Hwyl fawr, wrth gwrs, roes i'r tîm ar gyfer y dyfodol i'r edrych yn gyfamol o'r edrych yn gyfer. Dydyn ni'n wedi'n cwrw'r Lluys Peninton – Lluys yng Nghymru Ar Ysgol Mwrddol Llywodraeth ar Osford University Press. Lluys, rydyn ni'n gweithio. Hi. Rydyn ni'n ddau fod yn ymdweud gyda'i chi bwysig i'r hynol, dwi'n cwrw'r hyn i'w ddweud yw. I'll try and be succinct as possible because my job is quite a Michael. So hi, I'm Louise Pennington, the professional development lead for primary and secondary at OUP, Oxford University Press. I'm involved with everything from Numicon, the primary maths resource through to secondary science, everything to do with referring to research, good practice and that we kind of use that to put into planning and delivery of professional development. Now for people that don't know, what is what is Numicon? So Numicon is the reason why I work for OUP. It's a primary maths resource which utilises quite a strong pedagogy based on Brunus CPA, so the concrete pictorial abstract approach, but actually uses some really tactile manipulatives to make children explore and unpick mathematical concepts. So it's a really great resource and I found that in primary teaching myself. Used it in my own classroom and then within 18 months we had it across schools. Was that teacher research? It was interesting. My first experience of Numicon was when my son brought it home coincidentally and there he was, you know, where I had a bit of fun but also hopefully learning maths and actually he is developing that classic. He loves, he's great at maths but his love for it is a bit kind of hit and miss and that's perhaps where that kind of stereotype of I'm not good at maths evolves. You've got a passion for CPD as well, haven't you? How has that evolved? I think it's probably evolved from my own experiences and chances and opportunities that I was afforded as a younger teacher. So I've continued to develop myself professionally, so I've continued to study beyond my degree but I was also, you know, led in my second teaching job. I was a Senco and senior leader, so I led professional development in school there but I also was a lead maths teacher for local authority and so worked with and supported and collaborated with other teachers in other schools and that's kind of where it all started.  Yeah, and abroad I missed a trip to New Zealand actually last Easter which I'm still not there. I've worked with teachers and gone into schools so hopefully I'll be able to get myself back there. Okay, so we'll come back to the Numicon and CPD. Cosh and I always ask people I work with is describe your 16 year old self, what we like at school? I was good at school, I wasn't a problem child. I had that perfect mix of social and study so I think I balanced the two quite well and I obviously did just enough work to make sure I got what I needed but I think is a skill. But I've continued to, you know, I do see the social side of education quite a lot and that's why I enjoy continuing my own learning I think. And what happened after school? A level was in the same school so I studied at a selective comprehensive school in Oldham. The selection part was church related and that was in Oldham Manchester. I stayed on to my A levels which was a really eclectic mix of subjects actually. I did some humanities, some science and English language and then from there I obviously went to university. And what did you study at university? I did a primary Bachelor of Education with honours and my major was environmental studies. My second subject was foundation maths so I was a bit worried if I'm honest about teaching mathematics at that primary age range because of my own experiences at school I think. So my heart warms when people go into degree, that teacher training degree, you know, I know it's a few years back whereas you kind of teach first methods now but that's very reassuring. So what happened next? Where was your first placement? Where did you start teaching? We had some brilliant placements actually. We had a special school placement and that sparked my interest in no additional and sometimes more complex needs which I came back to and that was what I studied for my master's degree. My first placement really was in the middle of Toxteth. I don't know if you know anything about that. I don't know Toxteth. So that's in Liverpool and it was just not too long after that they'd had some quite famous riots there and that school Ross was that was my first step into a professional role you know as in not being at school myself. The children had a breakfast club and it was you know quite some time ago. The staff were really focused on the community. They had shoes lined up some of the children came in with their shoes on. It was quite a tough school but very very well led and that opened my eyes a lot I think. I thought if I could teach here and manage my first placement I think I'll be well placed. And you've always taught in the north west of England? Yes. Rownt Manchester area, Rochdale Manchester and into Oldham yes. Okay so really really interesting. So how did you get in you know you mentioned the CPD you know your lead maths type role. How has that evolved to a point where you're now with a Oxford University press? So that's back to Numicon so I obviously had a love of Numicon found it worked in school and then I was really wanting to be trained as a trainer so I could train other people and eventually my role moved me into working for the special needs service and I was able then to to access their professional development so I was trained in how to train others for Numicon and that's where it started really so I was working in my local authority I was able to train schools in my authority so for me at that point I was a specialist teacher looking at maths difficulties and so I would often you know design a programme of intervention or recommend schools would use Numicon and other things to support the children with their sticking points and then I joined the consultancy team because OUP has a team of consultants that and what year was this roughly how um no you're talking Ross uh probably 2012-ish okay um and then um I was working more and more for them then I started to go a lot of the place and deliver training and then this role well my previous role was the Numicon professional development leader so I applied for that I thought that was right up my street and then I joined the team so before the pandemic what what was a kind of a normal week or month look like for you I guess similar to yours there isn't one um so I'd often be in Oxford one or two days a week that's for me that's a 400 mile commute round trip sometimes take eight or nine hours depending on me and one and so I'd often stay over one night in Oxford I would be in schools the rest of the time or working at home so there wasn't a typical rhythm but I really like that actually apart from managing childcare yeah I bet but that that that kind of joy of visiting lots of schools yeah you can put a price on that can you I think to see um how schools work to work with teachers you know to discuss things and to to work with them over time particularly that sustained professional development which you know um is is the gold standard really um but just yeah to be in at different schools um to be on learning walks to work with SLTs to talk to teachers and and kind of you know continue to work with them I think it's such a crucial part of your own development yeah what's your favourite part of working with schools different schools variety I think um I mean every I've been working in so many different settings and picked up so many hints and tips myself and different styles and ways of doing things so I think that variety definitely the fact that I've built a really broad network um and connections with other people um and to see how different schools run because you know that they're very individual aren't they they run so differently they they definitely are um and if I just pop back to numercon you know my knowledge is very limited is it expensive how do you implement it into your curriculum how do you teach it day to day that's a great question I think it's relatively inexpensive I suppose it depends how much you buy some schools you know buy just the shapes the plastic shapes some schools will buy you know the other things because our kits have so many other things in says quies and air rods and things like that and some schools would buy the teaching resources as well and so it either can can really easily integrate with any kind of resource that schools use or program that they use or they can use numercon as their program to deal with them so it's really flexible which I think is a real positive and also through curriculum changes the numercon pedagogy doesn't change some things get moved around in different year groups and that that kind of continuity is really careful but it's quite solid in terms of the research and pedagogy behind it and so I think for me that that shows it's done to test it out. I've got a couple other questions so could could you tell this to us a little bit more about the research on numercon but and also can you use it in other subjects I guess we know that maths is everywhere but how have you seen schools use it in other aspects of school life? That's a really great question I think it particularly in the early years it permeates quite a lot of other areas of development and particularly when you're trying to use maths across the curriculum and I think that's that's quite key um I think I've oh Oxford University use it as well I believe in the engineering department and maths department don't ask me Ross what they do because it's well above my own capabilities so it is used in secondary schools as well particularly special needs and maths as you've said and it basically it just makes those concepts visible you will have seen if your son's brought things home how it's you know if he's brought the shapes home it looks like plastic shapes so when you put them in sequence in the odd you can see the number system it becomes visible and it you know it comes alive and then those little shapes are weighted so a two and a two and a three where they're the same as the five so that's quite useful thinking about algebra later on it is useful yeah so I think it's it's got a variety of uses obviously predominantly in mathematics but engineering definitely in the university um I've been told um about the research what what is the research study it did start as a research project actually in Brighton and Hove um it was quite um a longitudinal-ish study um with some teacher researchers and um and you know professor of mathematics and I think that that numicon was born out of that research and actually it is homegrown it's from the UK you know it was it was used across Brighton and Hove in extensively in the 80s and 90s um and so the write-up and the publication of that was what led to the numicon shapes being being paid and so have you got any uh is there any stats on how many schools use numicon um we have our own metrics I guess and it shows that probably 80 odd percent of schools have numicon resources in school um if we are honest they don't all use it to its full potential and even just yesterday I was on a phone call with a school who said they have loads of numicon but it's in the cupboards and so they wanted to they wanted some inspiration as to how to get it out and start using it so give me two or three tips what are the two or three tips to get it out of the cupboard what would you recommend yes so depending on where you're teaching so for early years basically tip it in your sandal water start there right um for key stage one definitely around number concepts and number bonds which is really key you know schools can use that um quite easily but also around those numbers to 20 their structure and how they're how they're built and then for key stage two I think people get quite surprised at how well it's used for fractions decimals and percentages so I think interesting yeah now I want to switch to workload which is a passion of mine um and I'll move away from numicon slowly but um can numicon save people a bit of workload headache is there other you know what kind of resources come with the the pack what does the Oxford University Press provide in terms of cpd to reduce that burden yes is the answer I think for us when we start to look at products um either you know revisions of products or development of products teacher workload and ease of use is obviously central to to what um publishers do and so I think for us what we've tried to do is we've tried to put everything in one place so we've made in the last other pandemic we've made all the teaching resources digital and so schools who have the subscription for numicon they've got all the teaching resources there they've got the lesson planning it's all done there's long medium and short term plans there could be a curriculum coverage we've also linked it to some of the key things that schools use so other products or programs that schools often use um we have linked numicon to that for them so we don't have to do any matching or searching around for what type of activity you can use it for so we are continually working on that and it's really important to me um having spent so long in the teaching profession to the central to to what we believe that you know we have to keep that workload down it's it's so crucial to you know to avoid burnout of teachers and everything else so yes I was going to just pick up on that so in terms of the kind of resources you provide the things that you see in schools you know you've got that kind of and plus the international work you do you've got quite a good oversight in terms of the successes and challenges um what would you say are the happier schools what are they doing and and and what would you say would be a fix for the schools that might be struggling I think that's a great question and if we're still talking about workload and I think the key thing that happy schools do is they continually ask why why are we doing this why do we need to do this what's the benefit of it and I think that sometimes there's a lot is done because it has always been done or because it worked previously in that way and I think I mean even just this week I've talked to a teacher who's rewriting planning because it isn't on the planning format that the school use and I was saying it's all there for you it's there it's done we've done it so isn't there a way you can just annotate it or can you just like lift it across and drop it in here it's that it's sometimes just like please please don't be afraid to ask why and that professional conversation around the benefits of some of the processes that schools that's an interesting one because I know a lot of primary schools do the kind of purple and green kind of tickle pen type methodology for marking and you know I'm not a primary teacher you were so you know does it work is there any academic research to support it is it a workload issue what what are your views on that particularly I always have the wrong pen in my hand at the wrong time the wrong colour I'm a big advocate of trying to give whole class feedback and verbal feedback I think feedback in the moment has so much more impact than after the event when people haven't quite remembered what it is they were thinking or doing or how they made a mistake so I think for me you know if we can work the room and try to give you know timely feedback within the lesson then I think all that that onerous marking doesn't you know doesn't give us as as much as the input that we've been spending and you know in some of those unhappier schools that you've visited what's the kind of reoccurring thing that pops up uh too many meetings so before school during school after school consistently early yeah consistently early meetings and consistently late meetings lots of procedures that people haven't questioned in terms of the impact and you know lots of in-depth planning and reinventing of the wheel really I think okay and then also sometimes that the way that teachers feel that they're continuing being watched and judged and that that kind of lack of professional trust and I think sometimes that comes when schools are on a journey of rapid improvement but actually I think that sometimes to lose professional trust means that you get less out of people and they get more stressed don't they yeah no I've slowly you know in my own kind of studies and my interests you know really I'm picking culture and autonomy and I think from traveling to schools you really do start to see it um to articulate it it's the harder part I suppose yeah um now Oxford University Press apart from publishing materials what else does it offer teachers um another great question so one of the things that I that attracted me to working for OUP if I'm really honest was their charitable mission they um put a lot of money back into development of resources or content or support for teachers that is free at the point of delivery so I think that to me is crucially important they are not just on that treadmill of churn for for financial gain they spend a lot of time and effort looking at the teacher stresses teacher workload well-being looking at what would help for a particular issue that's arisen and we do a lot of professional development and have a lot of free resources we work so hard the pandemic pushing out for parents as well pushing out resources linking to bbc um you know the bbc bite size content we have put so much um we put the the parent workbook for numercom we just we kind of wrote it really quickly and put it up out online um for free downloadable you know printable shapes and things to do with numercom we tried really hard I think that part of OUP is really important to me ethically um in terms of you know that we're trying to support with a lot of free content you know we have webinars you know continually that are free to access for for educators and yes I think that side of the business I think is really so tons of stuff um I'll have to ask how was how was um the pandemic for you you know homeschooling and those types of things how was it horrific I think for someone who's who's used to being out and about a lot being in schools being abroad traveling um even just my you know my commute just to do that is a full day um I've gone from that to sitting in my kitchen for 15 months now the office is not open um they have a task force working on you know the responses because obviously OUP is a global company our offices in China were hit quite early on um with the COVID and so they've had a global task force and they've worked really hard and been really good at keeping everybody informed and they've had really strict and stringent safety measures in place for their staff and also for the customers that we work for so the result is that we've all been sat at home for 15 months and it's been difficult but I think you see then how strong teams are and how innovative and supportive and forward thinking we are you know to kind of stop regroup and start to change the way we do things so quickly um so and you and I will both know that when you work outside of a kind of school setting school leadership setting you learn insights from you know the business world I suppose in some respects yes um so kind of you know given that that you've been involved with OUP for you know 10 12 years what kind of new things have you learned that you would have benefited from as a teacher or a school leader I think that's a really good question I do say this a lot actually one of the things that I have really found challenging but really interesting working with OUP is having the day-to-day working insights of how marketing and sales and publishing works I mean you know to know that as a teacher to to kind of understand that that business side I think is is quite important and I think a lot of you know I do run a business I run the professional development business for the UK for OUP and I think it has helped me develop business skills which I think you know more and more now school leaders need they do need that the budget side the you know that kind of planning and strategic work and I think that side of of my job has brought my you know brought a lot of skills to me in terms of you know broadening out what I know and understanding can do really interesting um now um I've got a uh moving away from OUP and Numicon um you know to just generally you know working through the pandemic how have your how's your work adapted you know I suspect lots of zoom meetings you know those types of things but give us a kind of general insight into you know the challenges of lockdown and homeschooling but given that your your own children might be at school well they are um yeah how how is your kind of week shaping out the kind of things that you're juggling the things that you do just give us a little bit insight into how you work yes so um I mean this week's a brilliant example we've had um meetings through the day on teams um so we had quite a lot of board meetings of product development meetings they happen actually really well on teams and they are really succinct and and they don't overrun and actually more people can come and observe I just think they run actually we're going to carry on doing those I think long term they don't overruns a great great great success but then you can they have a time term you can just drop in at certain times and listen to a particular part that's that's interesting to you or part of what you're working on then you can drop out you don't have to like get up and leave the room you just you just leave so there's some really good positives um I think it allows us for me personally not to have that eight hour to nine hour round trip if I'm needed in the office for something that's meant that my working day is much more productive for not traveling around um and I think for professional development we had when that lockdown first hit all of our professional development was face to face in schools or in a venue and we had to really quickly regroup and think and myself and my consultancy team have worked incredibly hard on improving our tech and different systems of working so they've all some of them have made their own things at home that can start they can demonstrate things with they've invested you know you come and things like that how it's going to you know post pandemic you know my my son keeps reminding me that the black death lasted seven years but but how do you think it's going to change your work and OUP you know you know office based physical cpd or a bit of a blended approach yeah I think why do you think that's going I think for us we have learned a lot and actually what we've learned is that some things work really well digitally in that blended approach we are definitely not going to stop doing digital professional development it's a lot of people have said to us it's been much more accessible to them um you know they're not having to leave school or have the long journeys to come somewhere or it's you know it's more accessible than having using a day's inset so we're going to keep that offer um and we are looking into and developing blended approaches as well and then but we are reserving face-to-face for where it adds value and where our customers want that because I think you know you've mentioned numeric on it and I have a lot but I think for something like that where it's so hands-on and practical um that sometimes there are things that work exceptionally well when you're in a room with with teachers and can work nearly as well digitally with you know with all the technology that's available to us so I think yes we are looking and in terms of office work we're in the process now of looking at almost like what should and could what must we be in the office for what should we be in the office for but actually it's not going to fall apart if we don't and then what could we be in the office for but actually we can continue to work at home right nice um so we're starting to work on that now yeah I'm just thinking you know those types of questions and thinking you know the challenges for teachers we have to be in school well I say we have to we you know parents need to go to work so they need to send their kids to school that's the challenge so we need teachers in school but it does throw up lots of questions for the future of education um general websites for OUP or new econ where can teachers go to just generally find out more where should they start yeah I mean this we have our um Oxford primary website and everything that is on there but I think for me as well there's the Oxford our website which you know it's for parents and teachers and there is a lot the parents sign is completely free and there's so much information resources blogs on there for primary education for maths for English but year group specific things recipes activities you know things to do at home it's an absolutely brilliant website I think that's something that I'll definitely flag up and the teaching side poppy heads okay well we'll mention that now um regular listeners will never kind of push in the 20 minute barrier so I'm going to start to fire some quick questions to you no pause hesitate that timmy mallet type approach um I'll start off easy um what project are you working on today tomorrow what's on your desk oh I'm glad you asked me that actually at the moment I'm working on a really exciting project which OUP has just launched a teacher consultation paper for it's called the oxford smart curriculum at the secondary schools this project has collaboration at its heart collaboration between OUP practicing teachers subjects and experts and it really harnesses that collective expertise and so it's a really exciting thing to be involved in um for me that that's going to be really great I think it's got six key pillars at its heart for hearing a curriculum pathways right participation responsive teaching and learning so it's really focused in on that creativity oh and wonder and I think anything that um that does that for me you know I can absolutely get behind okay good um finish this sentence if you were if I was education secretary I would um invest in teacher professional development okay um piece of advice for thinking about taking the leap into doing something like you in terms of your work read read the research of things at the teacher development trust the curia research national college for school leadership there's a lot of interesting and quite conflicting research around teacher professional development in particular and then I just think that plan that you know I read your blog just last night around that you know what works in professional development so there's lots of little quick things quick wins there around predictive time and building a plan explore observing models and examples reflect on your practice so is that plan there and I think I'd direct them to your little summary of research there as well thank you what book are you reading oh um I'm quite embarrassed to say that it's a running book I've been reading this is book it's kind of been a bit of a mission I've been reading it for a long time so it's called why we sleep by Matthew Walker I don't know if you've read that no I don't know that one but it's a book which is blend it's um it's a blend of kind of science and um cognitive stuff and sleep um science but it was recommended to me by 90 year old doctor on a train to London he waved it at me instead of everybody in our generation needs to read it um so I think everything from behavioural insights the animal world scientific research on the brain advice and warnings about how we should respect our circadian rhythm so it's a brilliant book that's really interesting yeah because I'm I'm reading a lot on memory at the moment uh no I know you're in northern are you a chips and gravy girl or a chips and beans or peas what what goes on top of your chips right that's that's proper northern okay next question are you a hunter or a gatherer I'm a hunter okay great um next thing I would like to ask is if you weren't doing your dream job what would you be doing what's that abstract crazy thing I wanted to be and lined myself up to be a forensic scientist oh okay interesting drop languages to focus on science as a GCSE and then found out that having asthma would stop me from pursuing that to its full extent so teaching was my second choice okay interesting now uh for listeners um louise has jumped out of a plane so louise what's your top tip for doing your first skydive don't do it no actually it was brilliant I think for me um trust trust that everything will work and don't and definitely keep your hands folded in front of you because the urge to kind of cling on is that if you're pushed out is there it's sometimes overwhelming okay um were you a better environmental science or a math teacher what were you better at in the classroom at maths actually strangely okay advice for your 16 year old self keep going okay because you mentioned that just enough earlier um biggest uh what are you most proud of in your career not in your personal life and um I think my continual personal development so my continual study I think throughout the responsibilities that adult life brings you I've still kept learning and developing whether it's reading or a formal qualification so I think I'm most proud of that um for myself and and that is a personal and professional achievement I think okay great lovely if we had 24 hours together in Liverpool what would you do where would we go what would you see what would you eat oh everything it's such an eclectic city the docks the cavern and some of the music scenes and street food and of course shopping and there's some great bars as well Ross oh well we can we can skip the shopping we'll just go for some food and some drinks there you go um who do you recommend I interview next and why oh great question I'd be keen to champion of the woman um and I can think of a whole host of brilliant women but I think for me Crystala Jamil she's an inspirational executive head teacher working in Tottenham national yeah I know Crystala do you okay well there you go yeah I know so I'll come for Crystala I shall reach out straight away um so where can you listen to find it more about you your blogs or tweets things like that yeah so Oxford Prime as I mentioned Oxford Secondary some of the things we talked about we have facebook page as well but um twitter for me um at pd louise p anything to do with gin food occasional tweets about education now um since I've moved to Yorkshire Louise I've got really into nature and surprisingly this might be uh surprised to discover I'm really getting into my flowers so I've got on a random question that I'm adding into my podcast if you were a flower what what variety would you like to be I would love to be an agapanthus right well I need to go and check out what that is because I says I suspect I've seen it um well I just need to make the reference of the net is that knowledge that not that picture and the the the name so uh approach isn't it yeah so yeah I love agapanthus I've just planted some more in my garden yesterday actually all right very nice well I'll take it out and I might plant some way own um final question um what would you hope to be your legacy um teaching I think teaching is my legacy so to have helped the contributor to a fairer more tolerant and inclusive world where everyone is valued equally and has equal opportunity and in fact I instill that in my own children so they continue on that journey of inclusion and that to be the title norm I think that would be the best kind of legacy fantastic so Louise thank you um second time lucky at the beginning uh you know for people listening I didn't press the record button but we've got through it um and it's been nice to connect you properly since I've moved up your way and I hope we can meet uh and I'm not going to try and pronounce where you live you can give me the different versions but but uh yeah I look forward to to meeting you in real life and uh taking a conversation further so uh thanks once again and keep up the good work thank you so much it's been great chatting to you thanks Louise bye now thank you see you soon bye


Live from San Jose, California, it's the CUBE Happy Adaptive Flash launch brought to you by Nimble Storage. Now here are your hosts, John Furrier and Stu Miniman. Welcome back to Silicon Valley. We're at Nimble Storage's Adaptive Flash launch event here at their headquarters in San Jose. They've got events all across the country, and actually from London, New York, Chicago and here in the Valley. Joining me for this last of our interviews is Varun Mehta, who is the co-founder and VP of Engineering on the program. I always love to talk to the founders. Varun, thanks so much for joining us on the CUBE. Sure, Stu. It's good to be here. So, you know, I think back to when Nimble launched, you know, there were so many things. Flash was actually kind of early. I mean, you guys started in 2007. Most people weren't thinking about Flash in the enterprise. We have companies like Fusion I.O. and EMC that came early. And you and some of the other founders came from NetApp and Data Domain.  So can you give us an intro as to, you know, where we are today for Nimble Storage? You know, you've IPO'd. You've got almost 700 employees worldwide, you know, in great momentum. So first of all, congratulations and, you know, tell us some of the journey. Sure. So going back, you're right, that a lot of us came from the big companies in the valley and my own personal background was at NetApp and then at Data Domain. And at each of those companies, I had this opportunity at NetApp of working in a really good primary storage company and Data Domain working in this category defining backup company. And the thought was when we were working at Data Domain, my co-founder and IOMesh was, hey, what if we could combine the best attributes of a primary storage system and a backup system because people had this box proliferation going on. And it just technically wasn't possible till flash came along. And in 2007, as you said, I remember opening up a copy of the Wall Street Journal and seeing the first ad for an SSD and it blew me away. You know, it was like way faster than anything that anybody had ever shipped. So I called up OOMesh and said, hey, we can do something with this. And that was a genesis of what we set out to do. So just early on, the thinking was, hey, let's have this, let's build this thing, this device that can do backup as well as primary storage really well. So we set out to build that, but then we got this bonus along the way, where the performance turned out to be way faster than we had thought. And then, of course, we had really good dollars per gigabyte. So we managed to get it all, data protection, which was our original goal, but also really low dollars per gigabyte and really high performance. So Varun, there's been waves in the storage industry of companies built around a feature. So things like theme provisioning or scale out NAS. Many of those can build good product lines that can grow. But it's tough to predict the future. You look at, in 2007, we knew server virtualization was pretty big. Cloud wasn't on most people's lifts for that. How do you build an architecture that's not just a feature, but a sustainable, durable architecture that can grow and expand into the future? Very, very important. Actually, there were two things that we looked at. One was just market entry. Where do you go where you're going to find the least resistance? So that was very important and that defined our initial product. But then you look beyond the market entry to five to ten years out and say, okay, how can I have the largest footprint? And as you said, we were one of the earliest flash companies to get started. And what that allowed us was to stake out the largest area. So we do believe that the combined flash plus disk market is going to be the vast majority of all the storage that is going to be shipping for many, many years hence. And so we were able to stake out this market. And we could see that companies that came after us decided not to butt heads against us directly. So that's one of the advantages of coming in first. You get to set the position. And then about the market entry, we could have started up actually at the very tip of the pyramid, very high performance, because we had the field wide open. What we decided instead was after studying storage companies, we looked at companies like Blueark and Threepart. These were companies that had started at the high end. And it took them a while to get traction. And it's because if you go head to head against the big incumbents in their sweet spots with the large companies, it's very expensive and very hard to get in there. So we said, okay, let's build a product for the mid-size enterprise. And we put in all of these features. We leave open our options to move into the high enterprise when the time is right. And so that's what we did. We built a product with the right capacity, the right performance, and the right pricing to enable us to go into the mid-size enterprise. And it's really hard to defend when you have hundreds of thousands of potential customers. So that's allowed us to have success in the mid-size enterprise. So Flash has really changed the design of applications, hasn't it? I mean, it's changing it now. When you look at databases, for example, they're starting to add the Flash-specific features. Like Hannah, for example, is now loading and unloading. It becomes the bottleneck. And so they have to have Flash there. And SQL 2014 has got some very nice features. And obviously there's Flash in the service as well. They are going to have to be integrated into that. How do you see the applications moving over time? Did the new applications which assume that Flash is there? And how is that going to make the storage market different? Great question. It's actually interesting. I've been waiting for the application vendors to start managing Flash on the server. I think it's a really, really powerful concept and something that will have huge benefits to customers, because having Flash close to the application is very helpful. Now, and it's great that they're jumping on board. You know, VMware has this VFlash initiative, and now Microsoft and SAP are also jumping in. I'm waiting for Oracle to jump in. My SQL is also a custom extension. Right. So that is great. It provides data much closer to the application, which is good. Now the problem it doesn't solve is your resiliency and your data protection problem, because you still have this need to take snapshots, for instance, to replicate your data off-site. All of these things, these data management functions, which are really hard to integrate into the server. So that's why you still need your traditional storage array to be this ultimate and very reliable repository of all your data, and it handles all your data management functions like snapshots, cloning, replication, DR, all of that. Now the interesting thing there is that the traffic to the array is going to be changing quite a bit, because all the read-intensive data is going to be absorbed right in the server. Applications will go much faster because of it. Big DRAMs and big Flash. Right. What happens is that to the back-end array, their traffic profile changes considerably. It becomes a lot more write-intensive. And this is one of the things that we anticipated when we built CASL, because with sequential writing to disk, we can absorb very, very high frequencies of writes. In fact, our new product, the CS700, we did some really nice things to improve write speeds even further. The write speeds on this new product have gone up actually a little more than our read speeds have gone up, because we believe that's where arrays are going to get hit now with Flash moving to the server. So I was looking at an exchange system which had four locations and four DAGs in each of those locations. And the read-write ratio was 75% writes in that environment. So is that the sort of environment that you're anticipating in the future? That's exactly right. So this is what is happening. That the servers themselves are getting so good at caching that you could already see the traffic flipping over to be write-intensive. We see it for VDI also, 80% write traffic at steady state. So it's really, really important to be able to deal with actually random writes. Those are the killer. Now, traditional Flash and certainly traditional disk could not take advantage of random writes. It just imposes a huge load on them. And this is one of the places that we really designed CASEL for to be very, very write-efficient. So how do you acknowledge writes? I mean, all of the key aspects of a database, for example, are getting the log out, getting the write committed, those two-phase commits. How do you design that in this very high-write environment? Because the classic ways of doing it, protecting it in the controller, they're not sustainable long-term. They aren't. And here's the challenge has been, if you look at actually up to the entry point into the array, everything looks similar. People have used NVRAM for a long time. Now what happens with legacy architectures, architectures that were created before Flash ever came about in 2007, as we were saying, is that they did not have this advantage of this huge buffer. So their architectures tend to be very write-intensive, very seek-intensive on disk. So if you look at any pre-2007 file system, its disk's usage is much more seek-intensive than newer architectures. And this is their problem. Now changing that becomes very hard. So one of the S in CASEL stands for sequential, so cache-accelerated sequential layout. So we took huge pains to make sure that we always write sequentially to both Flash and always write sequentially to disk. And this allows us to get really, really high throughput to both Flash and disk. Now the thing is that when you're writing purely sequentially, there's a lot more fancy footwork you have to do on indexing and managing the index, especially with when you have snapshots going on at the same time. So that was a lot of where our innovation was. So Varun, this is a great conversation. Before we get the plug pulled, I need to ask you one question since you're the VP of engineering. When you look forward, we've had a lot of innovation in the storage in the last few years and in Flash. What excites you going forward about, what's it about this time right now? What should we be looking for from this? What should people watching look at the storage industry in general and to nimble specifically? I'm not asking you to share too much roadmap. We hear things, fiber channels come in and things like that, but what's exciting? What should we be looking for? Right, right. From a customer's point of view, this is very interesting. It reminds me of there are these periods in evolution where they call it, for example, the Cambrian explosion where lots of animals sprouted forth, but only a few succeeded down the road. This is what is interesting for customers right now. They have a lot of choice, but what happens is over time, a few winners will emerge. That's the thing that I think customers will have to watch out for. There's a lot of choice right now, but a few years later, there will be some winners that emerge. The thing that I think they should look out for are the most broad-based architectures. What are the architectures that can handle the maximum amount of workload? The things that you said, what is coming down the road, that could be exciting. I think it's part of what you referred to, Dave, which is the increased involvement of the application vendors. We've heard about things like OpenStack, which is great, but I think the application vendors getting into the storage provisioning business with architectures like VWall and SMIS from Microsoft, that is really interesting. Managing flash on the server along with the backend storage, that will be interesting. Alright, well, Arun, unfortunately, we're out of time. We look forward to continuing the conversation with you on another session in the queue, but at some upcoming event. Thank you once again, co-founder of Nimble, VP of Engineering, Varun Mehta, Stu Miniman, David Fleuer. We'll be coming right back with a quick wrap-up from Nimble Storage's Adaptive Flash launch here in San Jose.


When I first opened augmented strings intro from Arturia, I used this preset Beautiful swell and then I thought to myself. What does this big morph knob do and that's when it happened Hi folks, I'm Mike and I hope you well. So when I just did that big morph knob I found out what this plug-in is really all about and you're gonna find out what it's all about in this video But first of all, I must let you know that this plug-in is completely free until April the 30th Now this is to celebrate the launch of Arturia's new augmented series But I do urge you to watch this whole video before you go ahead and download it because I'm gonna give you a mini Tutorial, which is really gonna help you to get the best out of this plug-in So watch the video and then follow the link in the description down below now back to that big knob So let's find out what that big morph button does. I'm gonna play those strings again, but I'm gradually gonna turn it up So what you're hearing there is that the heart of what the augmented series is about using acoustic instrument sounds and fusing them with synthesis and expression controls This incredibly free plug-in has a much wider range of sounds than this So let's take a look at some more of the presets So the presets kind of come in three different groups if we go to the menu up here You can see there's the acoustic sounds the hybrid sounds So they're a mixture between the acoustic and the synth and then the synth sounds So it's it's a more of a matter of emphasis than anything else, but you can adjust them all of course yourself We'll talk about that later, but let's just go through a couple of acoustic ones now I'm gonna go over to this one deepening. Okay, let's have a listen to that So you can hear that's the kind of an acoustic bass sound there is a little bit of synthesis in there Actually, the morph buttons just up a little bit there if we turn that all the way down I'll tell you what I'm gonna get rid of some of that delay and that reverb there have a listen now Yeah, much more self-acoustic bass down there if that's what you want, that's great Of course, you can mess around with it. Let's have a listen to another acoustic one. I'm gonna go to I Tried this one earlier a spiccato cloud. This one's really a little bit odd It's definitely acoustic sounding, but there's definitely something else going on have a listen There's these kind of random delays going on or something like that I don't know a bit of fun there. You may be able to make use of something like that Let's go through to some hybrid sounds. I'm gonna go kind of random here to be honest with you Because I don't know any of these orange. Let's try that one out. I Could use that orange now that sounds very sort of synthy to me. It's a hybrid sound So let's just try something else. We'll go harp mutation then Very nice indeed. Okay, let's go then to some synth sounds obviously these ones are designed to you know Be very synthy not very acoustically sets acousticky. Is that a word acousticky sounding dancing bows? Let's try that one Okay, we've kind of had a few sounds a little bit like that, so let's just try something different. Oh Soul pad that sounds like me. I love my pads Hmm Interesting you can hear that there's a really big range of sounds in this free Did I mention it's free this free plug-in and if I just go up here to all presets You can only see some of them because lots of them go off the screen I don't know how many there is probably like I don't have 40 something like that all really kind of useful and Inspiring sounds I found that when I was playing around the presets earlier that it made me want to create music That's a very good thing now. You're probably going to want to make these sounds your own a little bit So you're going to need to know what these knobs do. Let's take a look at that next Okay, so full disclosure at the time of making this video I'm actually using the pre-release version of this plug-in and as such I don't have access to the documentation So I've kind of had to guess at what some of these controls do now I don't mind admitting to you I became a little confused along the way and we'll find out why in a moment Let's start off by looking at the two most obvious controls on the interface I guess the delay and reverb controls these knobs just blend in more or less of those effects to the overall sound Now this is where I started to have a little bit of confusion because I noticed this for example I'm on this preset pop staccato. Okay, I'm just going to play a note without having any delay on a tool just like so Okay, so that's the sound now I'll turn delay up full And you can hear what perhaps five or six repeats there which gradually fade out Okay, so now I'm going to change to another preset which I'm going to go to that deepening one we used earlier I'll do the same again. Here is without any delay Now I'll turn delay up full It's probably only two delays there and their space much further apart Okay So what I learned from this and this applies to some of these other controls if not all of them The the actual underlying sort of fancy stuff, which is happening the more advanced stuff is different depending on which preset you're using Okay, you just have a sort of a more of a macro control that blending those things in as I say Who knows with the full versions of these maybe there'll be you know advanced controls for these But this is fine. You can still do an awful lot with this now We'll say with the delay. However, you can change the timing in the sense that it seems to be linked to the tempo of your door Okay, so if we listen to this one at the moment I'm just going to quickly change the tempo in my door. It's 120 at the moment. I'll change it to say 160 We'll play the note again And you can hear it's a lot faster. So that is kind of you can get a little control over that at least So let's move on. I'm going to go back to that pop staccato and let's look at these top three Controllers up here. Okay, there's a reason why I'm doing it in this way So we've got color time and motion So let's start off with color for most presets or all the presets I've tried at least this seems to be a kind of a filter Controls, so I'll just play a note now Yeah, we'll turn this up And you can hear it's filtering out those high frequencies there So that's quite useful actually, especially if you're sort of moving it while you're playing you can get some really nice effects like that Okay, so that's color. Then we have time. Let's play with this a little bit I'm going to turn it all the way down and play. In fact, I'm going to change to a different preset Let's go to this deepening preset again I'll just play a note with time all the way down Yeah Now you hear that note it's got a decent sort of attack on it when we turn time all the way up It's got a really slow attack on it. So in this case, I thought to myself. Oh time is just attack Not quite because if I change to another preset, let's try this orange one and we'll move time on this one There's time we'll turn up It's not changing the attack It seems to be changing the length of the notes kind of thing within those repeats not really absolutely sure But yeah, you can see that it's just behaving a little differently Okay, so again, if you if you're a little confused when you're messing around with this just bear in mind I think it's just different with different presets the way it behaves But it does relate to time in some ways. That's very appropriately labeled Let's just change again to pop staccato and the same for motion It does appear to change depending on the preset, but it seems to relate to some kind of modulation I'll just play these strings again. Oh staccato pop strings. I just yeah, and then There seems to be some sort of Modulation on the volume there I felt with some others that I try that was just doing some different things. We'll try that Bass again You can hear it's not really doing much on the bass there other other things Look, I don't quote me on this But I felt that maybe it was modulating pitch on some other presets and things but anyway motion makes sense Doesn't it but do bear in mind that they're gonna do different things for different presets I think I've labored that point enough now Now finally the same applies to these two controls affects a and affects b They also seem to have different effects applied from depending on the preset and it's worth just understanding here that this one affects a Is applied to you're sort of more acoustic side of the equation Okay, remember this morph control sort of blended more acoustic sounds and then over all you know with synthesis over on the right-hand side there so Look at this ring which sort of goes around the edge It's more yellow around this side and you'll notice that Effects a is more yellow and that's sort of telling you basically the effects a is applied to the more sort of acoustic sounds and Effects b is applied to the sort of synthesis sounds. Okay, so That's all I've managed to understand about these different knobs on the interface here to be honest with you Although they're kind of macro controls when you use them all together You can really create your own unique sounds with this awesome. Did I mention it's free? Plug-in now, I reckon this plug-in would go really well with another couple of free plugins I reviewed recently those being foundations piano and Micah's choir check out my review for those two in this video Right here and start making some awesome music for free


you're heading home? Heading home from where? I'm heading home from Glen Column Kill. We were in London for a few days and I'm heading back home now to Gordon Hark. So from Glen Column Kill to Gordon Hark. Okay, so what brought you? You're in London, what brought you via Glen Column Kill? My boyfriend lives there. I have, very good, right. So you are doing the rounds. He's going to hear all my secrets now. So this is a secret, boyfriend, nobody knew. No, no, it's not, it's not. I'm not sure about other questions you're going to start asking me. No, maybe this was your announcement that you are now in a relationship. Maybe you have an update at the Facebook page. No, we're in a relationship for 16 years.  No bother to you. Oh, Hark is. What's your secret? What's the secret to 16 years of happiness? Two TVs, as opposed as it? Two TVs exactly, and two houses.  All right, right. We have a pair of wireless earbuds to give away this morning. Maybe your name will be on them, Isabelle. All right. I have a list of items here, random items. I'm going to describe as many of them as I can in the space of one minute. You need to guess from my description what each of those items are. All right. And once we get to the end, somebody else is going to come on and have a go straight after you. And what will happen then is if they beat your score, well, they win them. If they don't beat your score, you win them. It's as simple as that. So hold on a second.  But I'm going to put a minute on the clock. So, Isabelle, are you ready? I think so. Are you going to, are you going to win these items? Are you? Oh, hopefully. Right. Okay. Well, let's put a minute on the clock. Here we go. Thank you. Time starts now. So this is an item of clothing. Um, it goes around your neck. It's, you might wear it to a formal, no, a formal sort of neck or a necklace. No, it's a, it's like a tie, but it's not. You tie it in a certain way. Oh, it's a bow tie. A bow tie, correct. Um, you would use this in the morning if you're cleaning the floor. It's not electrical. It's not a hoover, but it came before hoovers. A mop? No, not a brush. A brush, correct. Uh, if you have short, if you're short-sighted, you might wear these to help with your eyesight. Right on my face. Yes, correct. Um, you might head for a bag of these after a night out or you might have them with fish. They're made from potatoes. Peas. Peas are not made from potatoes. No. Oh, chips, chips, chips, chips. Sorry, chips, sorry. Okay, okay, okay. You use this to put a picture in the wall. You have to, you have to put it into the wall with a hammer. A nail. Correct, correct, correct. Uh, you would sleep on this at night. It's for resting your, resting your head on it. Correct, correct. Oh, you just got in there just in time. All right. Let's tot up the scores. You didn't pass on any. You got one, two, three, four, five. You got six of them as well. Not too bad at all. Oh, lovely. Thank you.  We're saying good morning to Maureen and Balli Belfay. Good morning, Maureen. Good morning, Maureen. How are you? I'm okay. So it says here you're relaxing at home. Is that right? Yes. And what does, what does, what does a morning relaxing at home entail for Maureen? I just suddenly having a lovely cup of coffee looking out the window. And what are you looking at? Just relaxing. What are you looking at this morning? What, what's the beautiful greenery? Beautiful greenery. Lovely, lovely. Yeah. Where about some Balli Belfay are you? Just Eden more. Just outside Balli Belfay. Oh, beautiful, beautiful part of the country up on Eden more. You have a sort of a panoramic view all around you there, don't you? You have, yeah. I'm up on a height, so I'm looking down at everything. It's lovely.  Yes, not far from it at all. I'm just actually looking a bit. Where my parents live, where I grew up, we were looking right across at you because we were up on the height on the other side up on Adbaran, up on Dunwiley. And we would be looking right across at you. Yeah, we would be at the other side. Yeah, fabulous. Yeah. Lovely part of the country. Well, listen, there's a score here of six to beat. All right, so Isabel has scored six this morning. If you can beat that score at morning, the wireless earbuds are yours. Do you think you can do it? Well, I'll try. She'll try. All right. Well, we can't ask for much more than that. She'll do her best. All right, I'm going to put a minute on the clock. Are you ready? Yeah. Okay, your time starts now. All right, this is an item of cutlery. You could use it probably in the morning to eat your cereal. You might store your tea with it as well. Say it again. Say it. Correct. This is a fashion item you would wear it out on maybe to a ball or a dinner dance or something like that. It's an item of formal wear, but you can get casual ones as well. You might have one below the knee, above the knee. Yeah, correct. This is something you would have watched films on years ago before DVDs came out before streaming. You would have gone to the shop to rent one out. Or DVDs? Before DVDs, before DVDs. There were sort of rectangular and black. I know. I can't pass. Okay, pass. This is a breakfast food really. It comes from a pig. You would fry it in the pan in the morning time. Say again. Correct. You would wear one of these if you were getting married. Someone would put this onto your finger. Ring. Correct. And you would take photos with the... Oh, time is up. Time is up. All right, Maureen and Baldy. You passed on one. You were saying DVD. It came before DVDs. It was video. It was a videotape. Video. You just couldn't think of it. How many did you get? You got one. You got two. You got three. You got four of the Maureen. So not quite enough to beat Isabel's score this morning. So commiserations. All right. Listen, thanks for playing this morning. All right. No problem. All right. All right. That's Maureen and Eden Moore and Baldy Buffet, which makes Isabel our winner today. Congratulations to you. Well, thank you. That's a great start to the day. Hopefully, it'll finish good later at the bingo. So where are we sending them now? Are we sending them to Glen Callum killer? Where are we sending them to? No, the Gordahawk. Oh, you're sending them to Gordahawk. You see, you're sticking your claim on these. Nobody else is going to get their hands on them. That's for sure. 100%. Well, listen, thanks for playing this morning, Isabel. And well done as well. Okay. Thank you so, so much. Appreciate it. Thank you. Bye-bye. Bye-bye. That's Isabel on the way home from Glen Callum kill to Gordahawk. Coming from London via Glen Callum kill, heading to Gordahawk this morning and the winner of our wireless earbuds this morning.


The researchers successfully grew epitaxial atrium iron garnet, YIG, films on gadolinium gallium garnet, GGG, substrates with 100 orientation using pulse laser deposition. The films had a single phase structure, low surface roughness and low coarsivity. They also exhibited near bulk room temperature saturation moments in plain easy axis and damping parameters as low as 2.2 times 10 to the power of negative 4. These high-quality YIG thin films are useful for investigating the origins of novel magnetic phenomena and magnetization dynamics. This article was authored by M. C. on Bassley, A. Kellberger, D. H. Kim and others.


Three ways millennials differ from generation Z. Which are you? A millennial or a generation Z? You know what? For clarity's sake, let's start with a breakdown of the set of people that fall into each category. That way, we'll be able to answer the question, which generation are you? Baby boomers are people born from 1944 to 1964. Generation X are people born from 1965 to 1979. Generation Y, or millennials, are people born from 1980 to 1994. And Generation Z are people born from 1995 to 2015. Here's the thing. Generational breakdowns are not an exact science, because it's not like two people in different generations, say a 28-year-old adult and a 46-year-old man, can completely understand each other. However, knowing the similarities and differences that exist between them will help you see the disparity in their perspective and their expectations from life in return. So, what differences lie between millennials and Generation Z? In this video, I'll share with you three ways millennials differ from Generation Z. If you're new here, consider subscribing, so you won't miss other exciting videos like this. 1. Millennials are optimistic while Generation Z are realistic According to the US Census Bureau, about 77% of Generation Z expect to work harder than those in the previous generation. Why? You see, millennials were born and raised by their encouraging baby boomer parents, growing up in a time of prosperity and opportunity. As a result of the people that surrounded them, including their parents, they began to approach life from an optimistic point of view. Generation Z, on the other hand, is realistic thanks to their skeptical and straight-shooting Generation X parents and growing up in a recession, which was confirmed by Pew Charitable Trusts. According to the report, during the great recession, the median net worth of Generation Z's parents fell by nearly 45%. In essence, we are saying that millennials were raised during an economic boom, while Generation Z grew up during the recession. As a result of this difference, Generation Z is more focused on long-term value and smart investments. 2. Millennials are collaborative, whereas Generation Z wants independence Have you ever worked with some set of people that want to achieve success by themselves, without depending on others? These guys are the Generation Z guys. Again, according to the US Census Bureau, about 71% of Generation Z said they believe the phrase, if you want it done right, then do it yourself. The truth is that their desire for independence is in some way tied to their competitive spirit. Many of them prefer to have office space to themselves, rather than an open, collaborative workspace. Many also want to manage their projects so that their skills and abilities can shine through. They do not want to depend on other people to get their work done. Because they want to celebrate their independence, they use social media to find communities where they feel they belong. Here's a little illustration. When asked to arrange a group of desks, while millennials will most likely go for a collaborative style, arranging the desks in a circle to ensure a network, Generation Z will be more competitive with their colleagues and opt for a do-it-yourself mentality and arrangement. According to authors of Generation Z at work, how the next generation is transforming the workspace, David Stillman and his son Jonah Stillman, 69% of Generation Z would rather have their workspace than share it with someone else. Parents of Generation Z likely taught them the importance of working hard, and that no one will hand them their success. Hence, they are willing to work hard, but they expect to be rewarded for it in return. 3. Gen Z is more entrepreneurial Gen Z guys are taking control of their financial future from a young age, unlike millennials. Gen Z is 55% more likely to want to start a business than millennials. A full 72% of Gen Z high school students say they want to start a business. You see, growing up during the global financial crisis, Gen Z became mindful with their finance and they can't wait to join the entrepreneur lifestyle, because unlike their millennial counterparts, they want to avoid living at home into their 20s. Also, as a result of this, they are willing to work hard, soak up as much knowledge as they can, and take on many different challenges as they pursue their goal of starting their own company in the future. 4. Gen Z prefer to communicate face-to-face more than millennials Millennials pioneered many of the existing digital communication tools, talk instant messaging, texting, Slack, Skype, emails, etc. for more efficient and effective workspace communication. So, they enjoy using these innovations and forms of communication better. Gen Z, on the other hand, prefers face-to-face conversations. About 74% of this generation prefer to communicate directly. It could probably be the negative attention they've seen millennials receive for their reliance on technology. So, why rely on these channels as a means of communication when you can do it face-to-face? Another reason is that growing up with specific tools like Skype and Snapchat has allowed people to communicate with a full range of sound and motion, in place of just text. All these put together might be responsible for their desire for face-to-face conversation, instead of the regular texting or the reliance on digital communication tools. So, there you go. I'm pretty sure you can now tell which of both generations you are. Millennials or Generation Z. Thank you very much for watching our videos. If you like this video, watch more videos on our channel and subscribe. We love you.


The Cavalcade of America, presented by Dupont. Wednesday comes again, and once more the Cavalcade of America, presented by Dupont, welcomes millions of listeners. Summertime is the season of romance and music, with echoes of dreamy tunes in silver moonlight. And our program will appeal to everyone who loves sweet melodies. It tells the story of Victor Herbert. Curious indeed is the coincidence that marks the Cavalcade of America today. The director of our orchestra, Hal Levy, was for many years an associate and close friend of Victor Herbert. And under the famous composer's supervision, he has often conducted orchestras playing the same music that will touch your hearts this evening. Thus we see that the Cavalcade of America today is inseparably linked with the past. A handing on of ideals, whether it be in music or any other walk of life. In science too, knowledge and inspiration is passed on from generation to generation. And Dupont chemists carry on the high traditions of American chemical research, as expressed in the Dupont pledge, better things, for better living, through chemistry. He will be called the master of American operetta. Victor Herbert was born in Dublin, Ireland, February 1st, 1859. The son of an Irish barrister and grandson of Samuel Lover, famous poet, artist and novelist. Shortly after the boy's birth, his father died, and his mother moved to her father's home at Seven Oaks, a suburb of London, England. Here we find young Victor in his eighth year. Do you want to play one of grandfather's songs? It's pretty, isn't it? Music someday. But Victor, we've found that you're to be a doctor. Just think here what wonderful things doctors can do. Well, grandfather's music is wonderful too, Mother. Don't all the artists and musicians in London come and applaud when he plays for them? Oh, I'd like that all right. Didn't see you come in. We'll stand here listening to you and the boy talking about his future. So, you want to be a musician, Victor?  Please sit down now and show me how to play the low back car. All right. You want to be just like me, eh? Well, I'm just a jack-of-all-trades lad. I paint a little, write a little, compose a little. You must concentrate on music to succeed. This song will never be remembered like the works of the great masters. Would everybody hear whistles at grandfather's? He told me that even in America they asked you to sing it. Aye, America. Yes, it's a great country, my boy. And they treated me royally there. Perhaps someday you'll go to America, Victor. Remember, Fanny, what that old gypsy fortune teller prophesied is the boy's birth? That he'd become his country's greatest composer? And do you mind what fortune tellers in gypsy say? Ah, sometimes they see things as we can. If you want to be a real musician, Victor, you must work. You must study. Music is not an easy master. I would like to really study music, but Victor... Yeah, it's a thought, Fanny. The boy comes from a family that loves music. You, who yourself, could have been a great pianist if you'd been willing to practice. When our friend Piatti was playing his cello, I watched the boy.  Oh, he could be a great cellist like Piatti. Why not? Wouldn't you be proud if you heard your boy as the soloist of some great symphony orchestra? Perhaps play in one of his own concertos, before vast audiences in Paris, Berlin, London, Vienna, even in far off America. At the insistence of his famous grandfather, young Victor Herbert received a musical education in Germany. His quick mastery of the cello made him the delight of the great cellist Bernhard Cosmann, whose soul pupil he was for several years. Before he was 25, young Victor had been first cellist and soloist in many of the concert orchestras of Europe, playing under the direction of such master musicians as Brahms, Liszt, Versailles, and Eliebe. At 27, we find him in the orchestra of the Court Opera in Vienna. One of his duties is to accompany the singers when they practice. In her apartment, the young and beautiful Brimodana of the opera company, Boila and Theresa First, has just finished rehearsing a Wagnerian solo. Have I practiced long enough to do it today, Victor? Yes, Theresa. I think that will be enough. Nothing but the best satisfies you, does it? Nothing but the best, Lübschen. That is why I hope someday you will marry me.  I would be proud to tell all of Germany that I am engaged to that handsome young cellist, at whom all the ladies make sheeppies. You haven't even let me announce our engagement. Later, Theresa. As yet, I am only a poor cellist. And you? You are one of the great singers at the Court Opera. Poor cellist indeed. You know you're a great soloist and a fine composer. You've often told me how Max Bifritz said you learned as much about composition in three months as all of you both took six years to master. Oh, you're really a great man, Victor. Someday, dear. Someday I'll write an opera that will make you proud. Come in. Yeah, Frank Damrosch Boiland. I was expecting him. Ask him to come in, Frank. Yes, Boiland. Here, Damrosch. Is he not from America? Yes, Victor. From the Metropolitan Opera House in New York. They have asked me to become an ender of the company. You go to America? They want me to go with you. But I think I will stay here, in Vienna. Theresa, you? Herr Damrosch, Florlein Perster. Herr Damrosch, I'm glad to see you. This is Herr Victor Herbert, first cellist of the opera company. He often comes to coach me. Herr Herbert, I have heard you and admired your play. Thank you, sir. Well, Florlein Perster, have you decided? Yes, my dear. I have decided. Good. You go to America. No, Herr Damrosch. I think not. But, Florlein Perster, do you realize what a magnificent opportunity this is? The first German opera season at the Metropolitan Opera House in New York. And the salary, much more than you would ever receive here. Now, many unclimbed honors would refuse an offer like this. You see, I am not thinking of pain and fortune. I am thinking of leaving my fiancé. But, Theresa, this means much to you. I have heard of this opera season, Herr Damrosch. Speak so. You would have a chance to work with his father, the great Leopold Damrosch. And you would work with Richard Ratner's friend, Anton Seidel. You are familiar with the plans I see Herr Herbert. Can't you persuade Florlein Perster? I would go only on one condition. That you engage my future husband, too. But who is he, Florlein? Some singer, some... I thought you knew how unimposed the marriage with Herr Herbert. Herbert is different. We shall find a place for Herr Herbert, too. My father would be glad to have such a fine first cellist in his orchestra. I shall make all arrangements. And may I congratulate you both. My congratulations. Thank you. What are you thinking of this tour? America. My grandfather told me so much about it. I wonder if they liked me there. In 1886, Victor Herbert and his bride came to New York. And it was not long before he became an American citizen. But he was sure America would always be his home. He became assistant conductor to Anton Seidel, who encouraged him in his conducting and his composition. But it was in the spring of 1894 that the turning point of his life came. He met William McDonald, head of the famous comic opera company The Bostonians. They're a friendship group. And one day in New York, McDonald is talking with Herbert. I don't know how to approach the subject to you, Victor. You know, we've been playing Robin Hood sometime now. Can't last forever. We have to have a new opera for the next season. Well, I think you're just the man to help us. Well, I don't know any comic opera composers to recommend. If Coburn has been so successful for you with Robin Hood, why not get him to write another? Just a moment. I wasn't asking you to recommend a composer, Victor. I was asking you to do the work yourself. You're asking me to write a score for a comic opera? Well, I don't think you'd find it beneath your dignity. I think you'd be an ideal choice.   And the Bostonians aren't looking for anything cheap in Todrick. You've, uh, you've nothing against comic opera, have you? No, no, no, no. No, I'd like to try my hand at light opera. My mind is full of melodies that wouldn't belong anywhere else. Oh, wait a minute. I can't read a piano very well, but it's something like this. Melody, filled with the thought of love and romance. First opera, Prince Ananias, was not the success that the Bostonians expected. But from that moment, Herbert was in demand as a composer of comic opera. In quick succession followed the Wizard of Annias, the Idol's Eye and the Serenade, which later was one of the Bostonians' greatest success. While writing these scores, Herbert also became leader of the famous 22nd Regiment Band, a successor to Patrick Gilmore. Possibly his most popular song of this period was in The Fortune Teller, an opera had a written for the lovely soprano Alice Nielsen. Herbert's success enabled him to send for his mother. And we find him seated beside her in the theater as Eugene Cole, the baster of The Fortune Teller Company, is singing Slumber on My Little Gypsy Sweetheart. Red Mother, are you sorry you let me take up music here? Oh, Victor, if you're only new, how proud I am of you. And how proud your grandfather would be. Listen, doesn't that song about the little gypsy sweetheart make you think of the old gypsy prophecy when you were born that someday you'd be the greatest musician of your country? But America's my country now, Mother. Well, maybe the old gypsy meant America all the time. I've often thought about Ireland, Mother, and going back there. And yet I seem to belong to America. But someday, perhaps, I'll be able to write an Irish opera that grandfather would approve of. I have two great ambitions to write an opera for the Metropolitan and an opera letter about Ireland. And immediately there was a protest from one of the prominent musical magazines of New York. Herbert was even accused of plagiarism in his writing. His musical honesty effect, Herbert sued the magazine and its editor for libel. And with his many musical friends appearing as witnesses, he won the verdict. By this time, he was a fixture in his profession. Such operettas followed as The Singing Girl, The Amir, The Viceroy, The Bet, and The Babes in Toilet. Remembered always for his famous March of the Toys. It has written an opera letter for Fritzi Scheff, Mamazelle Modise. On the stage at rehearsal are gathered Charles B. Dellingham, the producer, Henry Blossom, the librettist, and Herbert himself. They are discussing one of Miss Scheff's solos. Charming, of course, Victor, but I don't think it's one of your best. What do you think, Henry? Well, I think we're making too much fuss about the music of this song, C.B. It's supposed to tell a story, you know. Yes, I know that. The heroine is explaining what she'd like to do on the stage. First, she'd play a simple, light-hearted girl, then a primadonna, then a romantic part. You haven't objected to the gavotte in the first part or the polonies in the second part, and yet you don't like the work. Is it important enough? Well, I think we can make it do, C.B. The words I've written are just banal enough to point up the idea. Sweet summer breeze, whispering trees. That tune came to me so spontaneously. I woke up in the middle of the night and wrote it down. I think the public will like it. Listen to it again. After all, we aren't the ones who'll make the final decision. It'll be the public. To me again was Victor Herbert's best seller. His fame was assured. Other operettors that brought him success were it happened at Nordland, the Red Mill, the Primadonna, the Rose of Algeria, Naughty Marietta, and the Enchanted. And then in February 1911, one of his great ambitions was to be fulfilled. The scene is the Philadelphia Opera House, and we find Victor Herbert with Andreas Dippel, director of the Chicago Opera Company, and Joseph Redding, author. Well, Victor, Natoma is going on at last. It's been a long corridor. Hammerstein wouldn't have our opera for his Manhattan Opera House. The Metropolitan turned it down. If it hadn't been for our good friend Dippel, we'd still be looking for a producer. Well, maybe so many refusals will bring you luck. We've been fortunate so far. We have Merritt Garden, the John McCormick, where they print the role. And Joe's libretto is colorful and dramatic. Well, my book's the only thing I'm afraid of. But then Victor has the reputation of making his music succeed in spite of a bad door. It's the music that counts in Grand Opera. Well, when you gentlemen finish complementing each other, may I say that as the producer, I predict the first night triumphs for us all. And now, if Miss Garden doesn't mind, we'll do the dagger dance once more for good measure. I'll tell Mr. Campanini. Excuse me. How do you feel, Victor, having someone else conduct your first Grand Opera? I think it's just as well. I'm afraid conducting one's own Grand Opera would be a trifle nerve wracking, huh? There's no better conductor than Campanini if he'll just watch the kill-o-player. Summer was a success at its opening, and Dippel soon brought it to the Metropolitan Opera House in New York, thus fulfilling one of Herbert's greatest ambitions. Musical comedies. The Lady of the Slipper, the Madcap Dutchess, Sweethearts, Angel Faith, Princess Pat, and The Only Girl. It is February 1, 1917. Herbert is a great artist. Herbert is in his New York home, talking with Mrs. Herbert. When outside on the street, they hear the sound of music. Excuse me, sir. What is no ordinary street band? That isn't a band at all. It's an orchestra. I hear the strings. It's a good orchestra, too.  Open the window, dear. We'll be able to hear it better. What are they doing here? I know. It's your birthday, and they've come to serenade you, like your orchestra in Chippsville. Someone open the door for them. Get some refreshments. Someone will open the door for you in a minute, boys. That's what I call a wonderful surprise. It means they'll love you, Victor. Good boys, all of them. I'm pretty severe with them, but they know I'm fond of them. I hope they can all get inside. They'll get them all in. I just see that they have plenty of refreshments. I will. Nobody of me in the whole world can talk as much or as loud as an orchestra. I'll go downstairs and join them. Here he is! Happy birthday to the mic! Oh, I write music better than I speak. This is a beautiful thought of yours. I am 58 today. That's what the calendar says. I don't believe it. And in all my life, I've never had a more touching tribute. And I want to tell you, boys, I appreciate it. I am an American, and I hope a good one. But I think there's enough Irish left in me not to be ashamed of the tears I can't keep out of my eyes.  You were planning a surprise like this. And while she's getting them, I want to ask you if you won't play something for me. Oh, of course we will. Won't it be? I'll leave it to you. But something popular. Personally, I feel that anything that isn't popular isn't of great benefit to the world. You've proved that, Mr Herbert. How about playing something from Mr Herbert's new opera? I'll leave it. Oh, will you lead us, Mr Herbert? Better still, boys. I will play with you. Would you like a mike? Hello, Mr Herbert.  I'll use my own. You keep with me now. Are you all right now? All right, let's go. Ready in a few minutes. All right, Leedson. We'll be better with the music for a time. Oh, I just think. Another of my ambitions realized. I've written an Irish opera that my friends come to praise it. Just as grandfather's lover's friend came to praise his song, I hope the dear old man can look down from above and feel the good start he gives me. He wasn't in vain. For the last 20 years, with the coming of jazz, he feared that his popularity would fade, but he adapted himself to the new style and his suite of three serenades is one of the finest compositions of modern harmonies. Today, Victor Herbert's music is among the best love of any that has heard on the radio, and his place as a master of melody is secure in the cavalcade of America. But you have enjoyed the story and the music of Victor Herbert as much as we have enjoyed presenting them. I wrote to DuPont and said, I used to think that chemistry had to do only with manufacturing, but after hearing your radio program, I now understand how it has helped me in my own home. Well, here's another example. The story of some remarkable new products of chemical research that probably will revolutionize laundering, dishwashing, and similar household work. They are cleaning agents of a soap-like character called detergent. Soap is a detergent, which is often referred to as soapless soap. They produce a beautiful lather, but they do not contain any of the fats used in ordinary soap. Their chemical composition is entirely different. In hard water, ordinary soap makes a sort of scum. That's what causes the ring around the bathtub, which is nearly everyone knows is no fun to scrub off. But these new soapless soap work in the hardest water, even in seawater. Anyone who has ever had to wash dishes or glasses ordinarily are washed first. In spite of that precaution, however, the glasses when they come out of the water are usually covered with a dingy film that has to be rubbed off with a dish towel. This film is mostly lime and comes from the hard water. But when these new detergents are used for dishwashing, this dull film is removed completely. Glasses may even be washed last and still come out sparkly. They don't need a bit of polishing in the new soapless soap. These detergents are also important to many industries, such as textile mills, leather goods factory, paper mills, and metal plants, wherever cleaning has to be done in preparing products for the market. To prompt supplies, them only to industries. But another manufacturer is packaging these new detergents in household form. One called Dress, the R-E-F-T, is recommended particularly for cleansing silk, because it cleanses thoroughly, yet is mild and harmless to all washable colors. Another called Dream, the R-E-M-E, is in liquid form and is made especially to give billowy suds as a shampoo. This product will appeal to women who have had to cope with sticky hard water in washing their hair. Dream solves that problem completely. Leaves the hair soft and with a beautiful luster. These new detergents, which have only recently been placed on the market, are one more illustration of the DuPont phrase, better things for a better living through chemistry. Beginning next week at this same time, DuPont will present the first of a special summer series, The Cavalcade of America in Music. These programs will trace the origin and development of orchestral and band music in America. They will contain short dramatic episodes and examples of popular concert music. For the first group of these summer programs, DuPont is pleased to announce America's foremost band master, Arthur Pryor and his band. Remember the time, 8 o'clock, Eastern Daylight Time, next Wednesday evening. This is the Columbia Broadcasting System. W-A-B-C, New York.


So in this video we'll talk about how life changes and never stays the same This is my brother's room by the way.  What's the most rational? consistent daily actions that I can take every day For a very long period or until something changes massively So if Right now again my daily habits are You know the five days a day working out meditation You know daily reports day in and day out studying two hours every day and more and more and more That's just what I do now but On the same token, let's say you're depressed. You know, maybe there's a completely different Set of of daily actions that you can take you should take I just had a call right now with a guy who says his problem is being social.  This is how my life will look now at my tender tender not tinder tender 22 years of age already came to realize that Everything changes that no situation remains the same It's never just up and up and up.  What do you do? Like how do you navigate this? This is constantly changing maze. It's like the the movies.  You know life is just a chaos. I'm not even going to try to to navigate it or I'm just gonna like wing it You know, it's not gonna be it's not gonna work Like you need to have some something that that leads you forward where you have this protocol like this is what I do now It doesn't matter how life presents itself. This is just the action that I'm gonna take So if you've been watching me for the last 60 70 days, maybe 88 probably 70 days You've been seeing me growing by implementing my daily habits. And again, if you don't know them Let ask me in the comments. I'll just write the list But implementing these daily habits pretty much daily like 90% success rate on all of them Every single day seven days a week and you see what happening to my channel. I share my analytics Everything keeps growing like I'm reaching new picks all the time My fitness is getting better. I'm getting smarter. I'm getting more fans. I'm making a lot more money Because I've switched from local to international now and it's just it keeps growing exponentially like at this rate I think by the by my birthday on Valentine's next year, like holy shit, you know I don't want to spoil it, but I might reach 50k With you know the rate.   I don't know what's going on This is not working.  You need to learn That's like your most important life skill right there to Identify where you're at and where you want to go through this thick fog and ever-changing chasm Where are you and where do you want to go and then you ask yourself? What are the daily habits that are most?  I know I don't want to think about it I just gonna do my daily goals and it's gonna keep growing and then the improvements I'm gonna come along as I go And that's what happening You know the workouts, you know, they're getting better. They're getting better. I'm like I'm getting new information You know, I start working out suddenly a fitness client of mine told me hey, do you intermittent intermittent? I don't even know how you say that word with the fasting thing where you don't eat until 12 and that worked Amazingly and in terms of business, you know once a week twice once every two weeks once a month I get an epiphany like oh shit It's something I forgot to do about my business or something I can do selling back improvement back improvement You want more money more success and it happens in every single area where I'm consistent Why I just show up and do the daily goal every day and again It's a bad period and a good period and then my friend dies and then I'm happy and I'm sad Angry and angry period and somebody betrayed me and somebody's happy and somebody's a good friend of mine Somebody's a bad friend of you know changes and changes and changes and changes and and and and you know even though the Like this doesn't change, you know the situation the life the variables.  You don't even expect it. Bam. You live someplace else.  So how do you maintain that order? You use the daily disciplines as you you learn the skill, which I'm trying to teach you of Identifying where you are where you want to go The daily steps you're gonna take together You don't even have to know how to get there all the way just the daily steps that are gonna take me there slowly and then you trust yourself To automatically start upgrading them. So you just worry about the consistent You can think about maybe God does it maybe Buddha Allah the universe There's a force that takes care of people who are consistent Sometimes it's nice and it's like oh, yeah, you're consistent bam get a result Sometimes no sometimes you have to bear it out and just for years just do it and do it and do it and do it and do it but There's this force that doesn't allow consistent people not to be successful Look in the gym Are there any people in the gym that have come every day or even three four times a week for five six seven eight Ten years who don't look jack as fuck Are there any business people who have been trying and trying and trying not just having a business But trying new things and having a daily routine of growth Just because you go to work every day. It doesn't mean you you're consistent. You're consistent with mediocrity So you're gonna get a shitload of mediocrity.  It's like is it this time? Is it this time? Is it this time? Is it this time?  That's it And the same thing about my habits and consistency.  What are the odds that he'll get hit by a car? 1% 2% 5% 10% 15% there are odds. Okay, but they're low So what if I tell him do it five times and tell me if you got hit by a car? Okay, the odds are now going to be 10 15 20 30 40 50 60 80 100% they're gonna be much higher But then what if I ask him? You stand on the sidewalk and keep jumping to the road Until you get hit by a car and if you like it's a simple equation jump go and stand on the sidewalk number one Number two jump to the road number two number three Did you get hit by a car? If yes, you're dead. If no, go back and repeat number one What are the odds that that person will get hit by a car? It's a hundred percent because he's just gonna keep doing it until he does it So if you just make a decision I'm going to be successful at whatever this thing is that I want to be successful at And you just stay consistent and do it and do it and do it and do it and do it and don't stop No matter what Then it's impossible not to be successful unless you died In which case you didn't know that you lost so you won anyway You thought you died when thinking you're winning This is how you find success precision and consistency In the world of madness and chaos by focusing on what you want And staying consistent with it no matter what happens in life I'm not saying you don't change or you don't pivot If you think it's the strategic right moment to pivot But unless you stopped and you said okay, this is the right time to change the daily habits You keep doing the same thing You don't stop working because now you're making more money. That's not the time to change that habit Okay, because success, you know, that's the problem with it. You start getting success.   That's what I coach people on Not just the business the business is just something I like Something I way the way I used to teach this This is a life philosophy. This is life So you better start adapting to it or your life will keep going like that You know what the problem with that is Is that this Or the more likely it looks like this It's the results that build up over time and if you constantly go up and then down crash again That means that you never get out of this range Up crash up crash up crash, but you never that's the base. You never got up to here above here While I what I do is this so I keep climbing. I accept the down spirals, but I keep pushing up I want the same for you. Okay. Let me know if you have any questions.  You just click on a link and you can book a call with me without even talking to me So I made it very easier. So I'm probably gonna be a lot more booked now And uh, yeah, that's the thing, you know Thanks for watching and I hope this video Hope changed your life


Welcome to ITU Telecom World 2016 Bangkok, Thailand. I'm very pleased to be joining the studio today. Mr. Peter Lyons, who is a community lead for ICT, is the World Economic Forum. Peter, thank you very much indeed for being with us in the studio today. Thank you very much for having me. Now, I'd like to start off by talking about digital economy. Is the digital economy a reality? I think that's a good question. I think the better question might be, is reality becoming digital and what does it mean for the economy? And I think we can see this illustrated in our day-to-day lives when we see people walking down the street texting and immersed in a virtual digital environment which happens to be their smartphone, for example, or maybe they're listening to music. And I think we're going to see increasing digitalization mean that people are increasingly living in this parallel reality and this will have ultimately implications for the grounded reality, the real economy and it's something that we're working hard with our various stakeholders to try to address. And what are the main barriers in your opinion to growth and how can the World Economic Forum contribute to overcoming them? I would say a number one is trust. Trust in the digital economy, trust in the digital world, trust in the outcomes that this digital world will deliver. I think that trust has many facets, everything from cybersecurity and cyber resilience to what are the ultimate socioeconomic goals that we have and how do we ensure that the value generated from the digital world is spread evenly among participants. Now the UN Sustainable Goals have been attracting a lot of attention. I wanted to find out what role is worth playing in meeting those? So the World Economic Forum has organized itself to address these challenges by shifting from an industry-focused approach to addressing systemic change to actually shifting into a systems-based approach to address systemic change. We've organized ourselves according to 14 systems initiatives, everything from the future of the digital economy society to shaping the future of agriculture and food security, long-term investment infrastructure, financial and monetary systems. All of these systems are meant to bring people from across industries to work on issues that are no longer siloed industry issues to deal with. So it's about bringing the industry experts from across industries, bringing the civil society, bringing academia, bringing governments and the private sector, of course, to try and work through some of these challenges. What about collaborative regulation? How do you think it can contribute to growth? Well, again, if we think about traditional industry silos as starting to blur, for example, if we look at the self-driving, assisted driving future of vehicles, those are no longer issues that are dealt with in the automotive industry, for example. But they're no longer even just issues dealt with by ICT. You have to bring in the insurance, you have to bring in governments, the regulation and, of course, the technology side and the vehicles and the vehicle manufacturers and all the ecosystem that supports all of that. So to address these increasingly complex and interconnected issues means that you're talking about bringing regulators from what were previously very focused mandates around industries. How do you do that? Well, I think in some cases what you need to do is change the way that the regulatory authorities function within the government and what are the reporting lines and what's the institutional independence of the regulatory authority. If you have a regulatory authority that's cross-sector, how does that regulatory authority function institutionally? How is it funded? All of these things are issues that governments have to wrestle with but they need to wrestle with it in consultation and collaboration with industry. I'm sure you're no stranger to events that bring together highly influential people. We're here at ITU Telecom Worlds 2016. I wanted to find out in your opinion what value has this event got? Well, I've been coming to ITU Telecom World and other ITU events for some years and I've always found it a good place to connect with old friends but also to meet new people and just get a sense of where governments are leaning towards in terms of ICT and policy and regulation. It's a good way to measure the pulse of the industry from the perspective of the governments and the regulators and increasingly you have industry participants as well here for the same reason and I think for the world economic forum it's always great for us to be in a place where you can sort of pressure test new ideas and really try to bring people into these discussions and take these discussions to Davos and to beyond. Peter Lones, thank you very much indeed. Thank you.