invent 22, Lisa Martin here with Dave Vellante. Dave, we're hearing consistently north of 50,000 people here. I'm hearing close to 300,000 online. People are back. They are ready to hear from AWS and its ecosystem. Yeah, I think 55 is the number I'm hearing. I've been using 50 for 2019, but somebody the other day told me, no, no, it was way more than that. Like, all right, well, this feels bigger in 2019. It does feel bigger. It does feel bigger, and we've had such great conversations. As you know, because you've been watching theCUBE since Monday night, we're pleased to welcome from SumoLogic Lynn Doherty, president of Worldwide Field Operations. Lynn, welcome to the program. Thank you for having me, I'm glad to be here. Talk to us about what's going on at SumoLogic. We cover them, we've been following them for a long time, but what's new? We have a lot going on at SumoLogic. What we do is provide solutions for both observability and security. And if you think about the challenges that our customers are facing today, everybody as they're doing this digital transformation is in a situation where the data and the digital exhausts that they have is growing faster than their budgets, and especially in what looks like potentially uncertain economic times. And so what we do is enable them to bring that together on a platform so that they can solve both of those problems in a really cost-effective way. What are some of the things that you're hearing from customers in the field where it relates to SumoLogic and AWS? What are they asking for? They continue to ask for security. And I think as everybody goes on that journey of digital transformation, and I think what's going on now is that there are people who are kind of in wave two of that digital transformation, but security continues to be top of mind. And again, as our customers are moving into potentially uncertain economic times, and they're saying, hey, I've got to shore up and maybe do smarter things with my budget, cybersecurity is one piece of that that is not falling off the table. That their requirements around security, around audits, around compliance, don't go away regardless of what else happens. How do you fit in the cloud ecosystem generally? AWS specifically, I think AWS is generally perceived as a more friendly environment for the ecosystem partners. We saw CrowdStrike yesterday, you know, stock got crushed, they had a great quarter, but not as great as they thought it could be. And some of the analysts were saying, well, it could be Microsoft competition at the low end of the market. Okay, AWS is like the ecosystem partners are really strong in security. A lot of places to add value. Where does SumoLogic fit? Yeah, we are all in with AWS. So AWS is our platform of choice. It's the platform that we're built on. It's the only platform that we use. And so we work incredibly closely with AWS. In fact, last year, we were the first ever AWS ISV partner of the year as SumoLogic, which we're not as big as some of the other players, but it just is a testament to the partnership that we have with AWS. When you're out in the field talking with customers, we talked about some of the challenges there, but where are your customer conversations? You talked about security in cyber as not falling off the table. In fact, it's rising up the stack. It's a board level conversation. So where are the customer conversations that you're having? Are they at the developer level? Are they higher? Are they at the C-suite? What does that look like? Yeah, it's actually in both the developer and the C-suite. And so there's really two motions. The first is around developers and practitioners and people that run security operation centers. And they need tools that are easy to use, that integrate in their environment. And so we absolutely work with them as a starting point because if they aren't happy with the tools that they have, the customer can't go on that digital transformation, can't have effective application usage. But we also need to talk to C-suite and that to CIO or a CISO, who's really thinking often more broadly about how do we do things as a platform and how do we consolidate some of our tools to rationalize what we're using and really make the most of the budget that we have. And so we come at it from both angles. We call it selling above the line and below the line because both of those are really important people for us to work with. Above the line being sort of the business executives. Business executives and C-suite executives and then below the line are the actual people who are using the product. And using it day to day interacting with the tools. So how are those above the line and below the line conversations different? What are the above the line conversations? One of the sort of key words that resonate, let's start there. Yeah, above the line, there's a lot that's around how do we make the most of the investments that we're making? And so there are no shortage of tools, right? You can look around this AWS floor and see that there are no shortage of tools and software products out there. And so above the line it's how do we make use of the budget that we have and get the most out of the investments we've made? And do that in a really smart way. Often thinking about platforms and consolidating tools and using the tools and getting full value of what they have. Below the line, I think it's really how do they have really strong ease of use? How do they get the fastest time to value? Because time to value is really important when you're a practitioner, when you're developing an application, when you're migrating and modernizing an application, having tools that are easy to use and not just give you data, but give you insights. And so that's what a conversation with a practitioner for us is, taking data and turning it into insights that they can use. You know, it seems like we never get rid of stuff in IT. But there's a big conversation now when you talk to practitioners. Okay, well, you got some budget pressures, your sales cycles are elongating. What are you doing about it? A lot of them are saying, well, we're consolidating. And nowhere is that more needed, probably, than in security. So how are you seeing that play out in the market? Are you able to take advantage of that as sumo? I think there's the old joke that says there is no CISO whoever says if I just had one more tool, I'd be secure. And nobody ever says that. It's not one more tool that's having effective tools and having tools that integrate. And so when I think of sumo logic in that space, it's number one, we really integrate with so many different tools out there that give, again, not just security information, but security insights. And so that becomes a really important part of the conversation. When you talk about tool consolidation, that's absolutely, I think, something that has been a journey that a lot of our customers have been on and probably will be on for the foreseeable future. And so that's a place that we can really help because we have a platform that you can leverage our tool on the dev app side and on the security side. And that's a conversation that we have a lot with our customers. Are you helping bridge those two? The security folks, the dev folks, because we talk about shift left and CISO's being involved now, is sumo logic helping from a cultural perspective to bridge those two? Yeah, well, I think it's a really good point that you make. There's part of it that's a technology challenge and then there's part of it that's a cultural challenge and an organization CYLO challenge that happens. And so it is something that we try to bring our customers together and often start in one area of the business and help move into other areas and bring them together. It also comes down to that data growing faster than budgets and customers can no longer afford to keep multiple copies of the same data and the same metrics and all of that digital exhaust that comes as they move to the cloud and modernize their applications. And so we bring that together and help them get the most use out of it. There are a lot of, we've been talking all week in the cube about sort of adjacencies to security. We've been talking about data protections now becoming an adjacency. You talk about resilience within an organization.  You know, they always say it's a team sport. Okay, it's a pro-mide, but it's true, right? Whereas it used to be that guy's problem. What are you seeing in terms of that evolution? Yeah, I think you're absolutely right. I think the pandemic forced some of that faster than was happening, but it's absolutely something that is going on that cybersecurity is now built in from the ground up. And I've been in cybersecurity for years and it's moved from an afterthought or something that comes after the fact, hey, let's build the application and then we'll worry about security to it needs to be a secure application from the ground up. And so that is bringing together that Dev and SecOps a lot because it needs to be built in. The security piece needs to be built in from the ground up on the development side. Absolutely, the threat landscape has changed so much in the last couple of years. The fraudsters, the bad actors, whatever you want to call them are getting far more sophisticated.  It's got to be integrated, built in from the ground up for organizations to be able to be, as Dave said, resilient. We're hearing a lot about resiliency and the importance of it for any business. For any business. It's important for every business. And if you think about how we interact with companies now, our view of a bank isn't the branch, it's the app. Our view of office, right? It's on the phone, it's on digital devices, it's on a website. And so that is your interaction, that is your experience. And so that plays into, is it up? Is it running? Is it responsive? That application performance piece, but also the security piece of, is it secure? Is my data protected? Do I have any vulnerability? Yeah. You must have being in field operations a favorite customer story that you really think defines the value proposition beautifully of Sumo Logic. What story is that? Wow, that's a good question. I have a lot of favorite stories. We have customers, for example, gaming customers that maybe aren't able to predict what their usage looks like. And that's something that we really help our customers with is the peaks and valleys. And so we have gaming customers or retail customers that we're able to take their data sources and they may be at one level and go to 10X in a day without any notice and we're able to handle that for them. And I think that's something that I'm really proud of is that we don't make that the customer's problem. They're peaks and valleys, they're spikes that may happen seasonally in retail. It's Black Friday sales that are coming up. It's a new game that gets released. It's a new music piece that gets released and they are going to see that, but they don't have to worry about that because of us. And so that really makes me proud that we handle that and take that problem off of their shoulders. I see Pokemon on the website. That's a hugely popular game. Pokemon, I know. Last question for you, we've got about 30 seconds left. If you had a billboard to put up in Denver where you live about Sumo Logic and its impact, like an elevator pitch or a phrase that you think really summarizes the impact, what would it say? Yeah, well, it's a really good question. I've got it on my shirt.  And so for us, that's really, ultimately it's not just about having information. It's not just about having the data. It's about being able to resolve your problems quickly and whether that's an application or a security issue, we've got to be able to fix it faster for our customers and that's what we enable them to do. Fix, bleep, faster. Lynn, it's been a pleasure having you on the program. Thank you so much for joining us. Awesome stuff at Sumo Logic. For our guest and for Dave Vellante, I'm Lisa Martin. You're watching theCUBE, live from Las Vegas, the leader in live enterprise and emerging tech coverage.


program, Mary Pendleton. Mary Pendleton is a social media expert with a passion for Instagram. She helps purpose driven businesses get seen on social media and has been dubbed the Instagram queen by her clients. Mary lives in San Francisco with her three kids and husband and has degrees in art history and nonprofit management. You can follow Mary on Instagram at love Mary Pendleton. Welcome Mary. Yeah. Thank you so much for having me here. I'm really excited to dig in with everyone today. We're such big fans of the SF public library. So when you invited me, I just thought, oh my gosh, I cannot wait to dig into Instagram with everyone. So let's dive in today. We're going to talk about stress free social media. I know Kristi kind of did a little introduction on me, but one thing that we didn't mention is that I am a self proclaimed chillpreneur. I cannot deal with stress this past year has been a little bit more stress than I wanted, especially as a mom of three young kids here in San Francisco. But when it comes to social media. I just want to streamline it things my hashtag that I use all the time is Instagram and chill so today I'm going to share some of those chill, but productive tactics with you guys. So today we are going to cover. First how to locate the people who are most likely to buy your product or service on Instagram. Hello anybody out there, we're going to find them. Second, we're going to talk about how to position yourself for maximum exposure on Instagram. We want to find all those raving fans out there and connect you with them because everybody has something to offer that other people are looking for right so we just have to figure out how to make those connections on social media and find the right people for you. Third, we're going to talk about how to be as efficient as possible so you're not change your social media every day. This is something that I'm so passionate about because some people just get stuck in that scroll hole, do you know what I'm talking about where you're just like scroll scroll scroll or like so stressed about what to post in an hour later you've got like one sentence pulled up in an okay picture and it's just, it can be such a time suck so we're going to figure out a way to make things better. So does that sound good for everyone. Now you might be asking some questions in the chat. I'm not looking at them right now but we will dive into them at the end of the talk. Having the chat up is just like to to stressful for me right to distracting so we're just going to check it at the end but feel free to type things in there as we go and we will circle back at the end. So, like we said my name is Mary Pendleton I run Mary Pendleton social. It's been going for about six years now. And I really do full service management for small businesses. I've kind of, you know, do like some strategy sessions for people do I have a couple of courses. And the full management is what I've been doing for the past several years, and sometimes I feel like this, right. So I think I've had like up to 12 clients at a time. So creating content for 12 different Instagram accounts, five posts a day. I mean sorry, whoa not five posts a day five posts a week. I feel like such a juggle and I've really, I don't think I've dropped the ball too much but especially there at the beginning things were really disorganized.  It's my three step stress free social media system. So I hope you have your pen and paper out because it's going to be some good little nuggets in this. FAR is an acronym in case you couldn't tell it stands for find the people who need you amplify your value and replicate it. So we're going to go through those and look at how far you've come by the end you'll be saying that to yourself. I have worked with lots of different clients, everything from nationwide travel apps to small nonprofits, brick and mortar businesses, bakeries, all types of stuff. But today I thought as an example since I think most people here are location based businesses right like probably storefronts. So here I'm going to use as an example this hair salon that I used to run an Instagram account for called the lane, they're based in pack heights. And I thought that they would be a good example of work that I've done before so we're going to use them as kind of a sample as we go the lane SF. So let's start with number one find your people. So you've probably thought about your target market before, but maybe you haven't thought about it like through the eyes of Instagram like, who do you want to find you on Instagram who do you want to connect with and convert from audience into paying customer. So before you start creating any posts. You need to think about who you're speaking to. And there's really two ways to do this so you can look at them. First, based on demographics. So that would be like, you know, they're, let's use the lane as an example so maybe like a 27 year old eco minded female who lives in San Francisco, maybe demographics, the psychographics, though, well actually that eco minded, that's more of a psychographic right so that's kind of the mindset of the person. So what are their hopes and dreams, what keeps them up at night, what really stresses them out that you can help with those are the things that are are good to pinpoint on a person on Instagram to. And one reason I love Instagram compared to like maybe Facebook or Pinterest or something is that on Instagram people self segment themselves with hashtags and with accounts they follow and it's really easy to find certain groups of people because they're labeling with these labeling themselves with these categories across Instagram so it's really fun to like, kind of go through and find little goldmines of potential customers that you can build relationships with. So, but we'll get into that in a little bit. So some questions to ask yourself about your, your ideal customer, who is your ideal customer, what problems can you solve for them, where do they hang out on social media. And by that I mean like, what other big accounts do they follow. Where have they checked in on on Instagram like, let's say your ideal customer is like San Francisco moms, maybe there's certain accounts where, there's some groups like Golden Gate Mothers Group or something like that. So, people who follow big accounts like that that really identify who they are. As a person, or like, maybe people have checked into the target on Geary or something like that and maybe you're searching for people who are those types of people. So, those location check ins can be really useful to find people, not that you should find them and start like spamming them. But maybe, well, we'll get into it in a little bit. This is just how we identify who those people are and where they're hanging out on social media. So the second step is amplify your value. This is the biggest step we're going to go through today and it's actually in two different parts. So, first of all, we have to bring the value before we can amplify it. This is really going to be our segment about creating posts, what types of posts do best on Instagram, and things to consider as you're, you're building them.  So by that I mean like more like a real simple magazine with lots of editorials lots of wide ranging stories and less like a Eddie Bauer catalog that is just kind of like a lookbook like offering things that you sell. So, think about things in a, in a broader sense of content rather than just like saying, I actually like to include, or like to use like a ratio like, let's say I'm doing five posts, four out of those five should be just providing value, and the fifth one can be like a very clear like salesy post, the I also include products that support whatever value you're giving, but it shouldn't be sale sale sale sale sale sale, because Instagram is really the personification of your brand. Social media started out as like, you know, single people. So when businesses come to social media, it's good to think of still having that personality there. So not just selling selling selling, but creating those connections and making people feel like their friends with the brand or their friends with the team behind the brand. And those are the kind of connections that will, you know, kind of plant themselves in the seed of the customer and create lifelong relationships.  So there's really three types of content that do that. The first is entertaining. So make them laugh right this kind of stuff is so good for social media. The second is educational, teach them something right diagrams charts, breaking things down three reasons why things like that. So we have entertaining educational and the last one is inspirational show people how things could be so much better if they used your product or how much fun they could have this. They came to your store, things like that show them the inspiration. That's a big reason why people come to Instagram. The titles of these types of posts that I made for the lane, or this was an entertaining one like a funny quote, Instagram gold. So this was right at the beginning of the pandemic. I don't think we knew how think how bad things were going to get but we said, no matter how crazy things get over the next few weeks I ask you please do not panic and box dye your hair. I don't think we had any right realization that it was going to be like a year until people can get back. But anyways, that one did pretty well. An educational post I did for the salon was teaching people, we did a real here teaching people about their eco beads faucets. That does magical stuff to the water as it comes out. I don't even actually remember the details but it was a pretty cool real that taught about their special environmental faucets that they have there. And then an inspirational one we did kind of just like a inspirational, not only hairstyle but just like all in all vibe type of a post. So something that you can do create three to five brand pillars that fit within these categories. So these are the types of things that you're going to post about regularly on your Instagram and people are going to start creating those connections. So for the hair salon, we did style tutorials, eco products, we talked about our team. We said, we, we did post about how it feels to be a client in the salon, and we did like lifestyle vibe content that kind of, I mean that's kind of also explaining how it feels to be a client in the salon. So another thing is people use Instagram to show people what it feels like to work with you or what it feels like to come into your shop. That's what they that's what they're coming for is that experience. So, and Instagram is a great tool to show that experience. So, like, I could get my hair done anywhere right but by finding this Instagram account and I'm like, Oh, wow. This is what it feels like to walk in the front door this is the, the whole. I mean, for lack of a better word experience I keep saying that again but show them what it feels like and that's what's going to make people come into the actual store. So let's talk about visual identity, a little bit this is like kind of the overall aesthetic of the account. So we all have a good sense of what a brand means, but I really like this quote here from Scott Cook, a brand isn't what we tell the customer it is it's what customers tell each other it is. Right so you want people to talk about your, your brand and explain how it makes them feel, explain the overall energy they get from it. And that consistent branding makes you look like an authority in your field, and that is very apparent when someone comes to your Instagram account. They still trust you more if they know what to expect. So if they come to your account and everything is like kind of random they're like, I don't think I'm going to follow this because I don't know what they're going to post next and it's not clear like what I'm coming up for. So using that visual identity to just kind of make things more cohesive and create that expectation really makes you look more like an authority in your field. So if you're not sure where to start I just like to search Pinterest for color palettes, you probably already have, hopefully I've like some brand guidelines, maybe you've worked with a branding expert. But you kind of like translate that into your Instagram account, and we're going to talk a little bit later about my favorite tool for this. But just wanted to talk about the visual identity now because it's really an important part of what makes people actually click follow, you know. Okay, and let's talk about captions. So creating the beautiful images one thing. But you have to have the meat of the post in the caption right to like close the loop. So it's really just a quick three step process I use on my captions. It's got to have a hook. It has to have value and it has to have a call to action at the end.  Then you're going to give the value, teach them something, paint a picture for them tell a story, and then the call to action at the end is head to the link in my bio for XYZ. Give them some kind of free, or not free but give them somewhere to go to follow up to get more information. So always the call to action doesn't have to be clicked link in the bio it could just be encouraging people to respond with a certain answer to a question, or tag somebody in your life who needs to hear this something like just tell them what to do people are much more likely to do what you want when you actually ask them clearly to do it. I'm not going to get too much into captions today but I think that this three step method is super helpful. Okay, so the second part of our second step is that amplification so using the tools that Instagram gives you for maximum exposure. When it comes to tools there's like Instagram posts, there's Instagram reels or Instagram stories. Instagram has come so far in the past couple of years and really diversified their content creation tools, and it can get kind of overwhelming. Raise your hand if you get overwhelmed by all of that stuff. I can't see your hands but I know they're up. So let's just break it down a little bit. What about the grid. So that's like this kind of stuff here is my pointer on. No, let me turn it on these types of posts. So they're really the best for reaching a new audience when I'm creating posts in the grid. I'm speaking to people who I hope have no idea who I am. My current followers are like the majority of the people who see it, but I'm hoping to reach a wider audience and it's like wide open sea. This is me, nothing hiding. I'm, you know, like, this is me open to the world come find me. So reels Instagram reels are like those short form videos 15 second video clips. They do live in your grid also just like your posts do. I don't get too into to reels right now but this is the stuff that you're speaking to the public about. Then you have your Instagram stories, which when you post them are up here, there's like a little circle around your logo that's when you have an Instagram story, and that they only are up there for 24 hours. And I use those for fostering relationships with my existing followers. So this is more behind the scenes, less polished, silly stuff like getting to know me and so I'm talking about me as a personal brand but for a brick and mortar business or any, you know, brand that doesn't have a face to it. You could use this for getting to know our team. You could use the scenes kind of stuff, more information that supports whatever you posted in your grid that day you can say, head to our stories for some more ideas and then post a few more things there. But this is really good for growing, you know, warming up your customers once they start following you. Another cool thing about stories is that they have those buttons. So those are like the quizzes or the polls or the little sliders. It's really easy to engage on a story. So I love this because it tells anyone who engages on your story. It tells the algorithm that they're interested in your content, and it will show even more of your grid posts, it will show more of your, your stuff in the future to anyone that engaged with your story. So I say use all of those tools as often as possible. I try and create a poll every single day or a poll a quiz or like a slider.  If you're creating Instagram story content, try and think of ways that you can engage your audience and think of ways that you can make it really easy for them to participate. And then that tells the algorithm that they should see more of your content. So it's super, super cool. Alright, so this is my theory Instagram is like a party and hashtags are the invitations to your party we're going to talk about hashtags now. And then so you are having your party on Instagram, but there's also other parties on Instagram that you need to go attend, but hashtags are the invitations to your party. So hashtags are really just a filing system that help you get found on Instagram they categorize your posts. So hashtags are, you know, you can use up to 30 of them they go somewhere in your post and, and they kind of just like a little library filing system, they put that post in 30 up to 30 different places however you categorize yourself. I always love this shit's Creek meme hashtag. Is that two words no it's just one word. But when it comes to using hashtags, so people search hashtags all the time on Instagram. So by you putting yourself out there that's inviting your 30 different types of people to come see your stuff. But when it comes to hashtags, some hashtags are really, really big. So for example here on Instagram I searched hashtag here, and you can see all of these posts have millions and millions and millions of posts that have used that hashtag before. So it's just me that these hashtags are not going to be effective for my brand. It says that so many people have used to these that when I post with the hash, these hashtags, my post is just going to get lost in a big sea of other posts.  So instead, look if we do SF here, these are more likely the hashtags that I want to use. And especially since we're all San Francisco based right here using location based hashtags is a really effective way to get found by local people. And so I actually use a hashtag ladder strategy. And by that I mean, so if I'm using 30 hashtags in a post 10 hashtags will be up to 25 K uses. I didn't include the word uses here I don't know why up to 25 it's been used up to 25,000 times 10 more hashtags have been used up to 100,000 times. And the last that has been used the biggest up to 500,000 uses. So a third really small, a third somewhere in the middle, and then a third on the bigger end. So I, for this lesson today, I'm keeping us all on the smaller side. Really, you can probably go up to about a million uses on hashtags. But I think that if you are location based you should keep things even more niche because you don't want to attract someone in Cincinnati that like is not going to come to your store right. So it's better to have more quality than quantity and this system is going to help you really hone in on the exact right person. So when it comes to types of hashtags you're like how in the world do I even think of 30 hashtags sounds like so much. So, here's some ideas you can do location based hashtags, you could describe your ideal clients you could say like SF mama. You could describe the actual image itself that's always a great way to do it. And then also using emotional words like hashtag tired mama. So I'm explaining myself right now. But those types of hashtags people really dig into on Instagram as well. And so like, you can always start with SF here, and then Instagram suggests all these other awesome ones. So, grab a pen and paper, if you're old fashioned or grab the notes pad on your, the notes app on your iPhone, and create little sets of 10 hashtags at a time. And then you can just copy and paste them into your post, depending on what you're posting about that day. So think back to the brand pillars that I was suggesting you put together and create some hashtag sets that relate to each of those brand pillars. And then when it comes time to post, you can copy and paste from your pre researched hashtag sets and paste them right into the post. So if there's somebody out there saying, is it better to post your hashtags in the caption or in the comment I get that question like, it's probably my second most asked question. The first most asked question. I'm curious if someone's going to ask it we'll see at the end I'll answer it anyways. But this question, it really the answer is it doesn't matter. So I'm going to paste all your hashtags in the first comment because it kind of just buries it looks a little bit cleaner on the account. And later once there's other comments, they kind of get hidden and, and it's just cleaner. But if you want if you're going fast and you just want to paste all your hashtags right in there with your caption. That's totally fine. Both of them are just as effective. Right. So, like I said, Instagram's a party. That's how we're inviting people to see our posts, but we also have to go out to their parties, and we should bring snacks and champagne or something right. So let's talk about outbound engagement.  So this is actually called the dollar 80 method. It was coined by Gary V Gary Vaynerchuk. And he said, basically, leave your two cents on up to 90 posts, it adds up to $1 80.  Now he suggests doing 90 posts a day. I never personally reached 90 posts a day because I have other things to do, but I could do 12 to 13 posts a day, and that equals 90 posts per week. So I do the dollar 80 method every week.  And let me show you a tool that I use to do it. So I search hashtags that my ideal customer would be using on her posts. This is a tool called dollar 80 calm, it's spelled out, and it's a Chrome plugin. And basically you can tell it what hashtags, you want to comment on, and it pulls them up in these nice little categories of course you could always do this method, like, natively on Instagram but I like doing it on this Chrome plugin because it separates me from Instagram and keeps me from getting distracted. I can use this. I think it's free to, but like there's a free version, but this is this screenshot that I took was for a client who was engaging with Austin based mom so not our San Francisco crew but it works the same way. And it can pull up either top posts or most recent posts that have used those hashtags. And then basically we just go through and comment on as many as possible. And it gets a lot of visibility, not just by the person who you're commenting on, but by their audience as well and the hope is that they see your comment and they're like, cool, what's that and they like click your name and follow through and they like, discover you naturally but really, you did it on purpose. It's $80.com. It's a Chrome plugin. Go find it. It's built in like New Zealand or something the team that made it is really awesome also. We become Instagram friends they probably found me by commenting on my post right and like did the whole method to get me as a customer and here I am I'm a customer of theirs evangelizing so it works. Now let's talk about other ways to get amplified. I'm cleaning up this. So, by this there's a few different methods that I have to tap into your community. When one of us shines all of us shine and using the power of connections and relationships to grow our accounts. So one way to do this is with Instagram live. They now have a way that you can chat with up to three other people so four people total and an Instagram live, and it alerts all of the followers of all of those people. So, one great strategy is to do an IG live with other people once a week, you could have a recurring show, you could bring on your customers that you love you could bring on other experts in your industry.  So find someone that has a similar audience to yours and partner up. It works really well. Now giveaways are also effective on Instagram. You have to make sure you're giving away something that people actually want, but partnering with one other account, putting together a really cool package and just saying follow both of us and comment for a chance to win XYZ. It's like kind of an old fashioned way to grow an account but it still can be really effective so my only suggestion is don't do a giveaway all by yourself. Always partner up with another accounts that you can kind of share followers that way as long as it's an account whose followers are also ideal customers of yours.  And so then the followers of Kira kids might also be interested in San Francisco and Tartine and everyone there and miss, you know, the magic shop right there. But it helps just get a lot more exposure for the other businesses that may may not currently follow them. Pay partnerships are another opportunity. So not only ads ads are fine. But I'm talking more about like finding influencers for lack of a better word, but like people who already have a big following of people who were your, your ideal audience and doing a sponsored post with them. And that is a really good way. It's kind of like a giveaway but was like a heavier hitter and you, you like give them something nice in return probably money but maybe it's a product that you have or, or something else. But that is like putting just a little bit of money in it can really grow your account a lot faster. So we've reached the R out of the FAR, which is replicating all of this with systems, because you might be a little bit overwhelmed at this point, and not sure how it's a sustainable approach. But I like to put systems into place to replicate this exposure over and over again, put things on autopilot, not have to reinvent the wheel every single week, because I think we've all been there. So I'm going to share with you my two favorite tools. The first one is canva templates. So I hope that you know what canva is by now they do have a really big like ad campaign right now so I think even the bus stop by my house has a canva add on it and they see their ads on TV and billboards and everything. But it is such an amazing tool for creating content when it comes to Instagram. And I love it because you can create templates on Canva, and you can duplicate it, change it a little bit, and then the graphic is ready to go and it still has all of your same fonts and colors and general, you know, layout and idea. So here's an example of a template that I created for the lane. So we did this quote card thing, and I created it once. And then I duplicated it and I created another quote duplicated it created another one duplicated it created another one. So that's four pieces of content that like did not take me that long. Of course I wouldn't post these back to back, but let's say every Monday I, I post a quote or something super easy to create one set of templates, and then like just kind of fill it fill them in every time. So here's a look into my Instagram account, and I also use templates with Canva to create these. But actually, I have a membership to a canva template subscription run by your template club is what it's called, and they send me new canva templates twice a month. And it is like such a time saver because I don't have to create the templates myself. They have these really awesome like some really talented graphic designer creates them so it's not me who like I'm not actually a graphic designer. So some of my posts might be a little bit funky but when I have this membership it's like, I know that these are tried and true graphics and I just have to pop my pictures in. So to my color scheme that's already set up in Canva pop my own personal pictures into the little holes into the little frames that they set for me, change the text out to whatever I want. And it's like so good to go like obviously like these are my kids here. This is just a picture of me I think, but templates are everything. So, this is what it's called I don't. I don't have my membership I'm just a member of it but it's called your template club. Definitely something to look into this woman named Manu runs it and it's such a life saver. I love her. Okay, my second favorite tool is plan a Lee. So plan a Lee is an Instagram planning app they have it for desktop or for your phone, they connect to each other. It's just a life saver because when I started as a social media manager. Everything was on my phone. That's actually when I started wearing glasses, because I was like, but plan a Lee lets me create all the content on my desktop schedule it. Maybe I can check on it on my phone later if I want but like being able to sit down and create stuff at my desk is such a better process for my creativity than doing it on my phone which makes me go blind. So, totally check out plan Lee I'm going to walk through some of the features that will save you so much time by using it. First, it lets you plan your posts on a calendar. So here is one of my other clients, the Britain fund it's a nonprofit tree organization. And so this is our plan Lee desktop app and let me just point some things out to you. So plan a Lee is a fund is a really small budget that can only do four posts a week, which is fine. We looked at their stats and it looks like their audience is most on Instagram Thursday through Sunday. Their audience is like professional arborists professional pre people who are not on their phones throughout the day. So Thursday through Sunday is mostly when they're on their phones. So in my mind we created these little sticky notes of their brand pillars, and we map out these recurring sticky notes throughout the months, talking about things that you know they want to talk about so you'll see on Saturdays we rotate between free downloads books that they sell using their smile dot Amazon thing on Sundays we always do a quote. So we talk about their different four states of their region on Thursdays and we rotate between them. Fridays we've been talking about birds on Fridays a lot lately we're going to switch that up pretty soon, but it's just so nice to map this out ahead of time to make sure we're covering all of our bases and talking about, rather than just like creating on the fly. And then accidentally like leaving out a whole portion of their things they offer mapping it out is so awesome. Then, we can auto schedule posts with planly. So this is the little content creation part of the tool. So we put the caption in here, we load the graphic in here, you can there's some editing tools there. And we can pop in same cash tags here, and we can schedule it to Instagram to Facebook or to Twitter if they had a Twitter account. It's so awesome now to use this you have to have a business account on Instagram which is like just a flick of a switch, but totally worth it. So the scheduling is just great because I can sit down schedule a whole month of content for them flick everything on ready to go. And then I'm done. Like, could you imagine just sitting down and creating a whole month's worth of posts for your business. And it doesn't even have to be five days a week it could be like this where you maybe just do twice a week, or you maybe just do every Saturday, like whatever you want to start with as long as you're consistent that's what's most important. So like I was saying, this hashtag thing here. You can save your hashtag sets and planally also. So like I was saying, in the hashtag section about like saving your sets and the note to app on your phone, you can actually save them here and planally and you just like paste them into your post, ahead of time I've saved so many sets of hashtags for all of my clients, and all I have to do is copy paste them in it's like a no brainer. It's so great. The last thing I love about planally is the analytics. So you can look at all of the data. Instagram itself only shows you analytics for one month but planally just keeps it in there forever which is so great. And also shows you what your top performing posts were. So, you know what did well and what you should do again, like super important part of planning your posts is doing more of what's worked in the past. Okay, I know it's been a lot of information. Let's all take a breath. This is stress free social after all. And we're going to go back to far find people who need you amplify your value and replicate. I do have a little bit of homework for you guys, along with the replay of this sent after the class is over. I have a PDF put together the stress free social workbook. It has a branding worksheet for you an ideal customer worksheet for you, and a list of resources, like links to planally and canva and few other things I don't remember. But it will really it's just like you know your personal playbook you can do with it would want but it'll help you line things out so. And a lot of people ask, what's like a regular schedule of Instagram for like what should I, what's the expectation. So I usually do maybe two hours a week planning my posts, and I could probably even get maybe two or three weeks worth of posts done in that brainstorming session, but I like to, you know, block out a big chunk of time and knock out as many posts as I can. I do about 20 minutes a day engaging with my ideal customers. And sometimes if I'm posting stories that maybe takes me 10 minutes but yeah, that should be pretty easy, the posting stories shouldn't be like a huge content creation stress miss. In addition to the workbook that you guys are getting automatically I also have another free download if anyone is interested because I know there's a lot of Instagram but I did not get to cover. It's just a screenshot of the sign up page. Instagram Essentials bundle, it's free it has a link to supercharger Instagram bio 30 fill in the blank content ideas must use hashtags for visibility and a whole thing about Instagram highlights, which we didn't touch on at all. But if you go to that link down below Mary Pendleton social.com slash IG Essentials, you can sign up and it'll automatically email it to you. So that's about it. Thank you so much and we have any questions I'm happy to dig in. Thank you Mary that was excellent it was so fun and informative. Awesome. So I'm going to take a look at the question I didn't see that many but there was one. Someone asked, do you use the same hashtags for each post or do you switch it up. That's a good question. And the answer is, I switch it up. So I have sets of hashtags, each set has about 10 hashtags in it. And so like, I have a hashtag set for myself for mom for newers. All these hashtags that mom for newers use mom entrepreneurs right. And so I think I have like three or four different sets of hashtags for mom for newers, and I just mix through those four sets every time. I'm doing a post, I might do one mom for newer hashtags that one Instagram help hashtags it and one San Francisco hashtag set, but then on my next post, I would pick three different of my hashtag sets. So in the end, hopefully, they're all kind of jumbled together. If that makes sense. Okay, we have another question. Someone wrote good recommendations for physical presence. What about specific recommendations for artists. Yeah. Are you talking about hashtag recommendations or just in general let me think so like finding your, your ideal customer for artists would be you know, like, other blogs or other places where your ideal customer might be hanging out. I don't know if they would follow different Etsy accounts or I guess it really just depends on the type of art funky clothing lines or something like that it depends on you but definitely seeking out people still on Instagram. And then when it comes to hashtags like just I mean it depends on who your ideal customer is, but so I wouldn't say use any SF hashtags I mean you could, if you're an artist local people might be more interested in a local artists than other artists, but if you have any more details about your question I'd love to get more specific just comment. Whoever asked that question if you want you can put more details about what you're asking in the chat. So there's another question. How do we determine who and how many people to follow. That's a great question. I've heard it said that you should follow less people than follow you. But I, you know so you're not following like 3000 accounts because that looks like you're kind of spammy. I think follow as many accounts as you can, as you're interested in I don't think you should follow someone just in the hopes that they'll follow you back, because it's going to make Instagram a miserable place for you to exist on if everyone in your feed is like someone that you're not interested in. Do you know what I mean. So, I like to keep who I follow, like very, well I say very minimal I think I follow like 1500 people right now but I've been trying to cut it back, because I want my experience on Instagram to be positive, so that I want to like, continue staying there. And a big part of having a like mental well being on Instagram is not following accounts that make you feel bad about yourself, or following accounts that you know create like a toxic environment so be sure to choose about who you follow. Great, thank you. If there's another question. I am a performing artist variety, who also reps other variety artists have not yet used Instagram suggestions. Interesting yeah so you could create a cool community that features you and also other people so you could definitely like, especially if you're a performing artist, those like Instagram reels those short form videos would be a really cool tool so Instagram reels. Instagram is really pushing reels right now they're getting a lot more visibility than other like static posts. So, it's something to consider like, are you writing the account from the first person or in the third person like, is it you and you're showing yourself and then you're also showing other people that you represent that's a really cool way to do it. And that kind of is like how I was saying more magazine and less catalog like you're showing a broader range of things and I think your audience will appreciate that. But then if you did it like in the third person, you could include yourself in the group of people that are represented. Or you could have it come from, you know, yourself and you could just talk about the other accounts. I mean not the other counts the other performers and you could all kind of be represented by one account and one other cool thing you could do is each highlight could have like each one of the performers that's represented could have their own highlight. The highlights if you don't know are the little circles that live beneath your I have a picture of it that live beneath your bio and it's where your Instagram stories, if you want them to stay alive for longer than 24 hours. You can save them to your highlights like here. And then there's the Instagram highlights and they're really prime real estate so I would suggest creating a different highlight for each performer so that it kind of makes it clear to the audience. Who's who. Thanks Mary. I want to add a question about artists. So they put a little more information there. They were asking about specifics for photographers, not just hashtags but finding clients for fine art photos, as well as specific hashtags. Yeah. All right. So, I've worked with photographers before, and we I mean a lot of them are like family photographers so it might be different, but really getting niching down to maybe three different types of customers that might, that might shop from you. So maybe there are people who follow like architectural digest, or not just to follow but one good way to do this is look at architectural digest and look at who is commenting on their posts. There are also active Instagram users that you can then like click through and look at their posts and start commenting on their posts. Do you know what I mean. So, magazines are really are like big blogs are a really good way to find specific groups of people. So I would start there. And then when it comes to hashtags like there's a ton of fine art hashtags. So I also have a handpicked hashtag library that people it's like 3000 hashtags divided by categories, because I've written so much hashtag research over the years that I just like started saving them all into this really long doc and organizing it really well. There's a link for that resources in the PDF that's coming at the end, but there's definitely a lot of hashtags in there for artists and interior designers, and like home stuff. So, I would think people who want to buy fine art are buying it for their home, but that might just be an assumption I'm making. We have a couple more questions. One is, how do you target other business or technical people. This person is not an user at the moment. Okay. So, the question was how do you target other business or technical people. Yes, great. So definitely think about what other types of accounts they would follow. So actually, my biggest client I mean actually these days I only have one really big full time client. And it's an app that serves. It's actually the app that I'm using right now it's called mmhm, and we serve presenters, we also serve teachers, anyone basically who like uses zoom and wants to use this virtual camera. So with that account, I look for other types of accounts that professionals would follow. So a lot of it is like yeah people who follow zoom would probably also be interested in our app and we're not competing with them so I don't feel guilty, like engaging with their audience because we're really a companion app to zoom. So thinking about ways that you're not going to like poach people, but other like related accounts in your industry where people have started to hang out already like find the other parties where people are hanging out at and showing up there. So if you want to find people, you know, look for other apps that are in your same industry, if you're looking for technical professionals. There are definitely groups of these people out there. Also, go to those apps or whatever start looking at who's commenting and looking at what hashtags they're using on their posts. I did this once when I was trying to target teachers, and I found the teachers use this hashtag called feet up Friday, at least they used to in the before times, and it was just a whole bunch of teachers putting their feet up on their desks on Friday. I had no idea about this because I'm not a teacher, but there's definitely these little hashtag communities within different industries, and that if you do enough research on Instagram you can like tap into these little treasure troves of all of these people using this one hashtag so depending on what your business is, there's definitely people within those industries using hashtags to communicate with each other. I think the audience have their own hashtags. Oh, sure they do. Yeah, I love it. There's a question from someone I have several businesses restaurant dance teacher bakery. Do I need three accounts on Instagram. Wow I love that restaurant dance teacher bakery and I think the answer is yes actually this is a common question. And I think that if you're serving three different audiences, then you should have three different accounts. I would say like for me, love Mary Pendleton, I have you know different offerings but they all are serving the same type of person so it can often within one account, but I don't think that the things that you're doing. I think it would get way too confusing. If they were all in the same account. So Instagram lets you have up to five be logged into up to five accounts at the same time. And then you can switch between the three. I think he would get much more quality of an audience by being very specific on each account. I hope that was the answer you wanted to hear. That's that's great advice. Well, so far I'm just saying a lot of thanks to you Mary. This someone says this was such a helpful webinar. Someone says very helpful I have a lot to learn. Yeah, so far it's been great this. If there's no other questions. We can end the program and again I will be sending out the recording later but no so fun and super informative and. Yeah, anyone here have or has any questions just DM me on Instagram and I love to point you in the right direction so I'm actually I just pulled up the chat finally. Someone I just saw a question your template. Can you repeat so for the templates it's called your template club. I think I linked to it in the PDF I'm you're going to get shortly so in there. And yeah $80.com someone linked it thanks Karen. Yeah, I think that's it so feel free to reach out and I just love San Francisco and small businesses so thanks for having me here. It's so great to have you this was like one of my most favorite programs so thank you for joining us. Thank you. Bye everyone. Thanks everyone. Bye.


We're coming back to our show because you were so excited about last time, our Volume One of the nature of surface and substance of the architecture of the University of Hawaii Manoa. So welcome back to Human Human Architecture here, broadcasting live from our sometimes educated, exotic, tropical paradise of Honolulu, Hawaii. And once again with your favorite guest slash co-host, co-host slash guest, DeSoto Brown. Good afternoon to you. Bishop Museum Historian. Thank you. And myself, Martinus Bang. Thank you. So we're going to jump right in where we stopped last time. Last time was, we called it the, and we're referring to this book and you bad student have, you know, forgot your book again. I forgot my textbook. I give you a third time and then you get, I give you a D today and next time we should forget it. You get an F. He's a teacher. Okay. He's a professor. He can say this. So anyway, so this is our source here.  They're either from this book or even better. If they're better quality, they're from this guy here and from his precious archive at the Museum. Yay. Right? Yay. That's right. And so we called the last show, we called it the rise and that was basically from the end of second to last century till the late fifties. And this one we call the thrive and Kobayashi calls it the boom. And first picture, please. How do you call that? Well, I refer to this as the jet age and that's the time period after jets began to come here in 1959. That's also the time that Hawaii became a state and it was really the beginning of our huge economic boom. You just pointed out in our conversation how unique some of our architecture was at that time. We had the Kaiser aluminum dome at the Hawaiian Village Hotel. We had the La Ronde first rotating restaurant in the whole world on top of the Alamoana building. And one of our favorite sites is the shot of Miley, the character in her travel agency office in the film Blue Hawaii. And in the background is a back projection of Kalakawa Avenue across the street from the international marketplace. So this just to put everything in context for what happened on the island. So let's go back up the hill to the Manoa Valley. And the next picture, please. This is sort of a late entry to last show because this as you can see was late 50s here. And this is indeed the building when we charged us to go up and do field work and do, you know, real checking out. This is the first thing that was long two months ago. You came back with this and said, look what I found. Yeah. You see this picture. I sure did. Right. Yeah. And this, so this is Kella Hall. But also, you know, we are little PIs so we hear things and we hear that this building here is up for a facelift. And we were saying, you know, buildings in the tropics here, they're beautiful, just like the people here. They don't need makeup. They don't even need moisturizing cream. They just need a little suntan, maybe the coral friendly of these days. That's right. That's right. So we're saying just clean them up and don't, don't do anything else of them. Right. Because these buildings are pretty much substantially beautiful. And let's go to the substance next picture. And the interior of this building has this remarkable stained glass work. And that is far out see, out does any makeup that you could put on the building. And you can see that there's this large atrium lobby that has got this multi-story access to the stained glass. You pointed out it seems almost like a church. There are seating areas on each floor. You pointed out that the corridors are, this is a double loaded corridor, so it's really pretty generic. But we've also got the stairways that have the inserted small windows, which are all different on each landing. And one of the things I think is the most remarkable in the upper right corner is the building is built intentionally not parallel. So the stairways aren't parallel, they're at a slight angle. And that if you look down into that atrium with the stained glass window, you can see that the railing is a little canted as well. And it's a very fine piece of very humble, subtle modernism architect is clear for Clifford Young. We're going to do a show with me, Ray Turin, who happened to stumble into a residential project by Clifford Young and ended up having a great impact. So she will report on that. So same kind of notion. Very simple materials. I mean, the bars of the guardrail is basically simple filigree teas. And everything is sort of simple, but it's orchestrated in a beautiful way. And one of the things the characteristics is, you know, these grooved concrete walls, put some battens into the form, gave it structure. So that's what it is. And we're saying just clean it up. If we go back to the previous picture one more time, because the even the fenestration is still original, you know, to the north side, to the mall, it's got even these vertical fins that we pointed out, Sinclair Library had to, you know, that very early morning and afternoon sun we get here is being blocked out. But otherwise, it still has the jealousies, a combination of the glass ones and the wooden ones. And it has some nasty sort of carbuncle AC boxes sticking out. So maybe take these away and sweat a little more, as we said. And just bring it back to the original how it was. Right. And you could not replicate that. Exactly. Absolutely. So, you know, respect it and almost don't touch it.  Right. So let's jump ahead to the two pictures ahead here, which is something we had reported about in a couple of shows that we reference above. We had done a show with one of the users of the Halla Manoa and basically will brooder, you know, being stunned by the whole composition. And this is basically East West Center by the architect, International Star Architect to be and upcoming at that time. I am pay from the early sixties and mostly, you know, it's this building here, Jefferson Hall and Halla Manoa. But to the next picture, it actually it's comprised of other buildings here. As you can see, these are the dormitories and then Kennedy Theater. And you can see how sort of dominant it basically is at the corner left of that aerial view here is sort of this this very strong composition of these very sort of, I'd say, sort of, you know, probably even, you know, Louis Kahnish sort of and pay refers to Louis Kahn quite a bit as one of his, you know, influences. And I would say, too, that the juxtaposition of Jefferson Hall and the Kennedy Theater across a plaza from each other really accentuates that they're monumental, that they're really big and they're impressive. And you pointed out earlier that the East West Center, strictly speaking, is not part of the UH system, but the grounds are contiguous and do circulate between the two. And we talked about we like to call it synergy because down the road of East West Center going to Doll Street is these two slabs that V shaped and get to the next picture. We did a show about that. These are the gateway dorms that follow just parallel. So there was probably and these were local architects, great local guys and pay was a great national architect. So great symbiosis here and synergy. Next picture is a late entry to. No, this is actually showing the composition again from the other and also shows like these sort of growing architectural mountains in the valley, you know, between the actual real mountain. That's right. So what a composition. A late entry to from the previous era is the next slide here. This is one of the local stars. Again, this is Alfred Price and we had a little hard time that's our excuse to that we didn't feature it at the first time because we couldn't really figure out. Someone had told us that the picture on the middle right is the price, but then in the book we didn't see. So Don Hibbert lifted the secret and said it used to be the bookstore at the very bottom left. And they have altered it. And you know, there's this really on the left is a super nice concave wall feature, but they put this, you know, itself pretty nice portable right right next to it and see the nasty AC machines. I think this again needs some serious cleanup. And we got some serious scholars here. There's, you know, Jack Gilmer and my colleague Laura McGuire together with Don Hibbert writing a book about price. And so, you know, there's an increased appreciation about this this architect. So you age, please be aware of that. Absolutely. So to bring it back to what it was. Yeah. And he's most famous for being the architect of the Arizona Memorial. Yeah. And the only other client who treats buildings of it badly is the zoo, which I'm looking at in my front yard. And it seems like this is doomed to be like, you know, demolition by denial. And it's on the register. So hopefully not. But we need to teach that client to as well. So jump ahead, go back to this building here and that color row of pictures at the second from the top is what intrigued us the most. And we're about to say this is one of our favorite buildings because this feels really tropical. There is our concrete walk wall. There is the palm trees. And then there is a single letter sign. And you feel like, well, this is it. This couldn't be anywhere else in the world, right? And it's sort of almost distracting you from that. That's just a little sort of, you know. That's just the first floor area. Behind that is a pretty chunky, pretty big building that's pretty international style, but it's designed exotically correct with large walkway lanais. So it's doing it right. But again, look at that, how it looked back in the past where there was this hyperenthusiasm about the cars and there was almost no vegetation. So it's actually better now than it was way back, right? Right. And we're going to touch on that later in the program. And let's move ahead. And there's some buildings I know this well because they take really good care of me. This is the Health Service buildings here from 63. It's a very sort of a nondescript building, but very modern, like post and beam and breeze block, as you can see, and courtyards as a theme that we, that was the other thing you reported back. You said, I think there is a theme. Courtyards is the theme. We're going to revisit that, too. That's what I think, too. And the next picture is just like in the last show, we can't be all inclusive here. There's no way we can cover it. So there's so many buildings that you guys got to get out and discover. And this might be one of them. This is the auxiliary service building that has the same sort of beam structure, post, breeze block infill, and the lava plinth that you point out. And the exposed rafters of the canopy that is out over the parking lot. And these buildings feel very mid-century, very modern, very site-specific, very much about the place, not in a nostalgic sort of pre-contact way, but in a post-contact, but in a progressive way. And again, that's also space age, too. This is also from that time period. And talking space, Edge moves to the next project here. This is spacey in many ways. And we're referring. This is Kaikendal Hall. And we refer in the little pictures on the top right. We have featured that building sort of once in our feature about tropical staircases. We figured it out. And it was easy breezy. Had this z-shaped form of the train. And then there is this sort of funky, very artistic structure of the post. The mushroom pillars reminded us of the show we did about the apartments that Obama grew up in by Park Associates. And then the most commercial architect of America at that time, John Graham, did our, we already talked about La Ronde. And below La Ronde was the Alamona building that had these vertical sun-retractable louvers. So Kaikendal Hall pretty much had that. And there is another similar. And these louvers, and I have to say a colleague of mine who retired Steve Meader, you know, that was his project. He wanted to bring it back to and he failed. And that's a shame. It wasn't his fault. And you see these nasty AC things sticking out. So to both clients, General Growth Properties and the Alamona building and here at the university, please, please bring it back to the original. You know, update that and improve it because there was some fastening and some falling off issues originally. But you can do this better today, right? Yeah, yeah. But we hope because the original deteriorated, the original building deteriorated to where the louvers fell off and that was the reason to remove all of it. Yeah, yeah, yeah. But there's no reason to bring it back because we're smarter now, right? Yes, we are. The technology has progressed. That's right. And another similarity to our pletitouille of keeping Snyder Hall and not demolishing that is because this is the same architect. So please don't erase the trace of that architect. Great, great, great. And, you know, just today, hot off the press and the internet is that we try to get Sinclair Library, but it seems like there is also very good, you know, used for student learning center or something like that. But for us architects, we then couldn't have it anymore. So we might refocus on Snyder Hall again. Or any of these mid-century modern building are better than our Pomo piece of cake and we'll talk about that in the next show. So let's move on because now we have reached the late 50s, excuse me, late 60s. And this is how it looked pretty much like that. And this is the era when the Y5O started and was dwelling on modern architecture as an actor, as we pointed out, right? Yes, it was, it was. So next picture here is then late 60s. This is Hamilton Library. You as a librarian know very well. Books, Nietzsche, The Needed Cool. So this is maybe by nature of that typology. A more introverted project. But nevertheless, very nice. You got the waffle ceilings as the opera concert hall has from Blaisdale. And also kind of a similar thing as Kennedy Theater, by the way. They all have these sort of celebrated, uplit, basically waffle slabs. So that's like the Washington Metro. That one very much. Talking brutalism, thank you for a sick wing because we're getting into brutalism, Sue. And there is the next project here. Is this one here? This is familiar to us. This is Moore Hall. And Kobayashi had these sort of other faculty and grad students help writing the books. So there was a guy who was on the review board of the building. And he was bitching about the architects having made the North facade, which is the one on the bottom right, having closed. And he had urged them to open this up because he said, well, it's North. But also we get the very early morning, sun, and the late afternoon. So these vertical fins basically do the job. Not so much on the south side. This is why that little picture in the middle on the left is me when I was there for a little volunteered for a German language test thing. And so I saw the curtains being pulled. Whoa, so in the stairways that you like a lot because it's very exuberant, it's very easy breezy. But again, it's facing east and west. So this is the most critical. So maybe replacing the glass with the fixed glass jealousies because that's the perfect thing to keep the rain out but let the air through. Now, particularly for a hallway where you're not trying to protect collections and you don't have papers and things like that. And I also like it has a wonderful zigzag canopy, too, from that time period. Exactly. And it also has, well, it's a courtyard. It's also very nice. And it has these huge lava rock bolsters. And it's very sort of googie and zigzaggy and curved. It has these planters. So it's overall a very nice composition. And all these buildings, I mean, this criticism is very relative to an absolutely great. I mean, criticizing this is very sort of almost illegitimate. But we're still saying, but good things you can improve and you can clean up and maybe exoticize them even more than they originally were. That's our point. Next picture here, next project. And this is one that we found. We did a show about when you came back from your Tiki conference at your keynote speech. This is one of the few sort of Tiki buildings on campus. This is Kraus Hall, which is very, I took the picture on the top right just the other day poking over that lava rock wall again from the whole street. And you see this sort of idyllic oasis pond. And it's very tranquil. And it's very low-key. And it just has this sort of feel of almost we're talking here to our producer, almost high school feel, like high school or elementary schools or kindergartens. It reminds me of my elementary school years, have hallways like that. But this is also a botany building. And it is nice for that to be focused on an exterior scene where you're seeing plants. And it seems customized to this nice Mr. Kraus up there, who was this botanist. So it's very low-key, very humble, very tropical building, you know, very, very tropical. Very nice, nice scale too. Exactly. So next picture is now we're going big, because these were our local architects recently. And now we're going star architecture nationally. This is basically, as you can see, the biomedical science building from the early 70s. And this is a very prominent at that time American architect Edward DeRal Stone, who, you know, looking back, he's sort of a little dismissed as a little sort of a funky, sort of a flamboyant kind of gentleman architect. He did a lot of US embassies, by the way. So he's very impactful. I've seen, you know, Nebraska in my days, he did the Stewart Museum, which is very similar actually to this one here. And one of my really favorite ones is in Chicago at Millennium Park, the original standard oil building. Then Emma Cohen, I think now Eon, which is this sort of very sort of slender, square plan, extruded tower that was clad in white marble and was juxtaposing the dark, sort of devilish, Meezy and Mies van der Rohe ones as there's the dark German and I'm the white Central American, you know, I love that. So he, you know, and they were like in the book, they were saying this sort of, they found this sort of pagoda, Chinese pagoda had a little funny and the ornament, is not literal like we do it these days with these chevrons. It's just simple geometrics and you might see something alluding to some Asian culture, but maybe not and it has courtyards and these courtyards are spectacular. And it was so much fun to take these pictures for us, right? Yeah, and also it is in a very prominent location at the end of East West Center Road. So I think it's appropriate to have a building that is as that prominent and significant as something to look at but you're down the road. And talking prominent next picture here, we're talking about previously about I.M. Pei's sort of mass popularizing the Leucan philosophy. For me, it's always the firm that did the same to basically me's van der Rohe, just talking about him, a skit mowing smell at this time. This is one of the, still is, it was one of the big players in architecture, national firm, so they came here, did Moor Hall and Moor Hall is also, you know, many say it's not one of the best SOMs, but if you look at it, I appreciate and acknowledge the generosity of hallways of circulation that not only there are these niches built into sit, but you can say these hallways are so large that they allowed outdoor learning.  And it has these two courtyards and they're actually suggestions to basically build more space and to enclose these two courtyards, which I'm very much warning again. John Hara, about whom we will talk, soon has a nice proposal with his daughter, Mayumi, right now to only enclose the courtyards within or densify within the square elevators, so you would actually sort of get four little courtyards and I find this very sensitive instead of blocking the whole thing. This is something, again, it's a very nice utilitarian but in the recognition of outdoor space, also very tropical, exotic. And unfortunately outdoor space often is seen as a waste. Absolutely, that's why I'm saying very generous times. Right, exactly. And we will see in the next show, that wasn't the case when that era here ended. It was the opposite. Move on to the next picture here. This is, we did a previous show, Tonya Moi did here about the architect, Steven Oyakawa, who did these dorms. And also, well, Bruder was very impressed. The architect worked for Frank Lark writing and see that. When I talked to students who live in there, they acknowledged sort of these very funky shade features in front of the windows. Something we learned from that as far as critical assessment is that with Primitiva, who's also a circular building, we gave it an interior courtyard. That one doesn't have, so it gets a little stuffy in there. But again, that's relative criticism to an awesome project here. And unique looking. Exactly, move on to the next one here. And this is Campus Center here. And Campus Center was designed by Ishihara, who was working with Warnaki, who was the architect of our capital here. And so this is a project here that we will have Richard Lowe and talking actually about the word, the word wonder world, we will call it. So it's a different subject, where we'll quiz him on that one here as well, because he's involved in so many things. So looking forward to that. I took that picture at the bottom left as sort of a post occupancy evaluation, because that was one of the days when power was out on campus. And people were basically escaping their interiorized, hermetic, AC classrooms because they were suffocating. And they went to naturally, they gravitated towards these easy breezy spaces. And that was one. And then even when the power stayed out longer, some of the devices went out, and guess what, people started to talk to each other and breathe, and breathe, and wasn't that awesome. So moving on, and you know this, we're like now truly in the 70s, and this is familiar to you because you live in a house by that architect. Yeah, so this is Asapov. And I think, is this the building that they just painted recently? As you unfortunately see that picture is under, they do the spotting repair. So I can understand that, you know, you're still in trouble and trying to keep the corrosion because there is enough concrete over the rebars. But at the bottom, at the bottom right, they're painting the ceilings their way inside and there's never humidity getting to them. So I'm afraid this is, they just want to put makeup on. They are doing that. We have to ask, they're saying, you know, Sid Snyder, who's the late partner of Asipov, who we had on the show over the summer, our Doko Momo members, we got to ask him because they claim he had okayed it. And it's just a shame because brutalism wants to be pure. Plain concrete. There's an awesome article by one of our previous showmasters, you know, Timothy Shuler about the brutes from the beach. That's right. And you guys all read that awesome article and when you did, you will never put makeup on a brutalist building. So I would almost say stop this here and now. I agree with you completely. It's supposed to be raw concrete. That's the whole purpose. Yeah. And the next project is shows you to what extent that sort of brutalist, you know, tropical brutalism was infused into even the most sort of profane typologies as that big parking garage on the street. They were even doing it to that one. And even that one has an awesome courtyard. The next project here is the arts building on campus here. And it's a building that was by, you know, the beginning of Group 70, which is one of the biggest firms here, Group 70 Lab. It was Gordon Teal. I remember he gave a talk story at Doko Momo and he was talking about how much fun they had. They basically outsourced the guy into teaching then because he was becoming too problematic and was sort of interfering with the business of the firm. We have our tropical tourism guest, Suzanne here, and she just gave me this shirt here. And thank you, Suzanne. And it says Elvis in Blue Hawaii. Yeah, yeah. And she points out that, you know, good architecture, tropical exotic architecture on campus might be a USP as they call it in her realm, a unique selling proposition, right? Yeah, and I was just saying too that there isn't enough selling of architecture for tourism or promotion. There needs to be more of it in selective locations. We have a lot of outstanding buildings and we're talking about them. And good news is that Doko Momo just won the bid for the National Symposium next year in September and it's gonna be 500 guests and more. And most likely, UH will play a role. Of course, is it good? And we were saying, you know, in the next show we point out we better continue that good legacy because otherwise what do we have to show in the next 50 years, right? Well, that's so true. That's so true. So let's go to the next page here because we gotta speak up.  And I was walking by yesterday and I saw the low sun in a lower picture coming pretty, you know, flat and heating it up. I was reading in the book again, it took a poetic take on that and said it had some sort of mysterious sort of notion that created as the light but it's certainly also overheating but that courtyard makes up for it. Once again, it's very cool, very jungly, very exotic, very nice piece. Next one is by the same architect is and we're exiting the 70s now and we're gonna close the show with one of the early 80s but we choose this one because it's still keeping up the integrity of the 70s and not doing what the 80s unfortunately became known for which we see in the next show and this is still a very nice building here. Once again, feature courtyard, right? And featuring shading devices and overhangs that basically, you know, make it nicely tropical. And work with the climate. And what does as well work with the climate next picture because here is our landscape enthusiast. Our tree enthusiast, what does he have to say? Well, he has to point out that the campus of the UH Manoa campus has a lot of unique trees, a lot of interesting trees. They were planted specifically because it was a place that studied botany of the tropics but the trees themselves not only add to the campus, in some cases they are even more noticeable than some of the buildings are. So they're an enhancement that is not just in the background but sometimes you wanna just look at the trees themselves because they are beautiful and significant too. Absolutely and let's phase out with one last view here of architecture. It's almost non-architectural. It's almost like build trees and most likely they're put under trees and these are the little portables. And you still find them all over campus and they're like just single corridor, jealousies, easy breezy, hot air can rise up. In some cases they've been sissy and put AC and we can take out again. But these are great, these are great too. So these are part of the sort of genetic, exotic tropical code of the campus as well. So that was pretty much it. We hope to see you then in two weeks with we have to do the third of the trilogy and it's gonna be called the fall. We're sorry because you have the rise and the thrive and then you have the fall which is in some cultures unfortunately the destiny but we will always close on positive notes and we will then say and potentially re-rise. Yeah, so stay tuned for that. Next week we're gonna have a great combination of a former colleague of ours, a Maki Saki Maki coming back from Australia to us and sharing the newly founded, they have a gold coast there too and they opened a Doko Momo there and we have Laura McGuire who's organizing our coming up Doko Momo walking tour which is taking place in Kapilani Park. So be excited about that one and until then please stay exotically educated, educatedly exotic, bye bye.


Hello friends, welcome back to the channel. In today's video, we're going to go over the teal mask side quest for you to get a blood moon, a salooner in your copy of Scarlet and Violet. So once you've made your way into Keatakamia and you've made your introductions with everyone, you can go over to this area just west of Masuitown. This is the west road as if you were heading towards the apple tree hill. And once you get to the corner of the road, you'll see this NPC character taking photos. Once you get her attention and speak to it and then prompt you with the request that if you want to go any further with her on a side quest, that you have to have caught 150 Pokemon in your Keatakamia Pokedex. So at this point, do check how many Pokemon you have caught. And if you do need to catch any more, just head out and around the Keatakamia region and fill up that Pokedex until you've got 150. Once you've done that, head back and speak to Perrin. She will then initiate the side quest with you and start a battle using the likes of Noctowl and a very familiar Lypheon that her ancient descendant Adamann from Pokemon Legends Arceus actually used as one of his signature Pokemon. Very nice hint for links between the two characters. So once the battle is over, Perrin will then ask you to meet her in the Timeless Woods. Now, from your location, you'll be wanting to head to the northeastern area of the Keatakamia map. You head right to the northeastern point. You'll see this big wooded area. And this is exactly where you're wanting to head. So make your way out there. And when you arrive, you'll see Perrin taking photos of some Pokemon on the outskirts of the wood. You'll initiate a battle with an Ariados. After the battle with Ariados, the side quest will initiate. And once you're ready, if you just go up to the tent and click A, you'll initiate the quest to go into the Timeless Forest and take pictures of 10 Pokemon in foggy conditions. Perrin does give you a little bit of advice saying no running, no startling the Pokemon. So that is something to keep in mind when you're going into this quest. It can be a little frustrating when you first start it. Especially if you're running up to Pokemon, they will get spooked and they will run away. And you might not see that Pokemon again for a very long time. And with only 10 Pokemon to take photos of, you've got to be very careful with your approach to each and every Pokemon within this area. And you need to make sure that you get close enough to the Pokemon. If you're not close enough to the Pokemon, Perrin will tell you to get closer to make sure that you get a better shot of the Pokemon. And you can't take a picture of a Pokemon running away either for it to register in the challenge.  So these are great pictures. But as you can see here in the example, I'm just walking up to the Pokemon very slowly rather than running or going at any pace. And I think the big point about this quest is just having patience. And the way I kind of got the 10 Pokemon, it didn't take very long at all, was just to do a big loop around the area starting from one side. You can't take photos of Pokemon twice. We did try and get another Spinner Rack, but Perrin advises us that that is a Pokemon that we've got already. And this is a good example here of me going up to these Hatena and spooking them. I try and get a picture. It's not too bad. But as they're running away, Perrin does not accept it for this challenge. You can go over to the pond area and take a picture of Lortad and also Tynomore in the water as well. Pretty difficult to see, but easy enough to kind of spot and get over the top of to take a photo. The skull is in the area as well and another Pokemon that's easy enough to take a photo of. It does seem to do a countless loop. So if you can get ahead of it and just set yourself in a position where it is coming to you and take a photo of it as it comes towards your direction, then you should get a good snap of it. Make sure to check out the trees as well because Sea Dot do hang around on the branches of the trees and are easy enough to take a photo of, especially for this mission and Litwick as well. They do hang around these areas and don't get spooked too easily. Just walk up to them like you would the other Pokemon. You'll be able to get a nice picture of them for this quest. Do manage to get a Hoot Hoot in the trees as well. So along with the Sea Dot, Hoot Hoot going in and amongst the trees and then this cave area towards the back of the Timeless Woods is full of salandite. So you'll be able to go into this cave and spot them quite easily. There's one on the back wall you can take a photo of. They don't get spooked too easily, especially if you're not running around and that will do it. That is our 10 Pokemon. And once you've done that, Perrin will inform you that the survey is complete and will call you back to where the tent area is. Then you'll have a little bit of dialogue with Perrin about the photos and what the next mission is for you to. Going after the Blood Moon Beast, which is obviously the Blood Moon Ursuluna. And then the foggy conditions will start as you start to venture into the woods once again. You'll hear some footsteps and Perrin says they must be huge. And the next thing is the Blood Moon Ursuluna appears out of the Timeless Forest here. The one thing to note about this Pokemon is you can't soft reset for it. So it is shiny lock. There's no way of getting this Pokemon shiny in the games.  It's not possible, unfortunately, in the Teal Mask. Perrin does spook the Blood Moon Ursuluna and that prompts a battle with yourself. So it goes into the battle. You can't catch it in this first phase of the battle. Just make sure that you have something strong against a ground or a normal type. So a fighting type, water type or a grass type would be preferable against the Blood Moon Ursuluna. You're gonna have to watch out for its signature attack, though, as well, to a normal special type attack which does absolutely huge damage. 140 base power it hits for. So you can't use it consecutively, but it is a very strong attack and it does have access to boosting its special attack through Carmine as well. So something that you have to be aware of. And once you've beat the Blood Moon Ursuluna in this initial battle, you'll be presented with the opportunity to catch it in whatever ball you would like. We do use a heavy ball to catch this Blood Moon Ursuluna in. It feels very fitting for it. Let me know down in the comment section what poker ball you have caught your Blood Moon Ursuluna if you've caught already or what you're planning to use if you are about to catch it. So after the battle and you've caught the Blood Moon Ursuluna, Perrin will head back to Masuitown and you'll be prompted to kind of visit her back in that area. So if you fly back to Masuitown and then head back to that original area where you spoke to her initially to stall the side quest at the side of the road. And as another gift for helping her with a side quest, she'll give you a Hissuiin Arcanine. So it's a way for you to get a Hissuiin Arcanine in your game. They're not available to catch in the wild as well as a choice scarf item if you don't have one of those already. So this is a really good side quest for you to get two Pokemon, two exclusive Pokemon in the games, the Blood Moon Ursuluna and the Hissuiin Arcanine.  The Blood Moon Ursuluna is a ground and normal type Pokemon. It has a normal terra typing. It has the Blood Moon signature attack with earth power slash and calm mind. And it is in a heavy ball. So that is the side quest for how to get yourself the Blood Moon Ursuluna in the Teal Mask Pokemon Scholar and Violet DLC part one. I hope you found this guide useful. Make sure that you follow all the steps in this guide and some of the tips as well when you are in the forest for just snapping the Pokemon with the camera because it can be quite frustrating if like the Hitenas that we were going after run away and I didn't see them again for the entire time that I was in the forest and it would have been great. It would have cut down my time a lot more if I'd just been a bit more patient approaching them like I wasn't in this video. So good luck with the quest and good luck getting your Blood Moon Ursuluna. If you found today's video useful, please drop a like, do subscribe to the channel for more Pokemon Scholar and Violet content and I'll see you all in another video very soon. So until then friends, take care of yourselves and bye bye.